Amelia’s Magazine | Pencil Chit Chat with Jess Wilson and Liv Bargman

For the December 2009 launch of Amelia’s Anthology of Illustration, treat Amelia invited the participating artists to draw on the walls of Concrete Hermit. During a day of creative scribbling, two of the participants: Liv Bargman and Jess Wilson noticed and appreciated each other’s hand drawn typography. Jess approached Liv with the idea of Pencil Chit Chat and the rest as they say is history! After 8 months of conversing via email Jess and Liv be will chatting through their pencils across the walls of the Front Room in Cambridge between the 16th and 20th of August 2010.

What were your first memories of each other?

Liv: It was at the drawing on the walls day at Concrete Hermit back in December. But I don’t think we had an extensive chat at all. We were getting into the scribble zones. I was really impressed with Jess’ wall, it looked so bold and vibrant

Jess: I remember Liv commented on my good use of type and I watched her slowly throughout the day and thought “wow”…

Explain Pencil Chit Chat please…

Jess: I had the idea for a while and was just waiting for the right person to come along. I thought Liv’s type was different enough in style to mine but still had hand rendered qualities which helps fuse the project together.

Liv: It was Jess’ idea. I was bowled over and really excited by her email asking me to take part and be the other shoe to walk along a meandering little journey into scribbledom.

How do your conversations start? Do you pick a word or a phrase at random and are there any rules with how you each have to respond to the previous illustration?

Liv: It all started with a ‘hello’ and we got to know one one another from there. Talking gibber jabber and making sense along the way.

Where do you see Pencil Chit Chat developing?

Liv: Into print and to keep going. The whole idea of the Chit Chat is personal work but not self-indulgent. Maybe other illustrators could do the same. It’s like the Slow food movement, pigeon post, back to the old writing desk days of yore.

Jess: Really I see it as a creative outlet where I can experiment and discover. I get many projects where people want a illustration which looks like a previous one. This is a chance for me to explore new techniques and avenues. Where do I see Pencil Chit Chat developing…….where it wants to really. Possibly I’d like a better website, but it would have to be idiot proof for Liv and I! We were thinking we’d like to publish the first year’s illustrations in a book by Christmas.

Liv: Make a wee book, possibly in time for Crimbletime. Make up more words and infiltrate them into society. I’d like to see it passed onto others designers. Illustrators possibly sometimes feel like doodle hermits cooped up in their sheds or ships.

How did you become involved in Front Room?

Liv: This was also through Jess. As you can tell she is the brainchild of the operation- and an extremely prolific and hardworking dude she is.

Jess: I came across there website whilst browsing on the internet. I got in touch! Originally I was going to do a solo exhibition. But I thought it be funnier and better with Liv.

How will the exhibition unfold? Will you take over the gallery walls again as at Concrete Hermit?

Jess: Pretty much! There are going to be two different conversations unfolding, so we are both working all the time like “busy bees”…

Liv: We will have two starting points i.e. two conversations will be underway, and we will swap over when one has finished their reply. It will be different I’m sure.

How will you start the conversation during the exhibition?

Liv: I think it will be good to bring in talking points like newspapers and books to add some weight to it, I want to steer it away from being anything like a self-indulgent display. This is because I think the idea of chit chat could be used by other designers, swapping ideas. That postage idea is a great one.

We will have a structure with two conversations/two starting points and we will swap over with a reply.

Do you send Pencil Chit Chat by post or by email and if by post – how was this decision made?

Liv: We do it by email, but it would be nice to carry on part of it by post- that’s actually a really good idea! I really believe in the slow food movement as a holistic view of how we should do everything in life. Whether it be setting up businesses, in the music industry (going back to the DIY approach), growing food or how we travel about. In reference to this, I really enjoyed Will Self’s radio 4 programme a few months back about Psychogeography.

It inspired me to write/draw a bit of the Pencil Chit Chat on it, as it explains this is a way to travel about and take in more as we walk and ponder about. Being cooped up in a metal tube hurtling about the skies to t’other side of the planet in 5 minutes isn’t exactly au naturelle.

What is it that interests you about type, particularly hand rendered typography?

Liv: It’s really cathartic to draw letters and take your time over something that people do everyday, scribbling a note on a napkin or by the side of a crossword. It’s pure communication and you can be witty or stupid. I like illustrations that educate you too. I was always pouring over my encyclopaedia when I was a younger.

Jess I like the expression and extra meaning you can give to a word when it’s hand rendered type. I have always done it so really it’s just natural.

What is your relationship between text and the illustration or is there no separation between the two?

Liv: Definitely the educational slant and informing an audience directly. I’d be more than happy to make versions in different languages, as that is a downside to hand rendered type if one doesn’t understand English. Maybe I should go and research in Japan..

I feel letterforms make my work look better! It’s an extra graphic detail, but it also has substance.

Jess: I see it as all part of my work. Sometimes the type can give extra meaning to the illustration.

How did you develop as an illustrator?

Jess: I always really enjoyed drawing and being creative and it just seemed a natural progression for me. I like working to a brief also which is something illustrators seem to do often.

Liv: I decided it was the path for me when I realized it was inbetween fine art and graphic design. I didn’t want to do either of those. Illustration is for the people (as is Comic Sans- that’s a font for the people, but that’s another story) as it bridges gaps between understanding and informing one of a text or an idea, rather than alienating and putting something on a pedestal.

Why is Comic Sans the font for the people?

Liv: Aha! This made me chuckle a lot! I’m an inverted snob I suppose and it’s a symbol of anti style and there’s a font snobbery surrounding it. Plus teachers have to use it on school reports- it’s compulsory apparently. To me, it’s comforting and reassuring and I quite like it- as is the same for a group of my fellow Falmouth uni illustration pals. We are Comic Sans Fans. See The G2 a few weeks back – awesome article about it (I think this is just an edited version).

My sister’s a graphic designer so I like to mock her too.

Favourite Illustrators?

Jess: Recently Cristina Guitian is doing brilliant stuff, and Adam Hayes. I really like the big shows that Le Gun put on. I saw their one at Pick Me Up and I thought it was ace.

Liv: Old cookery books- the kitsch photography is joyous. Ren and Stimpy and other fifties-esque cartoons. Dirty edges and bits you get out of photocopiers, collaging Victorian style, Blists Hill museum, music pumping into my earlugs- plenty of textures and bleeps. Books books and more books. The music video ‘The Tain’.

What is a lightbox and how does this work?

Liv: I hope this isn’t some new software everyone is in on. It’s a tracing cube with a switch and electricity, powered by a lemon battery used on the old spice ships to help sailors navigate in the lower decks. I think the Lumiere brothers invented it.

Jess: It’s a errrrrrrrr..(this is hard). Right!

It’s a box which you can draw on to copy the images underneath. So I draw all my roughs first, to get the alignments and proportions and then trace the images in color.

Finally… what are your thoughts on the alternative sustainable technologies illustrated for Amelia’s Anthology?

Jess: Kite ship – Why isn’t it being used!

Liv: The sea serpent, The Anaconda – what a beast. It stays tethered to the seabed and gathers the power of the waves in its rubber body. A fantastical piece of engineering I want to see in our high seas.

If you are in or near Cambridge on August 20th (why not take the trip from London, it’s not that far…) make time for the private view of Pencil Chit Chat at Front Room Gallery: 6.00 – 11.30pm..

Categories ,Amelia’s Anthology of Illustration, ,Amelia’s Magazine, ,Anaconda, ,Comic Sans, ,Concrete Hermit, ,Front Room Gallery, ,Jess Wilson, ,Kite Ship, ,Le Gun, ,Light Box, ,Liv Bargman, ,Pen Pals, ,Pencil Chit Chat, ,Pick Me Up, ,Sustainable Design

Similar Posts:






Amelia’s Magazine | Pick Me Up Contemporary Graphic Art Fair at Somerset House: Review

Hobbs-Press Day 2010-Karen Boyd
Hobbs-Press Day AW2010

Now, advice I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, side effects since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, capsule but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the N.W.3 collection. Accessories are one of Hobbs strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacobs sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, and her elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars is a dead giveaway of her past employment. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, buy information pills I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, more about since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, approved but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the N.W.3 collection. Accessories are one of Hobbs strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacobs sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, and her elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars is a dead giveaway of her past employment. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, buy information pills I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, and her elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars is a dead giveaway of her past employment. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, view I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, stuff since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, help I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, cialis 40mg since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, approved I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, viagra 100mg since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, sildenafil but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty print was manipulated digitally from a photo of a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, no rx I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, symptoms since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, website but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning pleated evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty print was manipulated digitally from a photo of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins used in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, buy more about I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, price since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, clinic but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning pleated evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty print was manipulated digitally from a photo of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins used in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Pick Me Up- 2010 Ville Savimaa
Detail from illustration by Ville Savimaa.

Have you been to see the Pick Me Up show at Somerset House yet? If not why not? if you’re in London get your skates on and get down there before it finishes on Monday (that’s tomorrow): there’s no better way to perk up a rainy Bank Holiday.

Pick Me Up 2010

If you work in illustration or the graphic arts, generic this place will really get your juices going: part exhibition, part shop and part working studio space, all the people involved are superbly talented – not for nothing have about a dozen featured in my magazine over the years. Many have now become firmly established illustrators and their work a familiar part of the contemporary visual landscape.

I visited Pick Me Up last week thanks to the prompting of Thereza Rowe, who organised a twitter meetup with some other illustrators. It was an excellent chance for me to meet Kate Slater, who created some wonderful work for issue 10 of Amelia’s Magazine, and Jo Cheung and June Chanpoomidole, who contribute regularly to Amelia’s Magazine online. The lovely Simon Wild came along to meet Thereza, with whom he has helped to launch the Happy Journey Collective.

Pick Me Up 2010 Jo Cheung, June Chanpoomidole, Kate Slater, Simon Wild, Thereza Rowe
Jo Cheung, June Chanpoomidole, Kate Slater, Simon Wild and Thereza Rowe outside Pick Me Up 2010.

Pick Me Up- 2010 Thereza Rowe Poketo
Thereza Rowe shows us her designs for Poketo.

In the blazing heat we gathered in the courtyard of Somerset House, where Thereza gleefully showed us the new purse she has just designed for the papercut series by Poketo.

Pick Me Up- 2010 Hellovon
Pick Me Up- 2010 Hellovon
Illustrations by Hellovon.

The exhibition is entered via the lower level, and the first gallery was devoted to the artwork of up and coming illustrators as picked out by a bunch of “industry insiders.” I was very pleased to see on display the idiosyncratic work of Jess Wilson, who has worked for me many times over the years and appears in Amelia’s Anthology of Illustration. Hvass&Hannibal were also given space; you can read more about the design duo here.

Pick Me Up- 2010 Jess Wilson
Pick Me Up- 2010 Jess Wilson
Pick Me Up- 2010 Jess Wilson
Illusrations by Jess Wilson.

Also included was a Peepshow stand and a large space devoted to the publications of the Nobrow collective, who have created a huge amount of work in the blink of an eye, and are due to launch a shop in Shoreditch later in May. Issue 3 of the Nobrow magazine was launched for the Pick Me Up exhibition, and I can confirm that Topsy Turvy features another beautiful selection of illustration, printed in another unique colour range.

Pick Me Up 2010 Peepshow
Pick Me Up 2010 Peepshow Luke Best
Peepshow artist Luke Best has appeared in Amelia’s Magazine.

It is clear that Nobrow are sticking to a very specific aesthetic, which is driven by the process of screen-printing and is thus very different to that of Amelia’s Magazine: back in May I posted a blog about the Nobrow open brief for People I’ve Never Met & Conversations I’ve Never Had, but sadly none of the illustrators I recommended to take part were chosen for selection in the book. I look forward to interviewing Alex Spiro and Sam Arthur to find out more about how they work.

Pick Me Up-2010 Nobrow
Pick Me Up-2010 Nobrow
Pick Me Up-2010 Nobrow
The Nobrow stand.

On the upper level each room was given over to a different collective, with the biggest room reserved for a Rob Ryan pop-up studio, the walls lined haphazardly with imagery from Rob’s huge back catalogue. There was a girl beavering away in the midst of it all but I didn’t see Rob, and wonder how much time he will have had to spend at the Pick Me Up exhibition.

Pick Me Up-2010 Rob Ryan
Pick Me Up-2010 Rob Ryan
Pick Me Up-2010 Rob Ryan
Pick Me Up-2010 Rob Ryan
This last piece by Rob Ryan is a version of the front cover that he originally designed for issue 02 of Amelia’s Magazine.

In the other rooms there was live screen printing from the Print Club London, a pop up Concrete Hermit shop featuring my very own Amelia’s Anthology of Illustration (I had my launch party at their shop in Hoxton), and work from various other collectives, including Nous Vous, It’s Nice That, Le Gun, Evening Tweed and a live project with Landfill Editions.

Pick Me Up-2010 Print Club London
Pick Me Up-2010 Print Club London
Print Club London in effect.

Pick Me Up 2010 Concrete Hermit
Artwork in the Concrete Hermit space.

Pick Me Up 2010 Concrete Hermit
Someone flicking through Amelia’s Anthology of Illustration at Concrete Hermit.

Pick Me Up-2010 Nous Vous
Members of the Nous Vous Collective.

Printing live on an old Risograph printing machine Landfill Editions were inviting a series of illustrators to interpret the collection of trinkets previously held in these galleries in Somerset House. The Risograph is an interesting beast, which can be used to overlay separate colours, thus producing a final outcome much like that of traditional screenprinting.

Pick Me Up-2010 Landfill Editions
The Risograph.

Pick Me Up-2010 Landfill Editions Colin Henderson
Landfill Editions booklet by Colin Henderson.

Pick Me Up-2010 Landfill Editions Jim Soten
Landfill Editions print by Jim Stoten.

Pick Me Up-2010 Landfill Editions Adrian Fleet
Landfill Editions print by Adrian Fleet.

Work on the walls included illustrations by Colin Henderson, who appeared in issue 04 of Amelia’s Magazine, Jim Stoten, who created the front cover of issue 06, Mike Perry, who did the back cover of issue 05 and Adrian Fleet, who produced work for issue 10. Dan Has Potential, who we wrote about here, was working on a piece whilst we were given a tour of the Risograph, and Amelia’s Anthology of Illustration contributor Karolin Schnoor arrived to start on her contribution as we were leaving.

Pick Me Up 2010 Landfill Editions Dan Has Potential
Dan Has Potential gets stuck in to his artwork.

Pick Me Up 2010 Landfill Editions Karolin Schnoor
Karolin Schnoor comes pre-prepared.

The illustration and design work at Pick Me Up is fabulous, and there’s a great line up of workshops and visiting artists… but I wish they’d asked me to contribute as well. Not just for purely selfish reasons of ego, but because I can’t help feeling that a certain type of illustration was missing. Maybe something a bit less graphic, a bit more feminine, a bit less obviously of the moment. There were glimpses of this sort of work, particularly in the form of talks from the lovely Anorak Magazine, but not enough. There was also absolutely no consideration of sustainability in design, which I feel is unforgiveable: some of the artists who contribute so readily to Amelia’s Magazine could have filled these gaps and provided some welcome diversity.

Pick Me Up 2010 Ville Savimaa
Pick Me Up 2010 Ville Savimaa
Pick Me Up 2010 Ville Savimaa
Pick Me Up 2010 Ville Savimaa
I loved this work by Finish artist Ville Savimaa.

In the meantime read on for a few more tasters of the fabulous artwork on offer at Pick Me Up and make sure you get down there whilst you can: not least because of the limited edition prints available exclusively at the shop for the duration of the exhibition only.

Pick Me Up-2010 Mathis Rekowski
Pick Me Up-2010 Mathis Rekowski
Pick Me Up 2010 Mathis Rekowski
Pick Me Up-2010 Mathis Rekowski
Illustrations by Mathis Rekowski.

Pick Me Up-2010 Siggi Eggertsson
A huge quilt by Siggi Eggertsson.

Pick Me Up-2010 Andy Gilmore
Detail from Andy Gilmore.

Pick Me Up 2010 Peepshow
Part of Peepshow.

Pick Me Up 2010 patrick gildersleeves
Pick Me Up 2010 patrick gildersleeves
Pick Me Up 2010 patrick gildersleeves
Pick Me Up 2010 patrick gildersleeves
Wonderful work from Patrick Gildersleeves.

Pick Me Up 2010 Natsko Seki
Pick Me Up 2010 Natsko Seki
Pick Me Up 2010 Natsko Seki
Pick Me Up 2010 Natsko Seki
Wonderful details from work by Natsko Seki.

Pick Me Up2010 Natsko seki

Pick Me Up 2010 Alex Trochut
Fabulous fonts from Alex Trochut.

Pick Me Up 2010 Claire Scully
Wolf poster from Claire Scully.

Pick Me Up 2010 Job Wouters
Typography by Job Wouters.

Pick Me Up2010
Prints for sale in the Pick Me Up shop: get on down there quick.

You can see a fab set of Flickr images courtesy of Jo Cheung here and she blogs about her visit to Pick Me Up with reference to this article here.

Categories ,Adrian Fleet, ,Alex Trochut, ,Amelia’s Anthology of Illustration, ,Andy Gilmore, ,Anorak Magazine, ,Claire Scully, ,Colin Henderson, ,Concrete Hermit, ,Dan Has Potential, ,Evening Tweed, ,exhibition, ,Hvass&Hannibal, ,illustration, ,It’s Nice That, ,Jess Wilson, ,Jim Stoten, ,Jo Cheung, ,Job Wouters, ,June Chanpoomidole, ,Karolin Schnoor, ,Landfill Editions, ,Le Gun, ,Luke Best, ,Mathis Rekowski, ,Mike Perry, ,Natsko Seki, ,Nobrow Press, ,Nous Vous, ,Patrick Gildersleeves, ,Peepshow, ,Pick Me Up, ,Print Club London, ,review, ,Risograph, ,rob ryan, ,screenprinting, ,Siggi Eggertsson, ,Simon Wild, ,Somerset House, ,Thereza Rowe, ,typography, ,Ville Savimaa

Similar Posts:






Amelia’s Magazine | Pick Me Up Contemporary Graphic Art Fair at Somerset House: Review

Hobbs-Press Day 2010-Karen Boyd
Hobbs-Press Day AW2010

Now, advice I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, side effects since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, capsule but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the N.W.3 collection. Accessories are one of Hobbs strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacobs sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, and her elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars is a dead giveaway of her past employment. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, buy information pills I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, more about since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, approved but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the N.W.3 collection. Accessories are one of Hobbs strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacobs sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, and her elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars is a dead giveaway of her past employment. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, buy information pills I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, and her elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars is a dead giveaway of her past employment. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, view I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, stuff since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, help I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, cialis 40mg since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty digital print was manipulated from a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, approved I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, viagra 100mg since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, sildenafil but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty print was manipulated digitally from a photo of a posy of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, no rx I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, symptoms since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, website but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning pleated evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty print was manipulated digitally from a photo of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins used in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Hobbs-Press Day AW2010

Now, buy more about I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, price since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, clinic but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas
Hobbs-Press Day 2010-Dean Thomas
Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning pleated evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty print was manipulated digitally from a photo of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010
Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins used in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Pick Me Up- 2010 Ville Savimaa
Detail from illustration by Ville Savimaa.

Have you been to see the Pick Me Up show at Somerset House yet? If not why not? if you’re in London get your skates on and get down there before it finishes on Monday (that’s tomorrow): there’s no better way to perk up a rainy Bank Holiday.

Pick Me Up 2010

If you work in illustration or the graphic arts, generic this place will really get your juices going: part exhibition, part shop and part working studio space, all the people involved are superbly talented – not for nothing have about a dozen featured in my magazine over the years. Many have now become firmly established illustrators and their work a familiar part of the contemporary visual landscape.

I visited Pick Me Up last week thanks to the prompting of Thereza Rowe, who organised a twitter meetup with some other illustrators. It was an excellent chance for me to meet Kate Slater, who created some wonderful work for issue 10 of Amelia’s Magazine, and Jo Cheung and June Chanpoomidole, who contribute regularly to Amelia’s Magazine online. The lovely Simon Wild came along to meet Thereza, with whom he has helped to launch the Happy Journey Collective.

Pick Me Up 2010 Jo Cheung, June Chanpoomidole, Kate Slater, Simon Wild, Thereza Rowe
Jo Cheung, June Chanpoomidole, Kate Slater, Simon Wild and Thereza Rowe outside Pick Me Up 2010.

Pick Me Up- 2010 Thereza Rowe Poketo
Thereza Rowe shows us her designs for Poketo.

In the blazing heat we gathered in the courtyard of Somerset House, where Thereza gleefully showed us the new purse she has just designed for the papercut series by Poketo.

Pick Me Up- 2010 Hellovon
Pick Me Up- 2010 Hellovon
Illustrations by Hellovon.

The exhibition is entered via the lower level, and the first gallery was devoted to the artwork of up and coming illustrators as picked out by a bunch of “industry insiders.” I was very pleased to see on display the idiosyncratic work of Jess Wilson, who has worked for me many times over the years and appears in Amelia’s Anthology of Illustration. Hvass&Hannibal were also given space; you can read more about the design duo here.

Pick Me Up- 2010 Jess Wilson
Pick Me Up- 2010 Jess Wilson
Pick Me Up- 2010 Jess Wilson
Illusrations by Jess Wilson.

Also included was a Peepshow stand and a large space devoted to the publications of the Nobrow collective, who have created a huge amount of work in the blink of an eye, and are due to launch a shop in Shoreditch later in May. Issue 3 of the Nobrow magazine was launched for the Pick Me Up exhibition, and I can confirm that Topsy Turvy features another beautiful selection of illustration, printed in another unique colour range.

Pick Me Up 2010 Peepshow
Pick Me Up 2010 Peepshow Luke Best
Peepshow artist Luke Best has appeared in Amelia’s Magazine.

It is clear that Nobrow are sticking to a very specific aesthetic, which is driven by the process of screen-printing and is thus very different to that of Amelia’s Magazine: back in May I posted a blog about the Nobrow open brief for People I’ve Never Met & Conversations I’ve Never Had, but sadly none of the illustrators I recommended to take part were chosen for selection in the book. I look forward to interviewing Alex Spiro and Sam Arthur to find out more about how they work.

Pick Me Up-2010 Nobrow
Pick Me Up-2010 Nobrow
Pick Me Up-2010 Nobrow
The Nobrow stand.

On the upper level each room was given over to a different collective, with the biggest room reserved for a Rob Ryan pop-up studio, the walls lined haphazardly with imagery from Rob’s huge back catalogue. There was a girl beavering away in the midst of it all but I didn’t see Rob, and wonder how much time he will have had to spend at the Pick Me Up exhibition.

Pick Me Up-2010 Rob Ryan
Pick Me Up-2010 Rob Ryan
Pick Me Up-2010 Rob Ryan
Pick Me Up-2010 Rob Ryan
This last piece by Rob Ryan is a version of the front cover that he originally designed for issue 02 of Amelia’s Magazine.

In the other rooms there was live screen printing from the Print Club London, a pop up Concrete Hermit shop featuring my very own Amelia’s Anthology of Illustration (I had my launch party at their shop in Hoxton), and work from various other collectives, including Nous Vous, It’s Nice That, Le Gun, Evening Tweed and a live project with Landfill Editions.

Pick Me Up-2010 Print Club London
Pick Me Up-2010 Print Club London
Print Club London in effect.

Pick Me Up 2010 Concrete Hermit
Artwork in the Concrete Hermit space.

Pick Me Up 2010 Concrete Hermit
Someone flicking through Amelia’s Anthology of Illustration at Concrete Hermit.

Pick Me Up-2010 Nous Vous
Members of the Nous Vous Collective.

Printing live on an old Risograph printing machine Landfill Editions were inviting a series of illustrators to interpret the collection of trinkets previously held in these galleries in Somerset House. The Risograph is an interesting beast, which can be used to overlay separate colours, thus producing a final outcome much like that of traditional screenprinting.

Pick Me Up-2010 Landfill Editions
The Risograph.

Pick Me Up-2010 Landfill Editions Colin Henderson
Landfill Editions booklet by Colin Henderson.

Pick Me Up-2010 Landfill Editions Jim Soten
Landfill Editions print by Jim Stoten.

Pick Me Up-2010 Landfill Editions Adrian Fleet
Landfill Editions print by Adrian Fleet.

Work on the walls included illustrations by Colin Henderson, who appeared in issue 04 of Amelia’s Magazine, Jim Stoten, who created the front cover of issue 06, Mike Perry, who did the back cover of issue 05 and Adrian Fleet, who produced work for issue 10. Dan Has Potential, who we wrote about here, was working on a piece whilst we were given a tour of the Risograph, and Amelia’s Anthology of Illustration contributor Karolin Schnoor arrived to start on her contribution as we were leaving.

Pick Me Up 2010 Landfill Editions Dan Has Potential
Dan Has Potential gets stuck in to his artwork.

Pick Me Up 2010 Landfill Editions Karolin Schnoor
Karolin Schnoor comes pre-prepared.

The illustration and design work at Pick Me Up is fabulous, and there’s a great line up of workshops and visiting artists… but I wish they’d asked me to contribute as well. Not just for purely selfish reasons of ego, but because I can’t help feeling that a certain type of illustration was missing. Maybe something a bit less graphic, a bit more feminine, a bit less obviously of the moment. There were glimpses of this sort of work, particularly in the form of talks from the lovely Anorak Magazine, but not enough. There was also absolutely no consideration of sustainability in design, which I feel is unforgiveable: some of the artists who contribute so readily to Amelia’s Magazine could have filled these gaps and provided some welcome diversity.

Pick Me Up 2010 Ville Savimaa
Pick Me Up 2010 Ville Savimaa
Pick Me Up 2010 Ville Savimaa
Pick Me Up 2010 Ville Savimaa
I loved this work by Finish artist Ville Savimaa.

In the meantime read on for a few more tasters of the fabulous artwork on offer at Pick Me Up and make sure you get down there whilst you can: not least because of the limited edition prints available exclusively at the shop for the duration of the exhibition only.

Pick Me Up-2010 Mathis Rekowski
Pick Me Up-2010 Mathis Rekowski
Pick Me Up 2010 Mathis Rekowski
Pick Me Up-2010 Mathis Rekowski
Illustrations by Mathis Rekowski.

Pick Me Up-2010 Siggi Eggertsson
A huge quilt by Siggi Eggertsson.

Pick Me Up-2010 Andy Gilmore
Detail from Andy Gilmore.

Pick Me Up 2010 Peepshow
Part of Peepshow.

Pick Me Up 2010 patrick gildersleeves
Pick Me Up 2010 patrick gildersleeves
Pick Me Up 2010 patrick gildersleeves
Pick Me Up 2010 patrick gildersleeves
Wonderful work from Patrick Gildersleeves.

Pick Me Up 2010 Natsko Seki
Pick Me Up 2010 Natsko Seki
Pick Me Up 2010 Natsko Seki
Pick Me Up 2010 Natsko Seki
Wonderful details from work by Natsko Seki.

Pick Me Up2010 Natsko seki

Pick Me Up 2010 Alex Trochut
Fabulous fonts from Alex Trochut.

Pick Me Up 2010 Claire Scully
Wolf poster from Claire Scully.

Pick Me Up 2010 Job Wouters
Typography by Job Wouters.

Pick Me Up2010
Prints for sale in the Pick Me Up shop: get on down there quick.

You can see a fab set of Flickr images courtesy of Jo Cheung here and she blogs about her visit to Pick Me Up with reference to this article here.

Categories ,Adrian Fleet, ,Alex Trochut, ,Amelia’s Anthology of Illustration, ,Andy Gilmore, ,Anorak Magazine, ,Claire Scully, ,Colin Henderson, ,Concrete Hermit, ,Dan Has Potential, ,Evening Tweed, ,exhibition, ,Hvass&Hannibal, ,illustration, ,It’s Nice That, ,Jess Wilson, ,Jim Stoten, ,Jo Cheung, ,Job Wouters, ,June Chanpoomidole, ,Karolin Schnoor, ,Landfill Editions, ,Le Gun, ,Luke Best, ,Mathis Rekowski, ,Mike Perry, ,Natsko Seki, ,Nobrow Press, ,Nous Vous, ,Patrick Gildersleeves, ,Peepshow, ,Pick Me Up, ,Print Club London, ,review, ,Risograph, ,rob ryan, ,screenprinting, ,Siggi Eggertsson, ,Simon Wild, ,Somerset House, ,Thereza Rowe, ,typography, ,Ville Savimaa

Similar Posts:






Amelia’s Magazine | Exhibition Review: Ghosts of Gone Birds

Margaret Atwood by Faye West
Margaret Atwood by Faye West.

Ghosts of Gone Birds. Have you been yet? This fabulous exhibition can be seen at the Rochelle School, Shoreditch up until the 23rd November. From there it goes on tour, so with any luck you will be able to catch it soon at a venue near you.

Gone Birds -albatross
Ghosts of Gone Birds is the brainwave of film maker Ceri Levy, who chanced upon the idea whilst making a documentary called The Bird Effect, which examines the effect of avian life on human life.

margaret-atwood-by marta-spendowska
Margaret Atwood by Marta Spendowska.

At the start of November I attended a special introduction to the exhibition given by the renowned writer Margaret Atwood, who just so happens be a massive fan of birds. She had just returned from a conservation trip to Madagascar, and on her way home she was enchanted to discover that the man at customs was a fan of vultures, of all things… it seems you just have to start the conversation and you will discover a fan of birds.

Gone Birds t-shirt design by Daria Hlazatova
Gone Birds t-shirt design by Daria Hlazatova.

Her contribution to Ghosts of Gone Birds is a knitted Great Auk, which was made at a Stitch ‘n’ Bitch group in Canada using local wool. It’s eye is formed from a local Inuit bead and the Auk is a resident of the Canadian Arctic… so the use of materials and subject work in perfect unity.

Margaret Atwood emphasised the importance of the exhibition as a means to spread the message about the plight of birds beyond the usual enthusiasts. In the unfolding biodiversity disaster that we humans are currently inflicting on the planet birds have become one of the biggest sufferers. According to figures released by BirdLife International birds are now going extinct at a thousand times the natural background rate: that’s a pretty major disaster.

There are loads of great artworks in the exhibition, too many to show, so here are just a few of my favourites:

Angie Lewin - Double-Banded Argus
Double Banded Argus by Angie Lewin.

Ben Newman - Bishop's 'O'O
Bishop’s O by Ben Newman.

Reunion Owl by Billy Childish
Reunion Owl by Billy Childish.

Gone Birds -Red Moustached Fruit Dove by Emily Sutton
Red Moustached Fruit Dove by Emily Sutton.

Jack Teagle - Black Mamo
Black Mamo by Jack Teagle.

Gone Birds -The Unsung Soldier by David Taborn
Detail from The Unsung Soldier by David Taborn.

Gone Birds -The Sound of Extinction by Philip Hardaker
The Sound of Extinction by Philip Hardaker.

Gone Birds -Empty Nest by Jackie Hodgson
Detail from Empty Nest by Jackie Hodgson.

Gone Birds -St Helena Hoopooe by Felt Mistress
St Helena Hoopooe by Felt Mistress.

Le Gun - The Tragic Demise of the White Gallinule
The Tragic Demise of the White Gallinule by Le Gun.

Full listing information can be found here.

Categories ,Angie Lewin, ,Ben Newman, ,Billy Childish, ,BirdLife International, ,Ceri Levy, ,Daria Hlazatova, ,Emily Sutton, ,Faye West, ,Felt Mistress, ,Ghosts of Gone Birds, ,Great Auk, ,Inuit, ,Jack Teagle, ,Jackie Hodgson, ,Le Gun, ,Margaret Artwood, ,Marta Spendowska, ,Philip Hardaker, ,review, ,Rochelle School, ,Stitch N Bitch

Similar Posts: