Who knew that cocks and ropes could look so good? Chickens, I mean, as we all know how good cocks can look. Makin Jan Ma has reinvented the barnyard favourite by printing it in sky blue and plastering it all over his collared shirts and t-shirts, making it appear almost abstract from a distance. The other most prolific print in this collection is the twirled rope, both in an enlarged worm-like print and a teeny twisted print that makes delicate reference to the now waning gold-chain trend. Jan Ma trained in graphic design at CSM and, in some strange but great turn of events, moved to fashion to create this super-quirky line. The cuts are really sharp and clean, obviously the graphic influence. Very cool.
Back with a punch that I couldn’t resist, the label’s collection of colourful shirts screams cuteness. CUTE CUTE CUTE! They are preppy, indeed, but with the mix of stripes, stars and hearts in an array of bright and pastel colours they are more like candy.
Scotch & Soda
Okay boyfriends, these are the clothes that will get you in our good fashion books. Well, mine at least, so I hope he is reading this. And if you aren’t going to take the initiative to go and check out this line for yourself you can rest assured that it will show up under the tree at Christmas. I think most girls will agree with me that it is too bad there is no ladies line, but hey, we can wait. It is all about the prints in this collection. Some of my favourites were cable-knit print, the scarf-print and the sky/cloud print. But the best by far was the garishly printed zip-up with a team-style logo on the back. Yes, fantastically unfashionable, making it super-cool.
I have always found Tata Naka’s shows at London Fashion Week a little lacklustre, lacking in punch, and with a tendency to drag on for longer than they should. And I have always found that the clothes are layered and stacked like they have been pulled out of the dress-up box, not in a good way. But seeing the collection up close for the first time kinda won me over. The rhythmic gymnast prints reminded me of something off an oversized sweatshirt I wore in the 80s, and the mini bodybuilder portraits, scattered over a yellow background, were irresistibly hilarious. And Tata Naka’s collection of garish costume jewellery was straight from the dress-up box in the right way.
I love everything this label does, but most appealing this time round was the black satin bra and underwear set, trimmed in white lace. Totally impractical for any breast size, the loose satin looked like it would hang off your boobs no matter what, offering no support or giving no option to actually wear something on top of it (it would definitely look awkward under anything but a chunky cable knit sweater). However, all this impracticality is the delightful appeal of sexy knickers! I think they would make me feel like a 20s pin up girl, lounging around with nothing to do but lay around, and that sounds like a reasonable expectation for underwear.
Appealing to the utmost in girlish delights Manish Arora’s clothes are like a walk through wonderland. They are embellished with sequins, rainbows, hearts, wild tropical beasts, petals, birds, and fabrics of every sort. I have always loved his catwalk shows as they are the most colourful and spectacular of London Fashion Week. I could only imagine how wonderful it would feel to wear one of his tiered sequined skirts to a party… the prettiest girl in the room!
Written by Carla Yarish on Friday November 10th, 2006 12:02 pm
Up-and-coming Dutch fashion and textile designer Hellen van Rees is presenting her independent collection SQUARE3 ANGLE: THE TRANSFORMATION at London Fashion Week A/W 2013 this weekend. Hellen graduated from the MA in Fashion at Central Saint Martins’ back in February 2012 and then packed her suitcase and moved to the Netherlands to start her own fashion label. Her first collection at LFW was pegged as a ‘One to Watch’ by Fashion Scout and Lady Gaga has since been spotted donning her clobber. She’s known for her hand-made tweed fabrics which are created using factory remnants and recycled threads, and her work has 3-dimensional, sculpture-like elements, as well as a futuristic feel. Complete with a brand-spanking new video to promote her new Chanel-inspired collection, it’s likely that her pieces will receive a lot of interest in the coming weeks.
Hellen Van Rees is still exploring the ideas from her graduate collection which she developed on in her last show Square2: Exploring Excitement. Although you might expect a sprinkling of déjà vu, this collection puts a tangy new twist on her hallmark tweeds. I spoke to Hellen about her shiny new collection and her plans for the future in advance of her (second) London Fashion Week show.
What can we expect from your upcoming collection at LFW A/W’13?
Lots of tweed and colours, contrasting black & white rubber and beautiful quality wool and silk; all arty but wearable.
You released a promo video for your show, how did this project come about?
I was trying to think of a way, other than a catwalk show, to present the new collection; to show the collection moving and in a nice atmosphere so the complete image comes across, as well as the details. This seemed like an exciting way to achieve that.
You started your own label in February 2012, what are your greatest achievements of the last year?
The fact that I was able to show my very first independent collection during London and Paris fashion week; and that I am able to do so again.
Do you have a favourite piece in this show?
I like the pieces with the new multi-coloured tweed a lot: the long dress with shiny black sleeves especially. It’s got strange contrasts but is also very elegant and wearable as well.
Do you wear your own pieces?
Not when I work (because it can get messy!) but for presentations, interviews and special occasions, yes.
You’re also exhibiting at Paris Fashion Week; do you think the reactions to your show will differ between London and Paris?
I think it will because it attracts a different crowd. London has lots of bloggers and people who are generally interested in fashion that want to absorb new things, so it’s a very excitable crowd. Paris is more serious business, people there are generally looking for something more specific.
You studied the MA in Fashion at Central Saint Martins; did this prepare you for setting up your own label? CSM was very good for me, to bring out my strong points and help me develop a clear direction within my designs. It doesn’t really prepare you for the whole business side of how it works, for example, how to sell your clothes, but I’m finding out along the way, which is fine.
You were chosen to be part of Ones to Watch as part of Vauxhall Fashion Scout’s prestigious platform for new design talent; do you think this has helped you?
Yes it has! It has made it possible for me to show my work in a professional way to large number of professionals and I’ve been supported with advice as well. They’ve done all this again for this season, which is great!
You’re known for your use of tweed and sustainable materials: is this something you’ve always been interested in?
Sustainability is very important to me because I think it makes sense. I make high-end handmade garments; it makes sense that not only the outside is nice looking, but also that the story behind it is strong. The tweed and the weaving method is something I developed about a year and a half ago, but I keep getting new ideas for it so I’ll keep going with it for a while.
3D shapes are a big part of your work, where do you get your inspiration?
Contemporary art installations mostly, like the cube installations by Rachel Whiteread.
What is the process behind each of your collections?
I continue with the previous collection, reinterpret it, change colours, look at art and pictures, make fabrics and then make garments. I don’t really sketch; I just start making one thing and from it comes another new idea. Halfway through I do a fitting see what I have and what’s missing. I make more, and in the end there’s suddenly a collection
LFW aside, is there anything else in the year ahead that you’re really looking forward to?
Yes! I’m doing a TED talk in March at TEDx Zwolle.
Hellen Van Rees’ collection can be seen in the Fashion Scout London & Paris Showroom. London 15.02 -19.02 & Freemasons Hall, 60 Great Queen Street. Paris 28.02 – 05.03, 23 Rue du Roi de Sicile, Paris. You can buy her pieces at her store here
Written by Jessica Cook on Thursday February 14th, 2013 6:41 pm
Working under the name Rosita Bonita, Camberwell illustration graduate Rowenna Harrison makes beautiful jewellery that would be at home in any trinket lovers dressing-up box. Her pieces celebrate all things vintage glamour and have a whole host of other influences from the mythical to the historical. We’ve mentioned Rosita Bonita before as Amelia stumbled across her work at Wilderness Festival 2011 and her stuff is still just as inspiring.
More than just pretty pieces, her hand-crafted beauties are keep-sakes rather than regular old fashion knickknacks. I especially love the heart necklaces from her Sweet Black Heart collection, but all of her pieces are real treasures and her latest collection is sure to bring out your inner ’30s pin-up gal as well as rekindling your (my) childhood dreams of one day becoming Ariel the little mermaid. Siren is a collection of necklaces, earrings and more, which explore the sea-side feel from era’s past, as well as hinting at more magical influences. Looking at these treasures, I can’t help but think of the tongue twister we would recite on the playground: “she sells sea shells on the sea shore,” and be reminded of the feel of sand between my wiggling toes on British summer beach vacations.
I spoke to the lovely Ro Harrison, the face behind Rosita Bonita, about the launch of her new collection, her plans for the future and why she switched from illustration to jewellery design.
How did you decide on the name Rosita Bonita?
The first product I made to sell commercially was pasties (nipple tassels). This came about after making a pair for a friend to replace ones she’d lost at a fancy dress party, then making a few more as birthday presents. They quickly evolved into brooch versions, for those (like me) that don’t tend to have the occasion to wear the originals! I’ve always hated selling my work, so I wanted to create a brand name to create a degree of separation; to make it easier for me to go out and find shops to sell to. I starting experimenting with variations of my name and Rosita Bonita just kind of popped out. I had a vision of her being a ’50s Mexican burlesque dancer, it just felt right!
What made you choose to take the jump from illustration to jewellery design?
For as long as I can remember I have been drawing and making. I love both and don’t see a huge difference between the two. Illustration and jewellery (for me) are both about decoration, engaging with materials and creating characters and fantastical worlds. After graduating I struggled to find enough work as an illustrator (I was never very good at trying to sell myself), so I spent years working in what were supposed to be temporary jobs, in a cafe and managing a vintage shop. All the time I was drawing and making and waiting to be ‘discovered’. In the end, I had the idea to take my drawings and put them onto a physical product that people would want to buy. I had done a lot of screen-printing at college, and I had made various accessories (jewellery, purses, fascinators) out of leather, so it seemed like the next logical step to combine to two. Leather is so tactile and a joy to work with and it seemed to be a great surface to print on, so I did some tests, liked what happened and out came my first collection (Orchard).
How do the two skills influence each other in your work?
All my pieces begin as drawings, and the pieces are often formed from a combination of separate 2D elements, so assembling them into the finished product is a bit like collage. Having had no training in jewellery, I suppose my whole approach is influenced by image-making; having said that, with each new collection, I am adding more metal elements and playing with different construction techniques. For my next collections I am working on a few more sculptural touches.
You worked as part of design duo Dirty Drawers with artist Laura Gill, how did this relationship come about?
My best friend from my Foundation course went on to do a degree at Central Saint Martins and I met Laura there. She’s such an inspirational character. She has tremendous energy, a really positive outlook, a carefree demeanour, and a brilliant imagination, which all come out in her work. Laura met a group of artists who were squatting a big house in Peckham and were turning it into a gallery to show their work. She’d been allocated a room in there to use as a studio and exhibition space, and she asked me if I wanted to show there too. It was all quite short notice and I didn’t have anything prepared, so she gave me some drawings she had been working on and asked me to add to them. We had a pile of books of documentary photography, full of inspiring characters and began drawing from them. The process worked like a game of exquisite corpse (which became the name of the series). We would draw sections and cover them up before swapping and continuing to draw. It was more to amuse ourselves than anything else, but we liked the results and kept working and exhibiting together for years to come. [Jessica: You can see one of Laura’s illustrations in this article as she provided the beautiful portrait of Rowenna]
Do you feel Camberwell prepared you for entrepreneurship?
One highlight I remember from my course at Camberwell was a talk from Tatty Devine. They didn’t come from a jewellery background and didn’t have financial investment, and seemed like genuinely lovely people, so their success story was (and still is) a huge business inspiration. In my final year I did a number of work placements. The first was a short stint at an Illustration agency (CIA). They kindly took me under their wing and showed me a glimpse of the goings on. Then I was lucky enough to work for my 3 heroes of the time; Marmalade Magazine, Shona Heath (Art Director) and Julie Verhoeven[Jessica: I recently mentioned Julie in a Bath in Fashion 2013 Listing which you can read here] They were all hugely inspirational learning experiences and gave me the opportunity to use my craft skills, and feel valued for them. They also supplied me with bits of freelance work after I graduated. However I still didn’t feel I had the confidence to go out hunting for my own work in the real world. The course itself felt like a bit of a bubble. Because I got a 1st, I just stupidly assumed that people would come to my degree show and offer me work. When I graduated, the bubble popped.
What’s been the biggest challenge so far of setting up shop?
The biggest challenge in setting up shop is money. I started Rosita Bonita when I was still working four days a week managing a vintage shop. I didn’t have much cash (or time) to spare, so I have always made things according to the material costs I could run to and the skills I had to make things myself. It’s really frustrating as I have so many ideas of things I would love to make, but am very limited by costs. As things have been going better and better, these frustrations are highlighted more and more. Ideally I wouldn’t be producing everything myself. I would love to just be designing and making samples, then getting the bulk manufactured, and it would be great to have PR, but this is just not possible yet. The business is growing, but very slowly! The further it goes, the more you realise how much you need money. Designing, manufacturing, selling, promoting, building websites, taking photos, and doing accounts and admin all by yourself is not ideal. I’ve also just had one of my designs copied (by someone who does have money for manufacturing, sales & PR), but I can’t afford to take them to court.
What are the main inspirations of your work?
My inspiration comes mainly from the past. I’m obsessed with vintage photography and graphic design, anything from the Victorian era through to the ‘50s. I look a lot at Hollywood studio shots from, particularly from the ‘30s. The sets and costumes are mind-blowing. I love watching movies from that time too. The characters are so glamorous and almost cartoon like. I am always amazed at how little we’ve artistically progressed since then. I’m not excited by realism and the mundane. I also love to look at the history of jewellery and the social meanings attached to it. I want people to put on my pieces and feel like they are becoming a fantastical character, or that the jewellery is bringing them luck or special powers.
Your new collection Siren has a seaside theme, what made you choose this?
The Siren collection came out of my research into amulets. There was too much material in there for one collection (it’s actually now spawned 3 – Amulet, She’s my witch & Siren). Mermaids and seahorses, as well as certain types of shell, have been used as charms or amulets. I wanted to take these motifs, but treat them in a different way to the previous collection, which was quite dark and magical. They seemed to be perfect for a light summery collection. There is a still from a lost George Méliès film from c1905 which I had photocopied when I was at Camberwell and had always wanted to use somehow. It was a shot of six ‘mermaids’ posing in this great stage set in a star formation, with solid tails. I tend to visualise the photoshoot/video for the collection before I design the actual pieces (usually including which models/friends and which music to use), and knew I wanted something like this, but with a brighter, more ‘30s seaside resort feel to it. I drew my own version of this (which I’ve since printed on framed glass and t shirts), and that became the basis of the collection. I also looked at loads of other mermaid imagery, from ancient myths, fairytales, figureheads, movie stills, tattoo designs and carnival exhibits. I wanted to capture girlhood escapist fantasies of being a mermaid.
Your jewellery has been featured in places like Nylon and Elle, how does it feel to see your work in mainstream mags?
It’s very rewarding to see my work in magazines, of any kind. I Google myself every few months and usually find some new mention in a blog or something. It keeps me going. More please!
What plans do you have for the future?
I’m not very good at planning ahead and managing my time. I have the next two collections designed in my head (just need to grab a moment to get them on paper and to develop the samples), but beyond that I’m never sure exactly what is to come. I will be working on finding some new stockists, so more people can discover me. I have three new international ones in the pipelines, which is all very exciting.
How would a reader go about purchasing one of your pieces? I have a shop on my website . I don’t discontinue previous collections, as I don’t like the disposable nature of fashion, so most pieces are still available to order, if they are not in stock, and certain pieces can be made in custom colours. I’m also open to illustration, design, bespoke accessory/costume commissions and collaborations, so feel free to get in touch!
At the top of Marylebone High Street lurks a lingerie shop with attitude. Surrounded by fashion-favourite names and organic cafés, generic it’s both niche-market neighbour and rebellious relative. Meet Apartment C, ‘a fashion retailer that just happens to sell lingerie’. And a lot more besides.
Invited to join Apartment C’s owner Kenya Cretegny for a teacup of G&T, I arrive feeling excited, curious and thrilled to escape London’s relentless chills. While my eyes dart around the dramatic window-display, the door opens and I’m cocooned by an intense warmth that’s almost hypnotic. Falling further under Apartment C’s ‘spell’, I recline on a cherry-coloured chaise longue while Kenya explains her design-inspiration: “the home of Serge Gainsbourg” meets “the apartment of Coco Chanel at the Ritz”.
Photographs by Kate Ingram
Forget white-washed minimalism à la nearby boutiques. Here, it’s black walls, wax candles, red-tinted photographs and “a bit of taxidermy”, creating a boudoir-showcase for lacy, racy and eye-catching lingerie. Yet this is no ordinary ‘boudoir’; it’s grown-up and fashion conscious. No red-light-seediness or clichéd kitsch. Escapist? Definitely. And, deliciously naughty. But it’s also a place where you “feel free to stay and visit for a while”. Boys are welcome too.
A Central Saint Martins graduate, Kenya always envisaged Apartment C as a concept store, designing interiors herself, “right down to creating foam board models of the space”. First stop from the high street is the “Lounge”, where lingerie displays are instantly different, adorned with dramatic jewels and paper eyelashes. Walk through to the “Library” and discover a treasure-trove of accessories, swimwear, fashion books, trashy romance novels and G&T’s served from a retro 1930’s bar (an enviable eBay purchase). Furniture, generally, is a cool blend of Art Deco and 1960’s pieces, which seemingly never belonged anywhere else. I sense that the “Library” is Kenya’s favourite part; almost the inner workings of her imagination, to which you are granted access. Play along and purchasing possibilities are endless; who’s thinking about the rain, or recession now? With soft carpet underfoot and French perfumes spritzing the air, I’m soon agreeing with Kenya’s friendly team that I could happily move into this stylish apartment, I mean, shop.
So, which lingerie labels are seducing the Apartment C woman (or her G&T-fuelled lover on the chaise longue)? While “primary focus” is upcoming talent, Kenya and her team stocks “fashion-forward lingerie brands that [they] consider innovators”. A diverse selection, including Princesse Tam Tam, Stella McCartney, Lascivious, Fleur of England and Marlies Dekkers, appeals to many forms of femininity. Kenya shares insightfully: “women are multi-faceted and sometimes we want lingerie that is romantic, sometimes it’s fashion-focused and sometimes it’s sexy…and sometimes we just want to sit in something lovely and comfortable and have a cup of tea.” Save for a few ‘dominatrix’-style pieces, there’s nothing too intimidating about Apartment C, nothing too outrageously sexy. Even the mannequin ‘posing’ provocatively on the bar, appears refreshingly innocent. Particularly so, considering other, more overt versions of sexuality, which reinforce the psychology that women only wear lingerie for someone else. Kenya longs to change such attitudes. Wearing good underwear for yourself? “It’s like saying I love me. We all need a bit of that!”
Kenya has become a self-made ambassador for emerging lingerie designers, but her finely-crafted backdrop to the bras and bodices has likely led to equal recognition (namely, “Vogue’s favourite lingerie boutique”). Where did the concept for Apartment C originate? Copenhagen. “We heard the most glorious party… the tinkling of glasses, music playing softly in the background, the quiet rumble of voices and then deep, throaty laughter….the whole experience felt so decadent and wonderful and alive.”
Ah, the mysterious ‘C’ refers to Copenhagen? Or, Cretegna? Neither. It’s based on Kenya’s discovery that people living in ‘Apartment C’ always seem to host the best parties! Kenya’s passion for her business is tangible, from meticulously arranged costume jewellery, to spacious changing rooms, to her personal style: “…dependent on my mood, and what kind of conversation I would like to have with the world on that particular day.” Well today, Kenya’s skinny leather trousers worn with A/W 2010 aplomb are pitch-perfect ‘Apartment C’. Feminine, but strong. Sexy, but not too much. Fashion-forward and charismatic, despite extraordinary surroundings. A fashion retailer that just happens to sell lingerie? I couldn’t agree more.
Written by Kate Ingram on Thursday December 2nd, 2010 4:48 pm
The striking designs of product designer Lydia Leith first caught my attention at Bust Craftacular a few years back so I was delighted when she got in touch to tell me about her fabulous new project: the Stick of Rock range of mugs.
How much did your parents influence your decision to enter the creative world and what was the best advice they gave you?
Both parents have always been creative (Father illustrator and Mother craft teacher). Growing up in London we just happened to live in a very creative community, our neighbors (and friends) included a well known ceramicist, a fashion designer, an RA artist and in the house opposite us a Turner Prize winner. As a child I just thought this was very normal but looking back it was lucky coincidence and I have very fond memories of it all. From an early age I always assumed I’d end up working creatively, it never really crossed my mind to do anything else. The best advice my parents ever gave me was to “do the best I can” and “to occasionally break the rules”.
What was it like to leave London and relocate to a small town in rural Cumbria?
Moving from London to a small town in Cumbria at the age of 12 was a total culture shock. Once I had got used to the countryside it was a great (and probably a safer) place to spend teenage years.
Why were you inspired to create so much design based on the Royal Family? (your sick bag, jelly moulds and more)
The Royal Family theme happened by accident and I had made the Royal Wedding Sick Bags as a bit of a joke to practice my screen printing and to entertain myself. After their success and with the Queen’s Jubilee the following year it seemed fitting to run with the Royal themed designs for a bit longer, people expected me to bring something else royal themed out so I did.
You recently moved again, this time from Newcastle to Hackney – what prompted this latest move and how is it going?
I love the north and often pop back to see family etc. It is good to expernence new places. As a designer I felt I could be missing out on something by not being in London. It is early days for me here in Hackney, I am settling in well, it is fantastic to discover new shops, meet more creative people and find new inspirations. I am looking forward to becoming a Londoner again.
Your ‘Wired Up’ china set first attracted my attention a few years ago – where did you get the idea for this and how did you adapt the designs to suit the whole range of table ware?
Although water and electrify don’t usually mix, I thought a fairy lights design could be visually exciting but also would tie in with the cosy feeling of coming home and having a cup of tea. Using a tea set worked well because the design worked on cylinder and circular shapes and having multiple pieces meant we could have fun with mixing and matching.
Your latest Stick of Rock mugs are another stroke of genius – where did you get the idea for these from and where are they produced?
The idea popped into my head one day after watching rock being made. I had to find the right shaped mugs and ended up using a factory in Stoke in Trent to make them. I’ve started with Brighton, Blackpool and Margate but aim to make eventually all the seaside towns, Skegness, Bognor Regis etc.
When did you first start collaborating with your father and how does this process work in practice?
I started to collaborate with my father on some projects because I saw his talent wasted. His illustration work was seen everywhere over the 70s/80s/90s, he never adapted with computers and sort of disappeared off the radar once the industry became digitalised. However he was still a prolific worker but a lot of his personal work was finished then put in a drawer and never seen by anyone (the opposite to when he was working commercially). I thought this was a waste so I helped him get a website and we started working on some projects together.
So far we have worked on large scale murals, a range of mugs and coming soon children’s books. We get on really well, between us we have more ideas than we can keep up with making into reality. I am currently planning for a retrospective for his commercial illustration work, which is very exciting!
Where can people buy your products?
People can buy my products online here: www.lydialeith.com my fathers website is www.paulleith.co.uk General info and updates are on instgram and twitter too.
Written by Amelia Gregory on Thursday June 4th, 2015 11:51 am
This year I once again visited Tent London hot on the heels of London Fashion Week. At the end of September the creme de la creme of the product design world held court at the Truman Brewery, look and I’m here to bring you the best of the bunch. First up my favourite bits of furniture design.
Beautiful and very unique furniture from Anthony Hartley; waves of colour splashed across drawers and curved around walls in long shelving units.
Czech designer Jan Plechacshowcased versions of his favourite chair designs in wire.
The A & Z Design furniture stand was attracting people with a very cute dog. I liked their senUFO side table the most. It would be very cool in a kid’s bedroom.
What a brilliant idea for a chair cum bookcase from Italian company Nobody&Co. Obviously inspired by the same problems I have: an overwhelming number of books with no home.
What a hit: bold 50s influenced textile designs on simple modernist furniture from the well established brand Ercol.
Oversized household objects become kitsch furniture thanks to Goldsmiths trained Alex Garnett.
Tetronimoes by Shell Thomas were created by invitation from JJAM Curators’ Collective – what an ace idea for a kids’ playroom. Visitors were encouraged to use the velcro strips to rearrange the cushions and create new shapes of furniture.
My new favourite new chair comes from the Rex range, straight out of Slovenia. So comfortable, I want this rocker now.
Alison of Speller Milner design is a RCA graduate who makes elegant furniture topped with pretty graphic decoration.
Written by Amelia Gregory on Monday October 10th, 2011 4:30 pm
I first discovered the striking homeware of designer maker Dionne Sylvester at Spitalfields Market earlier this year, where they immediately caught my attention. Her colourful designs give traditional teacups, plates and upholstery a zingy modern update inspired by the play of light on the Caribbean sea and a fascination with optical illusions. I love them!
Where do you find inspiration for the combinations of colours that you put together?
My inspiration first came from looking at different menswear books, which led to researching the phenomenon of British Dandies and the collections of Ozwald Boateng in particular. I like the smart appearance of the Dandies and the extravagant colour clashes so beloved of Boateng, who uses unexpected shades for the inner lining as his signature look. My shocking colour ways are also influenced by Caribbean culture. You can see these references running through my range because it is both fun and traditional.
How do you create the feel of optical illusions within your artwork?
I use a combination of simple techniques to create illusions. The main image is often created in a prominent colour so that your eye is led to it, even though it has been well hidden in the final design. Sometimes other colours further distract the eye from the original image. When your eye detects a form your mind will then create logic from the whole pattern. It’s really nice to hear what people see in my designs: birds, dancing people, faces and just about anything you can think of. Everyone sees something different in my work.
What was the best thing you learnt during your degree in fashion design in Falmouth?
The best thing I learnt was digital printing, I was really lucky that I had the best technicians and I was taught so much about the practical uses of the equipment because I was in the first year to do the fashion degree. This meant that the technicians had a bit more time to give us tips on using everything and it was all new. I completed the first year on a Contemporary Crafts degree before I changed over to Fashion, which is funny since I have now gone back full circle and my work could be included under the umbrella of ‘craft’. My studies enabled me to pick up a real fusion of different skills.
Why did you decide to crossover into the production of homewares, and what has been the easiest and hardest things about the transition?
I’m still not sure how it happened! But, I knew I wanted to do something of my own and I love making and being creative. I bought the same equipment that I used at uni to do digital printing for fabric and it started from there when I began to experiment with the equipment boundaries. The first products I produced were sets of teacups which I got into a shop in Margate a week later, and the original prints on those are still being used on products which I sell.
The easiest part of all of this is how creative I can be and I am basically making, designing, painting and producing pretty things on most days. But the hardest transition is that I’m learning as I go along. I didn’t know anything about homewares or the craft business. From production to location of selling and keeping accounts, I am constantly learning. But it is still fun and I have met lovely people on the journey.
Where and how are your products made?
I source all my products locally or from within the UK, and I produce all my products from my home studio in Kent. It’s a bit crazy and gets messy, but it works at the moment. I’m looking into getting the ceramics made by a specialist outsource as I want to expand my ceramic range.
How did you get involved with the White Horses Whitstable project and what inspired the final design that appeared on a sail?(see Dionne’s sail on the far left)
I got involved with White Horses when I saw their advertisement for local artists and I wanted to be part of the project because it sounded very unusual and I have never been involved with producing public art before. The print that was featured on my sail is called A Water Dance and was inspired by my travels to the Caribbean – inspiration came from looking at how the sea reflects the different colours around it, changing the tone and creating movement and textures. I thought that would fit in well with the theme and it is also one of my favourite designs that is featured on my range of cushions.
White Horses Whitstable 2013. Photo courtesy of Leo Mason.
Whom do you produce fashion prints for, and how do these complement your own range?
I have sold to Bally, Gap and straight to textiles houses. My designs for fashion are very different as they tend to feature hand drawn illustrations in pen and ink and use a lot less colour than in my own work. I make mini collections of prints around themes such as decaying nature, the human body and creepy animals.
Dionne Sylvester – A Water Dance.
How has the Prince’s Trust enabled your business to grow? The Prince’s Trust has been brilliant! I went to them when I was unsure of what I wanted to do, and my mentor made me think about the possibilities of my small idea. She made me realise how much I had learnt from my studies and what an enormous love of art, craft and design I have. Taking part gave me the confidence to use all the skills I have.
Lastly, I believe you now live in Chatham in Kent – can you share with us what is happening creatively in the area? I’d love to know…
I have always worked and socialised in London but it has been three years since I left uni and I’ve kind of settled in Chatham now. There is a really creative buzz going on in Medway with lots of artists and designers hosting interesting events. This is not just because of the different arts universities in the area – it feels as if the local people are coming together to make a creative community, which is growing very quickly. It will be interesting to see how Medway artists affect the local landscape in the coming years.
Having spearheaded the new London folk scene with their debut album, theremedicalNoah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.
Photos by Katie Weatherall
Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?
Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.
AM: And the live shows must add another dimension to that?
CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.
AM: And is there anything in particular that has done this or has it been the natural progression of the band?
CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.
AM: Was there anything in particular you were listening to whilst making the record?
CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco…
AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?
CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.
There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.
AM: And Daisy Lowe stars in it, how was that?
CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.
AM: So is film making something you want to continue with?
CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…
AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?
CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.
AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?
CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.
AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…
CF: I can’t really remember how I write… I was writing last night but… do you drive?
AM: I just recently failed my test.
CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.
AM: Is being in a band everything you imagined it to be?
CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.
AM: So are there any untapped creative pursuits left for you?
CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.
AM: So how about acting?
CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.
AM: Do you prefer the full creative potential a director has?
CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.
At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.
If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.
Wednesday 26th August
The Hot Rats
The Old Blue Last, London
Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.
Thursday 27th August
KILL IT KID Madam Jo Jos, London
Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.
Friday 28th August
Swanton Bombs Old Blue Last, London
If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.
Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist Vibe Bar, London
It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.
Sunday 30th August
The Gladstone Open Mic Night The Gladstone, London
As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!
Sunderland born designer Rosie Upright is truly passionate about design. Aren’t we all I hear you say? Well, health she’s up, recipe all hours, medical day or night… cutting away with her trusty stanley knife… stopping only when her numb fingertips plead for rest. Do your fingertips bleed? I thought not! Rosie developed her unique hand-crafted techniques whilst at university in Epsom, where she learnt all the usual computer design programs… and then decided to steer clear of them. She’s fled the suburbs of Epsom now, to live in London town with all the other hopeful new freelancers. She spends her days photographing, drawing, organising balls of string… and deciding what hat to wear.
We caught up with Rosie for a little chat…
Hi, how are you today?
I’ve got a bit of a sore throat coming on, the irritating children over the road are noisily playing some kind of shooting game, a car is beeping its horn continuously just below my window, itunes is refusing to play anything other than Billy Idol (which I’m not in the mood for), my coloured ink cartridge has just ran out, I’ve got a blister from my favourite pink shoes, an uninvited wasp is stuck in my blinds, my ginger hair has faded to a weird brown, I forgot to buy milk and Ronnie Mitchell is still crying on Eastenders – but apart from that I’m topper thanks.
What have you been up to lately?
Fingers in pies, fingers in pies!
Including…cross-stitch and a week in a cottage in Norfolk (no telephone signal or internet connection, bloody lovely!)
Which artists or illustrators do you most admire?
I don’t think I would have done a degree in graphic design if my ever-encouraging parents hadn’t taken me to a Peter Saville exhibition at the Urbis in Manchester many moons ago. Made me see the ideas process at its very best and the crucial-ness (that’s not even a word!) of initial doodles and sketchbooks.
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Where would any of us be if it weren’t for Dr Seuss?
I really love a bit of Russian Constructivism, in particular Alexander Rodchenko and Varvara Stepanova, bloody genius. Mr Vaughan Oliver, for making us all think differently about where to crop the image, for being an ongoing influence and for that opportunity. Harry Beck, Robert Doisneau and most recently Philippe Petit.
If we visited you in your hometown, where would you take us?
Stroll down to Seaburn beach because when you don’t live next to the sea anymore you really miss it, and it has really nice sand. Then to my very best friend Sarah Bowman’s house, to play with Peggy Sue the kitten, have mental vegetarian sandwiches off a cake stand, and a glass of red wine, ice cubes and coke. We should pop to an art shop in Darlington and then to The Borough, the best pub for tunes, a pint of cider and a Jaeger bomb.
Who would most love to collaborate with creatively?
Mike Perry and YES art studio please. Thank you.
When did you realise you had creative talent?
When some hippy artist came into my junior school to create banners for some event at the local library with us. I was told after five minutes of colouring it in that I had to go away and read because I couldn’t keep within the lines.
If you weren’t an artist, what would you be doing?
A teenage Mam or an actress, haven’t decided which yet.
Where would you like to be in 10 years time?
I’d like to be the designer than graphic design students hate because their tutors always tell them to get their book out of the Uni library. And I’d quite like to have my own shop in London, Brighton or maybe Newcastle (or all three, and maybe Paris then if we’re going crazy) selling things made by me!
What advice would you give up and coming artists such as yourself?
Take other peoples advice but make your own mistakes, don’t be a dick and always colour outside of the lines.
How would you describe your art in five words?
Hand made/ typography/ narrative/ personal/ I’d like to say idiosyncratic too but don’t want to sound like a twat.
What is your guilty pleasure?
Seeing people fall over.
(and cake)
If you could time travel back or forward to any era, where would you go?
It was horrific enough moving away to University and into London and trying to find a job and start my life up. I think if I had to go backward or forward to another era I would probably just straight up die. Having said that though I would like to be a highwayman’s assistant.
Tell us something about Rosie Upright that we didn’t know already.
I can’t wait till I’m an old lady so I can wear those lacy nighties from Marks & Sparks and I love animals in clothes.
What are you up to next?
Going to make a cuppa tea, kill this wasp and then take over the world.
Written by Sarah Narraway on Wednesday August 19th, 2009 3:18 pm
At Amelia, information pills we thought you should know about these before you go out and brave the cold for that all important shopping trip! From limited edition prints to games and furniture, there is something here for all pockets deep to not so deep. But always for the art connoisseur that you are.
Jess Smart Smiley – The Weather Outside Is Frightful
The Weather Outside Is Frightful is a 2×3 foot winter-themed “look-and-find coloring poster”. Find the evil Ice Wizard and his mischievous bat brigade before they destroy winter cheer! The poster comes with a pack of crayons and a list of items to find and color. Get your own for just $12 + shipping by sending your address and dollars via PayPal to jess.smiley@gmail.com. Orders of 2 or more posters get a free original drawing of a snow creature. Check the Iphone Wallpaper too!
Jean-Claude Mattrat – Le Reste Offense
2008,
limited edition of 25 copies at £95
Jean-Claude Mattrat’s self-published book is full of beutiful original screenprints all nicely clothbound in slipcase. Rocket Gallery offers this and other interesting prints, books and objects from an affordable £50 to £650. Martin Parr’ s enamel tray or Tomoko Azumi ‘s Hexad [stacking table] can be viewed at the gallery or shipped in time for Christmas. Don’t wait!
WWP – Originals by Artists
From £100
This new series of originals by leading artists is the perfect last minute Christmas gift. These are ‘one-off’ items and exclusively available through the WIWP site. They will be sold on a first come, first served basis, so be quick if you are genuinely interested in purchasing one. Series One Includes Seb Lester, Dan Baldwin, Wilfrid Wood, David Bray, Kristian Hammerstad, Hellovon, Mr Bingo and Pomme Chan. The selection of Sculptures, Drawings, Sketches and Ceramics are with prices starting as low as £100+PP
Rob Ryan – You Can Still do a lot with a Small Brain
Published by Yorkshire Sculpture Park £24.99
Rob Ryan is a renowned artist of many achievements. He is a magician at paper cutting and his intricate screen prints are unmistakably romantic and always appealing. The likes of Elle and Vogue magazines, Liberty’s of London, Fortnum and Mason and our favorite designer here at Amelia, Sir Paul Smith, have all been seduced by his wonderfully detailed and delicate work. This hardback is a glossy and classy affair in which trees stand taller than buildings, leaves have faces and birds speak with more wisdom than humans. Published to accompany the exhibition of the same title, Ryan’s first at Yorkshire Sculpture Park, You Can Still do a lot with a Small Brain includes an interview with the artist and stunning photographs of Ryan’s work.
Amelia’s House – Amelia ‘s Anthology of Illustration
Published by Amelia’s House £25
Talking of Yorkshire Sculpture Park, they stock our homegrown Anthology of Illustration. This 265-page long colourful and exquisitely designed page-turner has garnered rave reviews from the Guardian, Creative Review and many others. It is also available to order from Concrete Hermitover the Christmas vacation while Amelia is away helping to make this world a better place!
Etsy – Monaw
From $11.50 USD
Handmade with love and care, Monaw‘s handbags and other items such as pouches and accessoires are decorated with lovely designs. What’s more, they have a lovely eco theme to them, with the organic handpicked lavender filled houses or the cute zippeed pouches made of cotton fabrics. Etsy is a brilliant shop for one of a kind art gifts and many are also ecologically sound- as you know, we care about that at Amelia! Elsewhere on Etsy, the Sparrow Coffee Cozy is a treat, Slidesideways’ Screenprinted poster are environmentally friendly and woolandwater‘s doll sets are just show stopping!
A2 (420 x 594mm), digital print on archive paper with archive inks, edition of 50, £300.00 UK, £320.00 overseas, p+p inclusive
The Drawbridge – One Year Subscription
4 issues for £12.00
Paul Davis‘s fantastic satirical drawing “The planets of un-failure” (first published in The Drawbridge issue 4, 2007) is now available as a limited edition print signed and numbered by the artist. The Drawbridge is a quirky and innovative independent quarterly delivering thought, wit and reflection through words, photography and drawing. It is in turn critically nonsensical and radically serious. With each issue, authors and artists cast an unflinching look at a selected theme. Why not offer a gift subscription of one year and 4 issues? Passionately written, elegantly designed and intelligently illuminated, full-colour newspaper is the perfect gift for the the progressive readerin search of surprising combinations of views, insights and visual wit!
Articulado’s Book – Sanserif
At first sight, this book looks like one of a kind and it is undeniably so; this limited edition portable book-product is more sculpture for your mantelpiece than mere reading material .A not-for-profit publication featuring opinions and reflections from leading names in international design —Erwan Bouroullec, Ana Yago, Karim Rashid, Milton Glaser…— and other experts —Alice Rawsthorn, Covadonga Pendones…— on the relationship between design, the environment and the economy. Conceived to transmit values like sustainable growth, recycling, low impact production processes… printed in one colour on ecological paper without varnishes or special treatments. Coordinated by José Antonio Giménez & Designed by Ana Yago (Sanserif Creatius), with the support of ADCV and Impiva. More info at prensa@sanserif.es. The book is available to buy online or at prensa@adcv.com.
Sonny McCartney – T-Shirts
From £20
SonnyMe is a very talented photographer and designer. His T-shirts are sticking black and white designs that reflect his off-beat sense of humor. Buy this T-shirt on his website.
Jennifer Strunge – Cotton Monsters
From $35.00 USD
Maryland Institute College of Art graduate Jennifer Strunge makes fantastic creatures out of recycled fabrics that she culls from old garments and linens. The one she has for sale via her websitehave pockets in their mouths, making them comforting hand-warmers.
Haunch of Venison – Limited Edition Prints
Books from £12 and prints from £100
Haunch of Venison has published a number of new books and editions over the past year and their series of prints are particularly noteworthy! Polly Morgan’s etching ‘Blackbird with Maggots‘, produced for ‘Mythologies’, depicts a rotten blackbird that has become a nesting site for flies. Morgan, an artist who incorporates highly skilled taxidermy in her work, has talked of a ‘desire to celebrate the corpse as a thing of beauty and significance’. Published to accompany ‘Mythologies’, Haunch of Venison London, 12 March – 25 April 2009, this etching on Somerset textured paper is an edition of 100 priced at £100.00. Or what about Mark Alexander’s ‘Via Negativa‘ or Hew Locke’s striking ‘Chariots of the Gods‘. Have a look at the Haunch of Venison website; it is a treasure trove of gorgeous books and editions.
V&A – Press-Out and Stand-Up Paper Circus
Price £5.00
Created exclusively for the V&A, this delightful press-out and stand-up circus is adapted from an early twentieth century paper circus in the museum’s collection. Each pack includes 2 sheets with a press out, slot together and stand up circus tent and crowd; now all you have to do is press out, fold and stand circus performers and animals! Great price for even greater fun and playful idea!
PYMCA – Richard Braine and Sky Sheldon
From £30.00
This limited edition from the PYMCA archive is the perfect last-minute Christmas gift.The archive contains over 80,000 classic and contemporary images from Mods, Two-Tone, Madchester, Acid House, Swinging London, Punks, Skins…and every subculture and youth movement in-between. The archive also features famous faces from the music world such as The Clash, The Stone Roses, Madness, The Beat, Faithless and many more. Featuring the work of such fantastic photographers as Richard Braine, Ted Polhemus, Paul Hartnett, Toni Tye, Janette Beckman, Syd Shelton, Dean Chalkley, David Swindells, Normski, Eddie Otchere, to name but a few, a PYMCA Limited Edition Print would make a stunning addition to every living room wall. Each print is strictly limited edition, coming with a certificate of authenticity and can be framed or unframed in many sizes up to 50 x 70cm. Prices range from £35 for a small print up to £150 for a signed, 50 x 70cm.
Chris Martin – T-shirt Designs
Chris Martin is one busy illustrator as his blog will demonstrate. At Amelia, we like original illustrators and Matin’s work is quirky, colorful and wonderfully detailed! This design and many more are available to buy. Contact the artist to find out more: Chris@mrchrismartin.co.uk
Geri’s Cushions Covered
This new company specialises in bespoke cushions, blinds and mounted fabric images. All items are handmade with the choice of shape, design and colour left to you! Contact Geri at cushionscovered@gmail.com. Website to come soon!
Jan von Holleben – Journey to Everywhere Calendar
Large 2010 Wall Calendar, 47×45cm, 13 Pages, Published by Chrismon Edition 2009, Price: £15.00
‘Its great to come back to a place and continue where things were left in the past’. It’s seven years ago since Jan von Holleben started to put his kids and childhood dreams into photographs. Since then trees have grown and new houses have been built in the little village in Sasbach at the Kaiserstuhl, in the South West of Germany. The kids he works with have grown too, but are still keen on playing along with him. ‘It’s just that demands from the kids are much higher now and that I can confront them with more complex ideas than in the past. We still meet in front of my mother’s house, discuss the photographic ideas and collect the props we need for the images”. Perspectives are closely defined for everything needs to be perfect for an illusion that needs no digital postproduction. See for yourself and buy here!
Written by Valerie Pezeron on Tuesday December 15th, 2009 3:18 pm
Beaver Mug by Lisa Jones. I *love* beavers so I was super excited to find this. No really, don’t laugh.
Next up: my recommendations for mugs. Yes, a whole blog devoted to the sexiest mug designs: I can’t resist them! There is nothing better than a good cup of tea in a beautifully designed and well proportioned mug, so I’ve scoured the internet to bring you these great designs: just in time for Christmas.
I was so pleased to discover that Lisa Jones has applied her wonderful retro style critters to bone china mugs.
I am a massive fan of Lush Designs – two designers who work together to create totally inimitable artwork – think wild boars, swinging monkeys, strutting cats, all with gold detailing. We have their fine bone china mugs at home and I LOVE THEM. They were meant as gifts but they never left the house…
I love 1973, and not just because this husband and wife team were born in 1973 (and so was I) – their shapely new Grafika mugs bear bold optical designs.
And for something a bit more subtle, how about this leaf branch mug by Freya Lines? Originally created in pencil and watercolour, then digitally printed onto china in Stoke-on-Trent.
Fab character illustrator Ben Javens has created this fun landscape design for new website Beast in Show, an off shoot of To Dry For.
For something a bit more saucy how about a 50s housewives cavorting with her washing, on mugs designed by Dupenny.
Also from Beast in Show, Gemma Correll‘s classic Pugs Not Drugs design now comes on a mug: I love the detail on the base inside. Mmm, Biscuits, indeed.
Donna Wilson turns her hand to ceramics with this lovely bone china mug featuring a mid-century-inspired Acorn design, available from Soma Gallery.
Swedish designer Ingela P Arrhenius is a renowned illustrator whose retro influenced designs appear in books, on clothes and across fabrics and stationary. I love this bird mug! Available on Hus and Hem, a website that features loads of great Scandinavian design.
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