The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.
Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins
Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.
Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford
It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory
Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, a thrown out of her castle, princess. What did she do to be ejected? For me, although more Elizabethan perhaps in design than Victorian, this was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story.
Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford
In contrast, the next dress was BLACK. It reminded me of Queen Victoria herself, mixed with Queen Elizabeth I. Then with the addition of Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. Together with the most over-ruffled, incredible dress, fit for a QUEEN, it was an explosion. Black as the darkest night, but with a slight shine, like the moon reflecting, the material was reminiscent of a glassy ocean at night. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.
Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins
Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’
The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.
Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins
Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.
Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford
It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory
Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, a thrown out of her castle, princess. What did she do to be ejected? For me, although more Elizabethan perhaps in design than Victorian, this was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story.
Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford
In contrast, the next dress was BLACK. It reminded me of Queen Victoria herself, mixed with Queen Elizabeth I. Then with the addition of Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. Together with the most over-ruffled, incredible dress, fit for a QUEEN, it was an explosion. Black as the darkest night, but with a slight shine, like the moon reflecting, the material was reminiscent of a glassy ocean at night. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.
Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins
Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’
The last time we met Peaches, shop she was attending a friends party in Brick Lane, about it and on down-time from her live shows. Relaxed, visit this site mellow and low key, I had no idea that this super-chilled woman in front of me would put on the most spectacular and extravagant stage show that I have ever seen. But that’s just what she did one month later under the warm night sky of Benicassim, mesmerising the audience that she presided over in her Grand Dame role of sound sculptress; one part circus ringleader, one part mad professor. Combining state of the art technologies with her minimalist electro music, she created sounds and visuals on lazer harps, glow in the dark rods that moved micro-tonally, had her backup singers beamed across her clothes and generally raised the bar of musical creativity. So just a regular night for Peaches then. Recently, she took part in a Vice and Intel collaboration otherwise known as The Creators Project, an initiative designed to connect young people through a common passion for creativity and technology, to riff about her constantly evolving concepts and ambitions. Other artists involved in the project include Phoenix, Mark Ronson, Interpol, Spike Jonze, UNKLE and Nick Zinner from the Yeah Yeah Yeahs. Here’s a sneak peak of Phoenix, who we always have time for: http://www.thecreatorsproject.com/en-uk/creators/phoenix
More interviews can be found on TheCreatorsProject.com, an interactive portal and anthology which will house a selection of eighty-four original videos and featuring work and interviews from the most creative artists across the globe, including discussions with innovators working in indie film, futuristic architecture, avant-garde electronica and fashion. These include Brazil’s Muti Randolph, China’s Peng Lei, the U.K.’s United Visual Artists, and the U.S.’ Radical Friend.
The last time we met Peaches, more about she was attending a friends party in Brick Lane, cheap and on down-time from her live shows. Relaxed, more about mellow and low key, I had no idea that this super-chilled woman in front of me would put on the most spectacular and extravagant stage show that I have ever seen. But that’s just what she did one month later under the warm night sky of Benicassim, mesmerising the audience that she presided over in her Grand Dame role of sound sculptress; one part circus ringleader, one part mad professor. Combining state of the art technologies with her minimalist electro music, she created sounds and visuals on lazer harps, glow in the dark rods that moved micro-tonally, had her backup singers beamed across her clothes and generally raised the bar of musical creativity. So just a regular night for Peaches then. Recently, she took part in a Vice and Intel collaboration otherwise known as The Creators Project, an initiative designed to connect young people through a common passion for creativity and technology, to riff about her constantly evolving concepts and ambitions. Other artists involved in the project include Phoenix, Mark Ronson, Interpol, Spike Jonze, UNKLE and Nick Zinner from the Yeah Yeah Yeahs.
More interviews can be found on TheCreatorsProject.com, an interactive portal and anthology which will house a selection of eighty-four original videos and featuring work and interviews from the most creative artists across the globe, including discussions with innovators working in indie film, futuristic architecture, avant-garde electronica and fashion. These include Brazil’s Muti Randolph, China’s Peng Lei, the U.K.’s United Visual Artists, and the U.S.’ Radical Friend.
With big names like Lily Allen, adviceAgyness Deyn, Kelly Osbourne and Sophie Ellis Bextor all under her belt, designer Olivia Rubin has certainly made a name for herself on the London fashion scene. Her collection Olivia Rubin London, and it’s diffusion line Oli Rubi, prove that she is a rising fashion upstart, and is ready to take the rest of the world by storm! Check out our Q & A with her below…
A/W 2011
Your A/W ’10/11 Collection, as stated, was inspired by “all things eerie, mystical and dark” and used images from Hardy’s nineteenth century romantic classics. But was there a significant moment, image, or occurrence that persuaded your inspiration to become clear to you, or was it a gradual realisation?
I was initially drawn to the Mulberry AW09 campaign – that was the starting point for research. I combined this with thoughts of Thomas Hardy’s novel ‘Return of the Native’ and gathered images, colours and photos for research that had a darker, more ethereal quality. ?
There is, undeniably, a feminine quality to your work, particularly in the silhouettes, which you said empower the female form. But what do you think your line’s main ‘aim’ is, in regards to women wearing your designs? Does your line have a certain aesthetic?
The collections are meant to flatter a women’s figure whilst retaining an individual edge. The prints are key to creating an alternative look – I try to steer clear of creating looks that are overly girly! ?
A recurring theme in your designs is giving them a particular name. Your S/S 10 collection featured dressed named after world famous artists such as Gaudí, Matisse, and Opie. Further, your A/W 10/11 collection features women’s names, such as Sylvia, Darcy, and Belle. Are the names derived from your inspiration for each collection, or do they come from a different process?
All the names relate to the theme of each of the collections. SS10 focused on modern artist movements so it made sense to name each of the dresses after a famous artist. The same goes for AW10 – this time I focused on old fashioned women’s names. It turns out that two of the best selling dresses of the season are both my grandmas’ names’ – Ada and Dorrie! ?
Your Belle Tunic and Darcy ‘Bug’ Dress feature the A/W Bug print that you designed, adding an air of vintage to the looks. Where did the image of the bugs come from, and how did you go about in creating the initial print?
I bought the most beautiful insect brooch from Portobello Market and thought that they would look great in a print. I ended up doing a small scale overall bug print so that the bugs are only noticeable from close up. I am also in the process of creating an exclusive bug dress that features all over bug embroidery and beading – it is going to be a really special piece! ?
Your diffusion line, Oli Rubi, features your bug print, as well as various other prints. With a diffusion line, consumers still have that distinctive Olivia Rubin aesthetic, but at the same time, don’t break the bank. Do you feel as a designer and businesswoman that it is important to address this point of view, considering the current economic conditions?
It is massively important to me – I love fashion but want to be able to buy an amazing, unique dress without spending over £500. All my silk mainline collection is priced under £350, while the ‘Oli Rubi’ line starts form £60. ‘Oli Rubi’ was introduced more as a casual printed jersey range – I wanted to make my prints more accessible to a day to day wardrobe.
Finally, I threw some quick fire questions at Olivia:
Do you prefer sketching designs or constructing them?
Sketching
What do you like the most about designing clothes?
Coming up with new ideas – I’m always thinking of ideas for up and coming collections – that’s what I thrive on!
Describe your person style in three words
Individual, colourful, chic
What does fashion mean to you in three words?
Life, style, passion
What advice would you give those that would like to get into fashion design?
Work experience is key-the more internships you can put onto your CV while you are studying at university the better!
In short, Miss Rubin is yet another designer to watch out for. With her one-of-a-kind prints and diffusion line Oli Rubi, her unique style will transcend any budget!
You never see Ringo Starr and Gary Lineker in the same room. Come on, about it think about it! Anyway, information pills I wasn’t quite sure what to expect from a band called Ringo Deathstarr. Some kind of black metal/merseybeat hybrid? I can categorically state otherwise, viagra order although I would be intrigued to hear what that sounded like. The album title gives more of an insight into their trippy, lysergic sound, but the key influences here are the late 80s/early 90s Creation bands like My Bloody Valentine and the Jesus and Mary Chain, with their squalling feedback and dreamy soundscapes.
Now, terms such as Shoegaze and Cathedrals of Sound do not exactly fill me with glee, but luckily Ringo Deathstarr give us a fresh and playful take on this kind of stuff. The brilliant opener Imagine Hearts starts with distorted 8-bit drum sounds before coming on like The Breeders’ Cannonball, with it’s dizzy, swirling guitars and bass player Alex Gehring’s dreamy, Kim Deal-like voice.
Throughout the album Gehring’s pretty, girly vocals duel with guitarist Elliot Frazier’s deeper, Ian Curtis-like croon, which provides a great counterpoint. On penultimate track Never Drive the band sound like a souped-up Joy Division.
It’s clear that these three Texans (the line-up is completed by drummer Daniel Coborn) love their vintage British indie. They’ve toured with fey 80’s jangle-merchants The Wedding Present. The breakdown in Two Girls sounds exactly like the intro to The Smiths’ Stop Me if You Think You’ve Heard This One Before. And in the song Do it Every Time, Frazier sings a lyric that may or may not say “We’re falling apart again, you took my cardigan”.
But rather than coming across as foppish miserablists, Ringo Deathstarr’s music is often powerful and joyous, and they’re at their best when playing the colour-saturated, nostalgic pop of stand out tracks So High and Kaleidoscope, which are the aural equivalent of a faded Polaroid taken on a sunny day in a park. In the 80s.
The fact that much of the lyrics are unintelligible, buried as they are under feedback and reverb, adds to the whole dreamlike quality of the record. When you do catch a phrase or word here and there, it feels like a stolen snippet of a faded memory. So, a host of 80’s indie references, dreamy girl/boy vocals and sun-faded guitar hooks – what’s not to like? Gary would approve. I mean Ringo…
Colour Trip is released on 14th February 2011 on Club AC30.
You never see Ringo Starr and Gary Lineker in the same room. Come on, patient think about it! Anyway, I wasn’t quite sure what to expect from a band called Ringo Deathstarr. Some kind of black metal/merseybeat hybrid? I can categorically state otherwise, although I would be intrigued to hear what that sounded like. The album title gives more of an insight into their trippy, lysergic sound, but the key influences here are the late 80s/early 90s Creation bands like My Bloody Valentine and the Jesus and Mary Chain, with their squalling feedback and dreamy soundscapes.
Now, terms such as Shoegaze and Cathedrals of Sound do not exactly fill me with glee, but luckily Ringo Deathstarr give us a fresh and playful take on this kind of stuff. The brilliant opener Imagine Hearts starts with distorted 8-bit drum sounds before coming on like The Breeders’ Cannonball, with it’s dizzy, swirling guitars and bass player Alex Gehring’s dreamy, Kim Deal-like voice.
Throughout the album Gehring’s pretty, girly vocals duel with guitarist Elliot Frazier’s deeper, Ian Curtis-like croon, which provides a great counterpoint. On penultimate track Never Drive the band sound like a souped-up Joy Division.
It’s clear that these three Texans (the line-up is completed by drummer Daniel Coborn) love their vintage British indie. They’ve toured with fey 80’s jangle-merchants The Wedding Present. The breakdown in Two Girls sounds exactly like the intro to The Smiths’ Stop Me if You Think You’ve Heard This One Before. And in the song Do it Every Time, Frazier sings a lyric that may or may not say “We’re falling apart again, you took my cardigan”.
But rather than coming across as foppish miserablists, Ringo Deathstarr’s music is often powerful and joyous, and they’re at their best when playing the colour-saturated, nostalgic pop of stand out tracks So High and Kaleidoscope, which are the aural equivalent of a faded Polaroid taken on a sunny day in a park. In the 80s.
The fact that much of the lyrics are unintelligible, buried as they are under feedback and reverb, adds to the whole dreamlike quality of the record. When you do catch a phrase or word here and there, it feels like a stolen snippet of a faded memory. So, a host of 80’s indie references, dreamy girl/boy vocals and sun-faded guitar hooks – what’s not to like? Gary would approve. I mean Ringo…
Colour Trip is released on 14th February 2011 on Club AC30.
You never see Ringo Starr and Gary Lineker in the same room. Come on, help think about it! Anyway, information pills I wasn’t quite sure what to expect from a band called Ringo Deathstarr. Some kind of black metal/merseybeat hybrid? I can categorically state otherwise, buy more about although I would be intrigued to hear what that sounded like. The album title gives more of an insight into their trippy, lysergic sound, but the key influences here are the late 80s/early 90s Creation bands like My Bloody Valentine and the Jesus and Mary Chain, with their squalling feedback and dreamy soundscapes.
Now, terms such as Shoegaze and Cathedrals of Sound do not exactly fill me with glee, but luckily Ringo Deathstarr give us a fresh and playful take on this kind of stuff. The brilliant opener Imagine Hearts starts with distorted 8-bit drum sounds before coming on like The Breeders’ Cannonball, with it’s dizzy, swirling guitars and bass player Alex Gehring’s dreamy, Kim Deal-like voice.
Throughout the album Gehring’s pretty, girly vocals duel with guitarist Elliot Frazier’s deeper, Ian Curtis-like croon, which provides a great counterpoint. On penultimate track Never Drive the band sound like a souped-up Joy Division.
It’s clear that these three Texans (the line-up is completed by drummer Daniel Coborn) love their vintage British indie. They’ve toured with fey 80’s jangle-merchants The Wedding Present. The breakdown in Two Girls sounds exactly like the intro to The Smiths’ Stop Me if You Think You’ve Heard This One Before. And in the song Do it Every Time, Frazier sings a lyric that may or may not say “We’re falling apart again, you took my cardigan”.
But rather than coming across as foppish miserablists, Ringo Deathstarr’s music is often powerful and joyous, and they’re at their best when playing the colour-saturated, nostalgic pop of stand out tracks So High and Kaleidoscope, which are the aural equivalent of a faded Polaroid taken on a sunny day in a park. In the 80s.
The fact that much of the lyrics are unintelligible, buried as they are under feedback and reverb, adds to the whole dreamlike quality of the record. When you do catch a phrase or word here and there, it feels like a stolen snippet of a faded memory. So, a host of 80’s indie references, dreamy girl/boy vocals and sun-faded guitar hooks – what’s not to like? Gary would approve. I mean Ringo…
Colour Trip is released on 14th February 2011 on Club AC30.
A single voice sings out with the tweet of birds in the background. A little bit choir like, dosage a lot Bellowhead like. A choir song for nature. For me, advice I thought of The Lord of The Rings, and and the shire. Or Cadfael and canal residers, Rosie and Jim. With no worries about things like mortgages or commutes. Indeed, I know Cadfael dealt with corruption, but he also had an inner calm, that must have come with the peace he had with himself/job. The beginning of the album certainly makes God’s Little Eskimo reside in a nice wood-burning stove dwelling house in the early 1800s, pre industrial revolution. He would have a furlong or two of land and young Tess of The d’Urbervilles type figure as his wife.
However, after searching for God’s Little Eskimo, aka Johnny’s postcard he had sent with his CD, the music changed almost on cue. The picture on the postcard was of a vampire looking out to the mid distance, with his dark haired victim, staring as if dead, into the infinite darkness. His clawed hands wrapped around her head, it was scary – in that 70s horror movie way. And the music? Well, it was like Frankenstein’s. In the forest, miserable and alone, when he turns from ‘newborn’, to killer. It’s dramatic, humming, premeditated and controlled – yet obviously full of anguish.
Then we have another change and God’s Little Eskimo has gone travelling. To America. He still sounds a bit dark (see: If I were to bury you), yet we have some electric guitars. We’re in 70s orange, glowed USA, with a touch of 90s Doves. It’s good and the repeating guitar notes reflect the voices ‘ahhing, my love’ to splendid effect.
Moving on, Breaking Waves At Night, has an almost Spanish air to it, but still retains Johnny’s dramatic, folky voice. Perfect for a Twilight film. In contrast, In The Gloaming Woods is upbeat, happy and almost jump inducing. Maybe a happier Twilight bit, and with them in England. And of course gloaming means ‘twilight: dusk’. Limb By Limb is a mersmerising magician, a bit of a 30s black and white horror. The piano notes drawing her in… Finally Rooks is a pleasant end, ‘The rooks have returned and the Spring is coming on”. It has some lovely instrumental in the middle. The happy ending to the play and journey… although of course, rooks, like crows, do signify death according to folklore. Tess of The d’Urbervilles, Thomas Hardy: ‘”Hoosh! Just be off, sir, or I’ll twist your neck! said the dairyman with some irritation, turning to the bird and driving him away. And to his wife as they went indoors: “Now to think o’ that – just to-day! I’ve not heard his crow of an afternoon all the year afore.” Ominous.
I asked Johnny a couple of questions: Why the name, I know you’re called Johnny Eskimo, but could you elaborate?
The “God’s Little Eskimo” name is actually a misheard quote from the 80s movie Heathers (with Winona Ryder / Christian Slater etc). I thought that a character in the film was referred to at their funeral as “God’s little eskimo”. I wouldn’t say the film itself was a huge influence, but for some reason the phrase stuck with me so I ended up choosing it as my name . When I watched it again more recently, I realised they actually get described as “Sherwood’s little eskimo” – not quite the same, but I much prefer my mis-remembered version.
Err, do you like horror films perchance?
I do like horror films yes – how did you guess?? I’m especially fond of older British psychological horrors, like Don’t Look Now, Seance On A Wet Afternoon and The Innocents, and I always liked scaring myself with ghost stories as a child. They definitely play some part in my inspiration, along with an interest in nature (particularly birds) and a fondness for woodlands and the sea. I suppose overall what I’m trying to convey in the songs is a sense of how much of the world around us remains uncanny and mysterious, and both how frightening and beautiful that can be (if that doesn’t sound too pretentious).
Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford
