Amelia’s Magazine | An interview with fashion designer Ramil Makinano


Ramil Makinano‘s Graduate Collection illustrated by Milly Jackson

I first saw the weird and wonderful work of Ramil Makinano at the Toni&Guy Hair Show during London Fashion Week last month. The show, which I very much enjoyed, was all about hair as you can imagine; the clothes were selected to compliment the hairstyles and were pretty basic. That is, except for the final pieces. Vibrant colours and odd shapes flooded the runway, and as a result of my review, Ramil got in touch to introduce himself. I couldn’t wait to find out more about this unique designer.

I met Ramil on a chilly Monday evening at Bar Music Hall in Shoreditch. It had been hard to pin him down, and I was about to find out why. Born and raised in the Philippines, Ramil moved to London fifteen years ago on a nursing scholarship with the NHS, despite being thoroughly passionate about fashion from an early age. ‘It was a good way to move away,’ Ramil told me as we took a seat with our beers. ‘I was interviewed in Manilla, and was one of the first few people to be brought over by the NHS.’ Ramil’s passion for nursing and inevitable need to fund his collections still see him working at St Thomas’ Hospital at weekends.


Ramil Makinano‘s Graduate Collection illustrated by Maria del Carmen Smith

After 8 years working as a nurse after qualifying in London, Ramil decided to return to his desire to become a fashion designer and had naturally heard of the world’s most famous fashion school – Central Saint Martins. By this time Ramil had obtained British citizenship and secured a place on the foundation course, professing to the degree specialising in print.

It was whilst studying at Saint Martins on a sandwich course that Ramil undertook placements with some of fashion’s greatest talent, experiences that he remembers very fondly. Internships at Matthew Williamson, Elisa Palomino and Diane Von Furstenberg allowed Ramil to fully explore his penchant for print. As I rub my hands together hoping for some juice on these fashion figures, I’m only slightly disappointed when Ramil has nothing but great things to say about the designers. He tells me a story about Von Furstenberg calling all the interns to the rooftop apartment of her 14th Street studios for lunch. ‘We were just sitting there, having lunch, on the roof, with Diane Von Furstenberg. It was INCREDIBLE!’ he exclaims. He attributes his successes whilst studying to course lecturer Natalie Gibson. ‘I owe her so much,’ he tells me, ‘she’s an incredible woman.’


Ramil Makinano‘s Graduate Collection illustrated by Estelle Morris

We move on to talk about Ramil’s breathtaking final collection that I saw at the Toni&Guyshow and that he presented during the CSM presentations in the summer. He digs out his portfolio and comes across a little nervous when talking me through it. ‘I feel like it’s a job interview!’ says Ramil. I feel like Diane Von Furstenberg for a mere moment, and I’m not complaining. Ramil’s inspiration for his collection came from two disparate sources – Medieval armour and Margaret Thatcher. Well, not that disparate when you consider satirical cartoons of the Iron Lady in Medieval garb, I suppose.


Pages from Ramil Makinano’s sketchbooks

His obsession with colour, texture and the aesthetic properties of materials is all over this collection. It’s fascinating to see where a designer started with their research and where they finished; where the collection has come from. Ramil leafs through page after page of design inspiration; vibrant patterns, sketches of Thatcher, photocopies of Medieval source material, grabs from movies like 2001: A Space Odyssey and Star Wars. His journey began at the Tower of London, and it is the armoury he saw there, with its bold silhouettes and sense of purpose that inspired Ramil so much. Throw in a powerful woman like Thatcher and you’ve got a seriously ambitious collection on your hands. ‘I didn’t want it to be serious, though,’ Ramil informs me. ‘I wanted to keep it playful; to be fun.’ Even the hardest-nosed critics would have trouble not finding any fun in this set of outfits.

Shapes in the collection are visibly inspired by the curves and sculpture of armoury, constructed from neoprene using techniques Ramil created himself. These are presented in a variety of bold colours, and the ensembles feature playful, almost childlike, prints of rockets and spaceships. It wasn’t a easy task by any means. ‘I had to make at least 8 toilles per garment,’ Ramil explains. ‘I am always seeking perfection.’ We discuss the surge in digital printing. ‘I do like digital prints, but I prefer traditional methods. I spent hours in the studio matching colours, testing colours – I like the interaction between fabrics and dyes that you don’t get with digital methods. I spent my whole student life in the print room, but I have no regrets. It’s not glamorous either, it’s dirty work!’


Ramil Makinano‘s Graduate Collection illustrated by Milly Jackson

So who does he admire? ‘Matthew [Williamson] and Diane [Von Furstenberg] especially – people who are successful in fashion but have their feet firmly on the ground.’ He also likes labels that continue to employ traditional methods – only Eley Kishimoto and Zandra Rhodes, he believes. What else does he get up to? It’s a pretty packed week, researching Monday to Friday and nursing at the weekends. ‘I love London galleries!’ he tells me, ‘because there’s so much to see. The Design Museum, the V&A, the National Gallery – they are all so wonderful.’ He try to persuade me to get a National Trust membership, one of his favoured possessions.


Pages from Ramil Makinano’s sketchbooks

He tells me he’s a ‘child of the MTV era’ and finds much inspiration in the graphics of music videos. It was an MTV show, House of Style, and Style with Elsa Klensch, that are amongst his earliest fashion memories. He tells me ‘I used to fight with my brother all the time because Elsa Klensch‘s show was on at the same time as American Basketball!’

So what’s next for Ramil? He’s currently researching his next collection – A/W 2012 – which promises to be ‘something completely different.’ It will most likely be print-based, but that’s all Ramil can tell me at this stage. One thing he is certain on is that he’s staying put here in London, and currently applying to various fashion bodies in the hope of a debut solo show during fashion week next September. I look forward to seeing his name on the schedule.

Photographs courtesy of Ramil Makinano

Categories ,2001 A Space Odyssey, ,A/W 2012, ,American Basketball, ,Armour, ,Armoury, ,Bar Music Hall, ,catwalk, ,Central Saint Martins, ,CSM, ,Design Museum, ,Diane Von Furstenberg, ,Eley Kishimoto, ,Elisa Palomino, ,Elsa Klensch, ,Estelle Morris, ,fashion, ,House of Style, ,interview, ,Iron Lady, ,London Fashion Week, ,margaret thatcher, ,Maria del Carmen Smith, ,Matt Bramford, ,Matthew Williamson, ,medieval, ,Milly Jackson, ,MTV, ,Natalie Gibson, ,National gallery, ,National Trust, ,NHS, ,print, ,Ramil Makinano, ,shoreditch, ,Star Wars, ,textiles, ,Toni&Guy, ,Tower of London, ,va, ,Womenswear, ,Zandra Rhodes

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Amelia’s Magazine | Ashish: London Fashion Week S/S 2013 Catwalk Review

Ashish S:S 2013 by Charlie Rallings
Ashish S/S 2013 by Charlie Rallings.

This season Ashish decided to buck the trend for extravagant prints and steer clear of his usual riot of colour and pattern to produce a sobre S/S 2013 collection inspired by a mix of estate chic and 90s grunge. Girls in shiny white trainers wore their hair piled high on their head with that most stylish of hair accessories, the scrunch. Round glasses completed the look.

Ashish S/S 2013 by Geiko Louve
Ashish S/S 2013 by Geiko Louve.

Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
xAshish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish S:S 2013 by Charlie Rallings
Ashish S:S 2013 by Charlie Rallings
Ashish S/S 2013 by Charlie Rallings.

Colours were unashamedly downbeat… steel greys, copper and creams mixed in with denim. Dungarees were worn hanging lopsided as were shirts with a subtle scatter number print. An over sized asymmetric trench and white work shirts hung low, mixed up with loose one colour sequin maxi dresses and polka dot chiffon. Even glitz took on an everyday wearability as a zip top track suit. The show opened with the statement I’m Serious emblazoned on a baggy sweat top and ended with Tres Fatigue on a t-shirt. Quite what Ashish was trying to say this season I have no idea, but despite the break from the norm it was as stylish as ever.

Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish SS 2013 Sept 2012-PHOTOGRAHY by Amelia Gregory
Ashish S/S 2013. All photography by Amelia Gregory.

Ashish S/S 2013 by Isher Dhiman
Ashish S/S 2012 by Isher Dhiman. A year ago flowers reigned supreme on the Ashish catwalk.

Categories ,Ashish, ,Charlie Rallings, ,Geiko Louve, ,grunge, ,I’m Serious, ,Isher Dhiman, ,lfw, ,London Fashion Walk, ,S/S 2013, ,Sequins, ,Tres Fatigue

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Amelia’s Magazine | Ashley Isham: London Fashion Week A/W 2013 Catwalk Review

Ashley Isham A/W 2013 by Gemma Cotterell
Ashley Isham A/W 2013 by Gemma Cotterell.

This season Ashley Isham decided to up his game, producing a collection that was a dramatic break from what we’ve come to expect from this lover of draped party frocks. So it was out with the floral chiffon and jewel coloured jersey and in with hard edged military inspired jackets and sharp shouldered shift dresses. Models strode out bearing intriguing headwear: glossy black visors tilted over their eyes and tied at the back with delicate ribbon under a towering top knot. The effect was one of high octane glamour infused with an attitude of powerful defiance.

Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham A/W 2013 by Rosa Middleton
Ashley Isham A/W 2013 by Rosa Middleton.

Standout garments included a sumptuous brocade coat decorated in exotic red and orange flowers and a bright red double breasted jacket worn over a pencil skirt with an interesting circular detail in yellow piping. An all over tropical print on loungewear appeared a bit out of place for winter, but was nonetheless welcome relief in the midst of this predominantly sombre collection.

Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham A/W 2013 by Gaarte
Ashley Isham A/W 2013 by Gaarte.

Not all of Ashley Isham‘s new found love of tailoring was successful: too much layering felt unnecessary and this was proof that peplums, capes, frills and panelling don’t always work well together. The few draped garments in this collection – khaki belted minidresses – were effortlessly simple as always, and the hard edged styling suited them well.

Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham A/W 2013 by Gaarte
Ashley Isham A/W 2013 by Gaarte.

For the finale Isham reverted to type, sending out a series of sweeping floor length dresses in rich browns topped with gunmetal embroidery, the kind that swish threateningly around ankles and cause tottering models to trip and swoop. The closing dress featured a huge skirt with an intriguing abstract grey rippled effect: I’ll be intrigued to see what Ashley Isham will do with this new exploratory vibe next season.

Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashey Isham A/W 2013 by Isher Dhiman
Ashey Isham A/W 2013 by Isher Dhiman.

Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham AW 2013-photo by Amelia Gregory
Ashley Isham A/W 2013. All photography by Amelia Gregory.

Categories ,Ashley Isham, ,draping, ,Gaarte, ,Gemma Cotterell, ,Isher Dhiman, ,military, ,Rosa Middleton

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Amelia’s Magazine | Ashley Isham: London Fashion Week S/S 2015 Catwalk Review

Ashley Isham by Laurie Nouchka
Ashley Isham by Laurie Nouchka.

Ashley Isham always has a flair for the dramatic and this season his models strutted down the runway before pausing to pout and pose at the ornate doors for the photographers. They wore a succession of swirling gowns in bright cerise pink, saturated royal blue and smokey greys. Ornate beaded details, fringing and curlicued lace were used in asymmetric formation with the addition of bondage inspired leather belts, which gave some edge to the proceedings. I particularly liked a pairing of softest grey silk with tomato leather shoulder caplets and wide cutout belt.

Ashley Isham SS 2015 photo by Amelia Gregory
Hats were chosen to complement the heightened sense of drama, either woven baseball caps with outsized brims, or colossal affairs; spiked urchin umbrellas from under which models could glance askew. Lips and shoes were suitably glossy, giving a further pop of colour. More wearable for the everyday were short shorts, softly draped blouses and cute floral print sleeveless dresses. Prints were animal inspired, skirts flared or pencil tight. Glamourous encrusted swimsuits were designed for the swimming pool as catwalk, glittery clutch bags the must have accessory.

To watch the video scroll to the bottom of the page.

Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
Ashley Isham SS 2015 photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,Ashley Isham, ,catwalk, ,Fashion Scout, ,Freemasons’ Hall, ,Glamour, ,Laurie Nouchka, ,London Fashion Week, ,review, ,S/S 2015, ,SS15, ,video

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Amelia’s Magazine | Asli Polat AW15: London Fashion Week Catwalk Review

Asli Polat AW15-photo by Amelia Gregory 1
American designer Asli Polat took reference from a host of sources for AW15, culminating in a small but concise collection shown in the underground vaults of the RSA.

Asli Polat AW15-photo by Amelia Gregory 3
Asli Polat AW15-photo by Amelia Gregory 2
Asli Polat AW15-photo by Amelia Gregory 4
Asli Polat AW15-photo by Amelia Gregory 6
Asli Polat AW15-photo by Amelia Gregory 5a
The show opened with several outfits made up in the same retro coloured plaid applied to different fabrics, including a mohair tweed. Shapes encompassed sweet rodeo detailed dresses, cute mini skirts, hooded sweat tops and a plasticised parka with teddybear fur details on pockets thanks to a partnership with the iconic teddybear manufacturer Steiff. This unusual choice of garment fabric was used in further outfits, most notably a couple of eye catching patchwork shift dresses, with matching bold tangerine eye shadow. Definitely a designer to watch.

Asli Polat AW15-photo by Amelia Gregory 7
Asli Polat AW15-photo by Amelia Gregory 8
Asli Polat Steiff teddybear Jay Pinxie
Jay Pinxie Turnbull with a Steiff teddybear, our gift on the front row. All photography by Amelia Gregory.

Categories ,American, ,Asli Polat, ,AW15, ,Catwalk review, ,Jay Pinxie Turnbull, ,London Fashion Week, ,retro, ,Steiff, ,Teddybear

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Amelia’s Magazine | Bath In Fashion; Bath, 23rd – 27th March

Ross Harrison, dosage Director and Writer of Beyond the Brink, unhealthy Illustration by Francesca Bourne

Beyond the Brink is young filmmaker Ross Harrison’s personal investigation into the debate on Climate Change. After feeling inundated by the media discussions in the lead up and fall out of Copenhagen, Ross set himself the task of answering the ever present question of “What is Climate Change” followed by the more provocative  “and does it really matter?” To help himself along his journey and to find out more about the current consensus on climate change Ross interviewed a selection of commentators and scientists from  David Attenbrough, Deepak Rughani, Mark Lynas, Dieter Helm to Dr Heike Schroeder.

Amelia’s Magazine interviewed Ross about why he decided to make this film, the impact the film has had in schools and what he now thinks needs to be achieved on a personal and governmental level to tackle the impact of Climate Change.

First things first, what inspired you to make a film that investigates the vast and divisive topic that is Climate Change?

Back in 2009, it seemed like an unavoidable issue – what with the media coverage building up to Copenhagen for nearly the whole year and films like The Age of Stupid being released. I also found the subject cropping up more and more in my school work.

Film Still from Beyond the Brink

What did you feel was missing from the discussion in the media or schools during the lead up to Cop 15 in 2009?

It seemed like a very polarized debate with no middle ground. I was frustrated by hearing the same arguments again and again bouncing between the same groups of people. I didn’t understand why people weren’t cooperating more to work towards a common goal. That hasn’t changed a great deal. Probably and most importantly I wanted to provide a young person’s perspective.

How has the film been received since its release? Has it been taken around schools in the UK?

Since I launched the website at the end of last year there has been a lot of positive feedback, which is encouraging. For the week of screenings I posted about 300 DVDs to schools, universities, community groups and individual volunteers. I’ve been along to some screenings myself, but because they’re all over the country it’s mainly teachers and students using the film themselves, which I’ve tried to make as easy as possible by releasing the film for free.

What -for you- were the most difficult aspects to making this film?

Weighing up the masses of information about climate change – articles, books, blogs, programs, interviews – and trying to filter that down into a documentary that was balanced, accessible and understandable was the first difficulty. The second was trying to think of ways of doing things differently, using different language, presenting the problem in a new way that might make it more inspiring.

Beyond the Brink contains a mixture of talking heads and personal narration, what lead you to construct the film in this way?

The talking heads are in there because I felt that was the best way to convey the experts’ viewpoints. The audience hears what I heard and can draw their own conclusions. I chose to feature myself because it was a very personal project and I wanted to include my slant as a teenager.

Was it particularly important to you that the film was released for free and under a creative commons license?

Definitely. My hope is for the film to get the widest audience possible and I think making it freely available should mean more people watch it that otherwise might.

Beyond the Brink Trailer


On reflection, since Cop 16 and the overshadowing of Climate Change in the media by the recession and the arrival of the coalition government, what do you think is next for the climate movement?

Cancun was not surprising – after such a flop at Copenhagen the officials involved were bound to be desperate to publicize some sort of success. Even so COP16 was a small step rather than the deal people had set their hopes on in 2009. I don’t want to rule out the UN process completely, but I think its limited real impact in the 19 years its been running, is a sign progress needs to be made elsewhere. Those involved in the climate movement need to be pressuring the governments of their own countries to lead by example. The discussion needs to move away from talking about climate catastrophe to selling the benefits of a clean energy infrastructure and low-carbon lifestyles. People are far more likely to be driven by an appealing goal than a danger that could affect them at some point in the future.

What did you learn during the making of the film that surprised you with regards to the debate on Climate Change?

A greater proportion of the scientific community than I realized think that humans are largely causing current climate change. A scientific debate about whether we are contributing to climate change doesn’t really exist anymore, it is widely assumed we are.

Sir David Attenborough by Abi Daker

Have you plans to follow up the film with further interviews?

No, although it’s something I may come back to at a later date, after I’ve finished working on distributing this film I’ll be looking to take on a new project.

How difficult did you find approaching the range of experts -from Sir David Attenborough to Deepak Rughani and Dr Heike Schroeader- that appear in Beyond the Brink?

It was certainly a challenge. Obviously the people I met know a massive amount about the subject, much more than I do, but you still have to research lots to be able to ask good questions. Thankfully all the interviewees were very approachable and generous with their time. Like many things, you get better at interviews with practice and in the end I was really pleased with the responses I had. That’s not to say there weren’t disappointments. Sometimes technical problems meant some of the best answers couldn’t be used.

How did the animations within the film develop and do you feel they were integral to explain a few of the ideas behind the causes of Climate Change?

Concepts like the greenhouse effect are difficult to explain at all, let alone with a strict time limit and so animations seemed like the best option. The problem is they take a long time to create. I’ve still got 100 paper Earths on my shelf that I traced from my computer screen.

Film Stills from Beyond the Brink

What fact or possible event as a cause of Climate Change shocked you the most during the making of this film?

I found that the number of species threatened by potential warming was really startling. One in four land animal and plant species could be threatened with extinction this century.

Which five environmental documentaries would you recommend everybody watches?

The Age of Stupid, The End of the Line, The Planet Earth series is brilliant and Planet Earth: The Future is a conservation focused companion series. The ‘Jungles’ episode of the recent Human Planet series.

What conclusions have you come to since Beyond the Brink was completed?

Being optimistic is important. Working towards a vision of a better world with a reliable renewable energy supply, full employment, smaller bills, and healthier lifestyles, has got a far greater chance of uniting the population than struggling to avoid a catastrophe. You don’t have to be an environmentalist to want those things. And working together is essential. In whatever situation people are taking action, by joining forces with their neighbours, friends, schoolmates or colleagues, they can make their voice much louder.

Film Still from Beyond the Brink

What policies would you like to see Governments world wide implement?

I’d like to see serious investment in green technologies, stricter regulation of energy industries, and policies that make it easier for individuals to reduce their carbon footprint. Channelling money into developing renewable energy and other green products can create jobs. On the one hand if our current energy system is replaced by a carbon neutral one then individuals will not have to make many changes, on the other, behavioral change is essential because we need to start appreciating almost all the resources we use are finite. One policy I think is especially urgent and needs to be implemented by some South American and Indonesian governments is strong protection of rainforests. The rate of deforestation is mind-blowing and can’t go on.

Dr Heike Schroeder by Sam Parr

“Are we really causing Climate Change and who cares?” (Question taken from Beyond the Brink’s website)

It is very likely we are changing the Earth’s climate by changing the composition of its atmosphere and this is a stance that the vast majority of climate scientists and scientific organizations around the world agree on, as far as I can tell. The implications are serious and everybody could be affected, but importantly the poorest people in the world who are less able to defend themselves against potential hazards are likely to be affected first.

Like many problems, climate change is easy to ignore and only a minority are taking action, even if a much larger number might say they are concerned. The next step must be to encourage changes that people want to see and which reduce our impact at the same time, like demanding cheaper, better public transport, or designing more energy efficient products. What really makes me hopeful, though, is education. I’m hopeful people my age will grow up with different attitudes to those of generations before.

After watching the film, what’s the next step for a viewer who would like to be engaged in the Climate Change debate?

Well, for a start the debate has largely moved from are we really causing climate change, to what’s the best way to minimize the impact we are very likely having. If someone wants more information, there are endless books and websites. The Rough Guide to Climate Change is particularly good. But be wary of blogs – it’s very easy for people to write anything they like and pretend to know more than they do.

In terms of getting involved, the best thing to do is join an existing network, of which there are many. There are so many organizations with basically the same aims I sometimes think if they all joined forces then they could really change things. If you’d call yourself young then check out the UK Youth Climate Coalition, some of whose members feature in the film. Other initiatives like 350 and 10:10 are building the movement, making it exciting and making an impact.


bath fashion by daria
Illustration by Daria Hlazatova

“No dear, viagra dosage I can’t sit there!” The older, polished and perfectly pronounced lady says. He tilts his head to the left, lightly bemused and replies: “You can look, plenty of spaces”. Then follows a warm, dismissing smile. She frowns: “No dear, there seem to be handbags on every single seat.” He puts his arm out and lightly touches her back, broadly smiling; “They’re goodie bags. For you.”, he says. “Oh goodness!” she exclaims. Bath in Fashion.

I was at the daytime show; two pm. It was tattering with excited ladies sipping wine and orange juice. The front row sat gracefully, if self consciously, and crossed their legs to the side. The lady behind me was rifling through the goodie bags on all the chairs, and the row in front was full of ‘Oooh, I say!’, as they saw, picked up and looked in the bags. Something I never saw at London Fashion Week, and I never felt I could do it, through the power of appearing nonchalant. But here we all were, in this beautiful room, the Octagon, cooing over Clarins. And there was a lovely atmosphere in the domed ceilinged venue. Bath is a stunning city, and unapologetically affluent. I often feel like I am entering a bubble when I go to Bath. Not necessarily aspirational, but certainly high above my own current living luxuries. For me sour dough bread and a saturday coffee out is a luxury. These ladies have bespoke kitchens – with SMEG fridges, four ovens and a wine collection – as standard. I don’t know this, but I know this.

Bath in Fashion

Most of the women here remind of when referring to my mum, as mum, feels wrong; she is mother. Mother wears, Whistles, Phase Eight, HOBBS – coincidentally like all the bags on the seats; target women. Although my mum doesn’t like being called mother, she has more to her than to be defined by these shops, and is far more friendly than ‘mother’ sounds. Just like these women here, they are relaxed, past the needs and issues that being young can hold claim to. They have lived more, seen more and have stories to tell. Which in fact many of them were doing; “I wore the most amazing things, Oh! Now, there’s that lovely boutique…” They were all very chatty with each other and talked enthusiastically about fashion and life. It all had a pleasant, relaxed feel.

Bath in Fashion

The show started with loud and vibrant music. The high street was paraded before of us, with pouting, sunglasses wearing models. They strutted stripes, flowers, maxi dresses, midi length skirt suits and colour pop! Camel, red, purple, chiffon, 30s maxi, 70s midi and maxi, little skirt suits and beautiful dresses. It was a gorgeous spring day outside, and the show made the buzz of spring streaming through thoughts, arrive firmly in the desires and excitement section of the audience’s minds. “Ooohs” and “ahhhs” were heard echoing quietly, as if we were watching a private little firework display of spring sensations. The dresses with the statement shoes were my favourite; glamorous light numbers, with red stillettos. Also block heels, headscarves and ballooning sleeves looked fresh and stylish. TOAST and Reiss stood out as particularly good this season, whilst Monsoon was flourished in the 70s trend. The fashions would certainly suit many a lady, and had just the right amount of pizazz. Kate Middleton should be wearing more of these styles. Safe but stylish, with an extra something.

Bath in Fash
A photo of the catwalk show that took place at the Roman Baths.

It was soon over and as we stood up to leave, everyone had a little natter. Eventually filing out I heard discussions of perhaps a spot of shopping, a coffee or a cool glass of white wine. I myself scooted off, back out of the bubble, but filled with the visions of beauty that Bath always leaves me with. Well done Bath In Fashion for a lovely week of events, fun and a genteel celebration of a sophisticated city. You can still see a couple of the fashion exhibitions for a while yet; Marilyn Monroe Exhibition at The American Museum in Britain, and a wedding dress exhibition at the Fashion Museum.

Categories ,American Museum in Britain, ,Banana Republic, ,Bath In Fashion, ,catwalk show, ,city, ,exhibition, ,fashion, ,Flamboyance, ,Georgian, ,Hobbs, ,Kate Middleton, ,Marilyn Monroe, ,Phase Eight, ,Roman Baths, ,Sophisticated, ,The Octagon, ,Wedding Dress, ,Whistles

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Amelia’s Magazine | Bora Aksu: London Fashion Week S/S 2015 Catwalk Review

Bora Aksu by Jenny Zych
Bora Aksu S/S 2015 by Jenny Zych.

The marvellous Bora Aksu took an early slot on Friday morning to present a collection inspired by Queen Victoria’s paper doll of the celebrated romantic ballerina Marie Taglioni. The show opened with a group of girls dressed in trademark layerings of crisp snowy white and peachy beige. They wore coral lips and nails, huge diamante earrings and long hair tied sharply to one side. Black socklets under sandals and darkened lenses on glasses (a new collaboration with eyewear designer Tom Davies) ensured this romantic collection had a thoroughly modern appeal.

Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
The girls progressed down the catwalk in combinations of cut out embroidery and delicate crochet panels, worn beneath lashings of lacey silk and ruffled organza. On trend mid length dirndl skirts and cropped jackets were given the Bora Aksu spin with the gradual introduction of palest blue grey, petrol blue and slashes of deep indigo. Details such as thick white seams, bibbing and traditional woven fabric gave a crisp edge to the garments. As a recent convert to the charms of crochet I particularly admired the hooped crochet cape worn over a sleek pencil dress.

Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
The show finished with a series of layered dresses featuring sophisticated black organza and a bewitching lilac crochet dress topped off with a sweeping swathe of purple tulle. This was, as ever, a magical collection, full of delicious detailing on beautifully wearable items.

Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu SS 2015 photo by Amelia Gregory
Bora Aksu S/S 2015. All photography by Amelia Gregory.

Categories ,Bora Aksu, ,catwalk show, ,collaboration, ,Eyewear, ,Jenny Zych, ,London Fashion Week, ,Marie Taglioni, ,Mid-Length Skirt, ,Organza, ,Queen Victoria, ,review, ,S/S 2015, ,Somerset House, ,Sunglasses, ,Tom Davies, ,Tulle, ,White

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Amelia’s Magazine | Pick Me Up 2012 Special: An interview with fashion illustrator Jason Brooks

Jason Brooks Pick Me Up 2012 by Alia Gargum

As a self-proclaimed lover of illustrating and in particular illustrating fashion, I eagerly made my way to this year’s Pick Me Up Contemporary Graphic Art Fair at Somerset House. Pick Me Up is a massively important date for anyone interested or involved in Illustration and Graphic Design, and was excellently reviewed by fellow Amelia’s Magazine illustrator Emma Block this year, most definitely worth a read, here as well as of course by Amelia herself.

Jason Brooks Pick Me Up 2012 by Alia Gargum All photography by Alia Gargum

It was it a perfectly sunny London day, and I had an extra little spring in my step as Fashion Illustrator legend Jason Brooks was going to be illustrating live alongside the other guest artists and designers. You might not immediately recognise Jason Brook‘s name but you will surely know his slick, feminine style. He now has an impressive and growing client list, including Virgin Atlantic, L’Oréal, Vogue, Elle, and The Sunday Times Style Magazine, where I first remember seeing his work in print.

Jason Brooks Pick Me Up 2012 by Alia Gargum

Jason Brooks Pick Me Up 2012 by Alia Gargum

I immediately approached the friendly-looking Jason Brooks who was chatting to visitors while illustrating, hanging up his work to create a makeshift gallery. I don’t know what I was expecting, but I certainly wasn’t expecting him to be so open and easy to speak to, willing to give his time and simply chat. While we talked favourite materials to use and the loveliness of ink, I noticed that he was looking at me very carefully, which is when he confessed that he was illustrating me. Moments later, a beautiful ink illustrated version of me was produced, created on a page from an old french dictionary. He had been illustrating visitors all day, drawing inspiration from them and selling the portraits to those who wished to take an original Jason Brooks portrait home. I cannot thank him enough for the long chat, and the questions he answered so well, the best of which are written here.

Jason Brooks Pick Me Up 2012 by Alia Gargum

You’re one of the first modern-day Fashion Illustrators I remember seeing in print just as illustration made it’s massive (and continuing) comeback. What was your first big commission?

My first big commission arrived when I was in my early twenties studying Graphic Design at Central St Martin’s, which at the time was in Longacre in Covent Garden. It was an exciting place to be and every day there had an almost party-like atmosphere, buzzing with creative energy, conversation and ideas. One day a message arrived from Vogue (before e-mail) for me to come in with my portfolio as I’d recently won an illustration competition they were running. I was immediately commissioned by Vogue to illustrate a story about New Orleans which ran over about six pages and included a whole double page spread. I remember buying a copy from a newsstand as soon as it came out, feeling on top of the world. I used coloured oil pastels on black card for this first important commission, giving the work a very direct and vibrant look. I then became a regular contributor to Vogue under the wonderful art direction of Paul Eustace. I used it as an opportunity to experiment with different media and styles in print, including some early computer illustrations, so I was the first to use a computer to illustrate for Vogue back at the very beginning of the nineties.

Jason Brooks Pick Me Up 2012 by Alia Gargum

You’ve drawn at Paris Couture shows for The Independent, which led to more catwalk illustrating for a range of publications like Elle and Visionaire magazine. What do you love most about drawing at the shows?

Backstage is the most interesting place to draw at a fashion show. Not only is everything much closer, but the variety of poses and activities going on provides a whole range of Degas-like subjects. Models sitting in front of mirrors being carefully made up, impromptu fashion shoots going on, camera crews, interviews and striking people are everywhere as subjects. Drawing directly from the catwalk is more difficult to do well because outfits are only visible for a limited time, but nowadays it’s easy to take lots of digital photographs and work up drawings later. I love the drama and art front of the catwalk at fashion shows too, the crowd is always fascinating. The fact that every catwalk show is a one off performance, with high stakes for those involved as well as ever-increasing production values can create really intense theatre, so I love that too.

Jason Brooks Pick Me Up 2012 by Alia Gargum

What advice would you give to a graduate who wants to get some experience in illustrating from the catwalk?

I started off by working for magazines who would give me accreditation and passes to go to shows as a photographer, after a little prompting from me. I would then simply take my sketchbook instead of a camera. I think when you are starting out it’s all about first of all putting together a portfolio that you feel confident to show people, and then making appointments and really pushing your work out there. I would speculatively arrange lots of ‘go sees’ and then jump on a plane to New York or Paris and try to get work, but perhaps business was more often conducted in a face-to-face way at that time. Going to the Paris couture shows with the Independent began because their editor Marion Hume approached me after I left the Royal College of Art. Luckily, I had work and sketchbooks from travelling to different places that I was able to show, so I would also say that travel drawing is a great foundation for drawing fashion. As a graduate, or anyone for that matter, some catwalk shows are much easier to get access to than others, so if you are interested in drawing at shows it might be best to start with more accessible fringe and off-schedule designers at fashion week and then work up from there.

Jason Brooks Pick Me Up 2012 by Alia Gargum

Thanks to the rise of digital design, a lot of Fashion Illustration has a slick, smooth, and sharp look to it. You were doing this long before it became popular. What drew you to this technique?

I was striving to create a look from using areas of flat colour for a long time before I started using computers on a regular basis. As with my Vogue commission, I used oil pastels to try to achieve this but I also really liked collage, cutting up books and magazines and experimenting with very flat gouache paint. Computers first came to my attention as a way of making pictures in the late 80′s and early 90′s, and once scanning drawings became an option I was able to combine my familiar drawing on paper with computer colouring techniques, and that particular look was born.

Jason Brooks Pick Me Up 2012 by Alia Gargum

Your style is undoubtedly feminine and luxurious. Has this always been the case or did it develop gradually?

The luxurious aspect perhaps is just from my idea of drawing things that are well designed and have an aesthetic appeal to me, so it was never a grand plan, just something that has happened quite by accident. I suppose it has developed over time to a certain extent because my taste has changed as I’ve learned more about architecture, fashion, design, film and so on. Looking back, I think my work has also been a reflection of a glamorous time for the western world where mid-century modernism has really come back and been reinvented through magazines like Wallpaper and through the activities of a whole generation of tastemakers in all areas of design. I happen to love drawing women because I think they can create powerful images, so in all it has been fun for me to reflect our culture’s interest in luxury and design through my illustrations.

Jason Brooks Pick Me Up 2012 by Alia Gargum

What are your favourite materials to work in and which digital techniques do you find yourself using again and again?

I love good old pen and paper. Biros are actually very subtle drawing tools, but I also use 4B pencils to draw out ideas and sketches which I then scan into my computer. I mainly use Photoshop and Illustrator to create my pictures digitally so I definitely still combine very basic old school technology – the dip pen, the pencil, etc. with the latest computer programmes. They are however all just tools, and I would be equally happy working in clay or building a sculpture out of sand on a beach.

Jason Brooks Pick Me Up 2012 by Alia Gargum

This year was your first as a guest artist at graphic design fair PIck Me Up at Somerset House. What did you enjoy and what surprised you about the whole experience?

It was a great chance to simply play with inks and coloured pencils. I made about 30 pictures or so, scribbling in an old french dictionary and on pieces of coloured paper throughout the day, which made me really enjoy the experience creatively. What surprised me was meeting so many new people who were interested in what I was doing, it was really rewarding to have direct contact and chat to them about their creativity too.

Jason Brooks Pick Me Up 2012 by Alia Gargum

You’ve had an impressive career so far, what do you think has been the reason(s) for your success?

Thank you, although I really don’t see myself as being successful yet. I guess any success I’ve had so far could be because I started at a very young age and have put a lot of effort and practice into my illustration because I enjoy it so much. I was fortunate in a way to have had a childhood without the modern phenomena of ‘screen time’ so I was able to immerse myself in my imagination through drawing worlds of my own instead of exploring ones created by other people. This lead on to college when creating work on paper was still very important, giving me the benefit of a ‘traditional’ academic art college experience with very little modern technology available unless I sought it out. I’ve always loved experimenting with all kinds of art forms and media, so when the digital revolution arrived in illustration and art I was very open to it and in a lucky position to be able to ride that particular wave from the beginning.

Jason Brooks Pick Me Up 2012 by Alia Gargum

What can we next expect from Jason Brooks?

I’m just finishing my first book called ‘A Paris Sketchbook’, which is due out in 2013. It is an eclectic collection of my own drawings and illustrations and a homage to a city which I love, published by Laurence King. My dream is that it will be the first in a series of travel sketchbooks covering different iconic cities. Aside from this I’m involved in a number of commissions with different companies and brands around the world, which is a part of my work that I really enjoy because it gives me the chance to collaborate with so many interesting people, adding a sometimes unexpected variety to what I do. I’ve also just signed with a new agency in New York called Traffic, so that’s exciting. Recently, I’ve completed a new collection of artwork for sale on my website called ‘The Gelato Series’ – all about girls eating ice cream in retro, sexy colours.

Jason Brooks Pick Me Up 2012 by Alia Gargum

It’s fascinating to hear from someone who has managed to carve such an astonishing career in fashion illustration. What a lovely guy. Be inspired! See more of Jason Brooks’ work online hereAmelia

Jason Brooks portrait

Categories ,2012, ,80s, ,90s, ,Alia Gargum, ,Amelia’s Magazine, ,catwalk, ,Central St Martins, ,collage, ,couture, ,Covent Garden, ,Creativity, ,Degas, ,Digital Art, ,Elle Magazine, ,Emma Block, ,fashion, ,Fashion Illustration, ,Feminine, ,gouache, ,illustrator, ,Jason Brooks, ,L’Oreal, ,Luxury, ,Marion Hume, ,New Orleans, ,new york, ,paris, ,Paul Eustace, ,Photoshop, ,Pick Me Up, ,portrait, ,Royal College of Art, ,Somerset House, ,The Independent, ,The Sunday Times, ,travel, ,vogue, ,Wallpaper

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Amelia’s Magazine | Latitude Festival 2010: Sunday Evening Quidams Review

02 People In The Hole

Amelia’s Magazine took a trip to see the Royal Collage of Art’s SHOW TWO at Kensington Gore…

The RCA’s MA Innovative Design Engineering – a double masters with Imperial College, purchase London – is described as a course which encourages (and it succeeds) students to produce original work of “world-changing impact.” It is not surprising therefore, that the majority have turned their thoughts towards Climate Change and the ever looming post oil world, looking at the role design can play to encourage the world’s vast population to change their lifestyle habits.

First up is Matthew Laws’ Climate Machine, used to demonstrate our (individual) daily impact on the environment. The design is brilliant in it’s simplicity (simplicity to use, as Matthew talked me through the decision and engineering process it was decidedly complicated). The concept is that the user can gage their carbon footprint through the reaction of the mirrors and the light bulbs to their personal energy use. I.e if you use a car every day the light bulbs (representing a 40W bulb left on all the time) brighten in accordance to how much produced, and the mirror darkens. The more energy efficient you are the dimmer the light bulbs and the clearer the mirror.

On the back a screen displays in figures the users carbon footprint. What is brilliant about this design is that it reflects changes in your lifestyle, for instance if you were a heavy car user, if you switch to an electric car or a bicycle your carbon footprint decreases and the light bulbs dim.

Rich Gilbert produced the Embodied Energy Audit, displaying how much energy is required to make phones, clothes and everyday components that we don’t even consider cutting other aspects of our carbon emissions.

Jorge Manes graduated from the Design Products MA, described by the handbook as “an activity that fundamentally shapes our world and influences processes of change..” Usually focuses on product and furniture design, however the course does not impose limitations on it’s design students – therefore producing those such as Manes who exploration of how factories development can be examined through modern social and environmental reasons.

Manes work was incredibly fascinating, looking at the gradual industrialisation of production methods whilst looking at those who have maintained traditional craftsman skills.

It is refreshing to see Design Students focus their attention on the problems our consumer lifestyles are causing the planet, something British and World goverments have and are failing to deal with. In light of the recent report named Britain as the “Dirty Man Of Europe”, it was great to see MA design students providing innovative ways to tackle this problem.

Adam Paterson (Innovation Design Engineering) examines our global Marketplace and our current approach to transporting products from Market Place to Consumer. How can design help these journeys to become more efficient?

Maximo Riadigos (Innovation Design Engineering) ingenious Biodegrade, acts as an alternative and preventative to household food waste ending up as part of our overflowing landfills. The proposal of the design is to transform that which is currently perceived as waste into useful gardening products.

The Design Interaction MA focuses “on the interactions between people and technology… Concerned with the social, cultural and ethical consequences of living within an increasingly technologically mediated society,” produced Oliver Goodhall’s

Nucleaur is Good! Through Oliver’s version of a corporate training video, complete with team leader to guide the new recruits through the pro’s, cons’ and slightly irrational solutions (but highly public friendly) to the problem ‘going nuclear’ proposes.

Guided nuclear tour from Oliver Goodhall on Vimeo.

Damien Palin’s kindly took the time to explain the principles behind A Radical Means. To use the accompanying press release, the work is explores how “a radical departure from current means of human production is needed and possible through the study and mimesis of nature.”

A prototype created through Damien’s “microbally induced casting procedure.”

Palin’s technique works at biological temperatures (which are many many times lower than current industrial processes) producing objects that have been bound by using “the bacteria Sporosarcina pasteurii as a method for cementing natural granular materials using minerals as a binding agent.” Thank you for the explanation Damien!

Images showing the procedure in it’s current form….

Finally Aymeric Alandry’s Garden Tile – Experiment one proposes we “redefine our own trade in order to repair what 200 years of industrial revoloution are currently destroying 3.5 billion years of species evolution.” I cant think of a finer way to end this post with, not a truer word said. Lets hope these students of today are able to change the world tomorrow!

Stop back tomorrow for Amelia’s Magazine Show Two Post Part Two looking at the other ways in which design can impact the world….

Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.

Images Courtesy of the Students and addition photographs by Sally Mumby-Croft

Quidams at Latitude Festival 2010
All photography by Sophie Parker and Daniel Sims

After what had been a magical weekend we decided to spend our final night of Latitude simply drifting through the festival. With no agenda we found ourselves sitting atop the large books outside the Literary Stage- donuts in one hand and chocolate dip held precariously in the other. Happily munching away with Vampire Weekend echoing in the background, visit it seemed a perfect end to the weekend.

Quidams at Latitude Festival 2010
With the masses up at the Obelisk Arena, erectile the crowds had thinned out to the point where the festival began to resemble its Mean Fiddler days. The dust from the day had finally settled and the sun was just a whisper of warmth in the evening air.

As we got up and turned to head for Cabaret Stage we caught sight of a peculiar glow of light. Bobbing and shimmying, it was surrounded by a small gathering of people. As the light dispersed, four towering bubble-like creatures flickered into view, their immense height and width contrasting with their feather-light appearance.

Quidams at Latitude 2010. Illustration by Sophie Parker and Daniel Sims
Quidams by Sophie Parker and Daniel Sims

Whilst Latitude is notorious for having all kinds of ephemeral creatures wandering through the festival both day and night, there was definitely something more surreal about these serene giants. Gently they tip-toed on stilts away from the bright lights of the festival into the secret darkness of the trees and, along with a growing crowd of enchanted people of all ages, we followed them Pied Piper-like into the darkness.

Unknown to us at the time it was in fact Quidams- a French street theatre company known for, amongst other things, inflatable self illuminating costumes and characters reminiscent of Tim Burton (before Disney devoured him, obviously). At the time, however, who they were and where they had come from didn’t seem important. It was far more exciting to simply engage with the moment.

Quidams at Latitude Festival 2010
Clumsy yet graceful, with only a wordless language of slow gestures and hypnotic light we were lead to the Waterfront stage. They shuffled tentatively onto the unlit platform and there was a simultaneous jaw-dropping as the four figures proceeded to creep silently (and unaided) across the submerged catwalk giving the appearance of walking on water.

What had been a small gathering was now a swarming crowd blocking the bridge and congregating on both sides of the lake. As if out of a Studio Ghibli film, we watched as the four illuminated characters arrived on the other side of the bank and surrounded a covered luminous globe. Performing a kind of magic to the strange and dramatic music, the orb began to rhythmically float and descend, each time getting a little higher. Finally it rose high above our heads shedding it’s gossamer-thin covering and blooming into a huge and glowing full-moon.

Quidams at Latitude Festival 2010
As the four characters deflated and drifted off into the night, the moon signaled the perfect end to an unbelievable weekend.

It was definitely not the biggest act, but for the brief time it lasted, the festival site was transformed into a Moomin-esque world caught somewhere between fiction and reality. Quite simply, it was Latitude at its best.

Categories ,catwalk, ,Daniel Sims, ,Latitude Festival, ,performance, ,Quidams, ,Sophie Parker, ,theatre, ,Vampire Weekend, ,Waterfront Stage

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