Amelia’s Magazine | Hero of the Week

Monday 12th Jan
Starting today: The Voice and Nothing More is a week-long festival at the Slade Research Centre that explores the voice as both medium and subject matter in contemporary arts practices. Established artists and emerging talent will work with leading vocal performers in an exploration of the voice outside language. On Wednesday the festival culminates in a presentation of objects, pilule generic performances, order and installations that are open to the public. There will also be performances on Thursday and Friday from 6 pm.

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Wednesday 14th Jan

Now in it’s 21st year, recipe the London Art Fair begins at the Design Centre in Islington. A hundred galleries are selected to show work from the last few hundred years. This immense exhibition will encompass sculpture, photography, prints, video and installation art. It ends on the 18th of January.
There is a talk this evening at the ICA entitled Can Art make us Happy? where artists Zoë Walker and Michael Pinsky explore the notions of art as a social cure-all in times of economic and social gloom.
A new solo show from Josephine Flynn begins today at Limoncello on Hoxton Square. The Mexican was bought off a patient who was in hospital with mental health problems. When the patient talked about The Mexican she described how the process of making him had helped her – ‘healing through making’ was how she put it.

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Thursday 15th Jan
Feierabend is a collaborative installation between artists Francis Upritchard, Martino Gamper, and Karl Fritsche, bringing together a shared aesthetic in their distinctive approaches to jewellery, furniture design, and sculpture. The exhibition plays with the boundaries of art and real life – looking like a workshop abandoned at the end of a day’s work, or a sitting room left in abstracted dissary, it’s only inhabitants a set of sculpted figures who seem lost in their own meditations.
Gimpel Fils opens a new photographic exhbition from Peter Lanyon and Emily-Jo Sargent, 100 Pictures of Coney Island.
The Asphalt World is a new solo show at Studio Voltaire from Simon Bedwell. Drip paintings are made from advertising posters in an ironic twist or corporate seduction.

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Friday 16th

There are two exhibitions starting today at Wilkinson on Vyner Street. In Upper Gallery a, Episode III, Enjoy Poverty, is the second in a series of three films by Renzo Martens in which he raises issues surrounding contemporary image making, challenging ideas about the role of film makers and viewers in the construction of documentaries. In the Lower Gallery, there will be the fourth exhibiton from German artist, Silke Schatz. Through the conjunction of video, sculpture, drawing and found objects, Schahtz composes a personal portrait of the city of Agsburg.

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Saturday 17th Jan

We featured David Cotterrell in issue ten, where in the picturesque surroundings of Tatton Park, he explained how his visit to Afghanistan, where he was invited by the Wellcome Trust, would be likely to have a lasting effect on his future work. Aesthetic Distance is David Cotterrell’s third solo exhibition with Danielle Arnaud, and focuses on the experiences and inevitable aftermath of a flight he took in November 2007 in a RAF C17, from Brize Norton to Kandahar. He was the sole passenger in a plane loaded with half a million rounds of palletised munitions and medical supplies to join Operation Herrick 7, a strange irony not lost on the artist.

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Earth Listings

Monday 12th January, viagra 60mg 7pm

Climate Rush hits Heathrow

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To whomsoever concerned by the biggest threat faced by humanity today-that of climate change,

You are cordially invited to Dinner at Domestic Departures. Join us for an evening of peaceful civil(ised) disobedience ahead of the government’s decision over a third runway at Heathrow. Inspired by the actions of the suffragettes, we will be calling for DEEDS NOT WORDS. The government acknowledges the huge problems we face from Climate Change but they continue with business as usual. This jolly evening is intended to produce much-needed positive change and we do hope that you would join us.

Location: Domestic Departures, Terminal 1, Heathrow Airport.

Time: 7pm (when the string quartet plays their first note).

Dress Code: Edwardian Suffragette: high collars, long skirts, fitted jackets, puffed sleeves, think Mary Poppins. Sashes will be provided. * Although advisable, it is not compulsory to arrive in Edwardian dress, the most important thing is that you your friends and family join us for dinner. To add the element of surprise, it is suggested that you arrive in a large coat to conceal your costume until the stroke of 7.

Bring: Jam tarts, scones, cucumber sandwiches, hard-boiled eggs, tea cakes. Picnic blankets and table cloths. Tea and elderflower cordial. No alcohol please.

Entertainment: String quartet, art tricks from ArtPort, polite conversation.

We look forward to seeing you,

The Misbehaved Ladies from Climate Rush x

Tuesday 13th January, 6pm

Art, Activism and the legacy of Chico Mendes
RSA
8 John Adam Street
London
WC2N 6EZ

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Tonight will explore the ways in which the arts can help shift society’s attitudes in the face of unprecedented climate change. Elenira Mendes, daughter of environmental activist Chico Mendes, will talk alongside panelists Jonathan Dove (award-winning composer), Greenpeace’s senior climate adviser, Charlie Kronick and fasion designer and activist Dame Vivienne Westwood.

Wednesday 14th January

Wednesdays Do Matter
InSpiral Lounge, 250 Camden High Street NW1 8QS

A night of music, comedy, poetry and film (and really good vegan smoothies!) in aid of global justice campaigners, the World Development Movement. Remind yourselves why everyday matters, even Wednesdays.

Trouble the Water
ICA
The Mall
London
SW1Y 5AH

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Winner of this year’s Grand Jury prize at Sundance and announced as a finalist in 2009 Accademy Awards for Best Documentary. This is one New Orleans’ resident’s depiction of the catastrophic tragedy of Hurricaine Katrina. Shot with a (shakily) handheld camera, Kimberely Roberts’ footage starts from the weekend before the hurricaine and covers a period of a year. Michael Moore collaborators Tia Lessin and Carl Deal edit and append the tapes with their own film of the post-Katrina clean-up effort.An astounding portrayal of resilience and bravery.

Showing at the ICA 12th-15th January

Turning The Season
at The Wapping Project
Wapping Hydraulic Power Station
Wapping Wall
London
E1W 3SG

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Recent crisp bright skies have been a welcome respite from the usual drab January weather. But who knows what tomorrow may bring. Turning the Season explores the social and cultural phenomenon of the British Season. It would be fair to say that the increasingly visible effects of Climate Change have further fuelled our national fascination with the weather.
Expect 100 bird houses, a roof-top lily pond and a photo story showing the break-up of a relationship against the backdrop of seasonal events shot by fashion photographer Thomas Zanon-Larcher.

Until 28th Febuary

Amazonia at the Young Vic

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Although aimed at swarms of roaring key stage 3 schoolchildren as an educational piece on the issue of deforestation, this production from Palace People’s Projects is a true delight. Set in a traditional village in the Amazon that is eventually swayed by the ghost of Chico Mendes to not fall under the developers’ bulldozers. But not until some devastation has been wreaked first. A socio-political depiction of destruction of the Amazon with a mythical slant. All set to the music and dancing of Forro. An inventive stage (a mammoth man-made tree rather resembling an electrical pole, and pools of water seperating the audience) and brilliantly gaudy costumes by Gringo Cardia.

Until 24th January
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Monday 12th January

Dead Kids, cost O Children, erectile The Lexington, London

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Seriously energetic post-punk, sequinned and LOUD live act Dead Kids headline. No matter what you think of them on record, they’re sure to grab you live. Continuing the infant name-theme, as well as the intense post-punk sounds are support O Children.

Comanechi, Durrr at The End, London

With the ever-winning combo of Japanese girl singing drummer (also to be found as frontwoman for London band Pre) and jangular guitars, this is your best bet for a trendy sceney night out in London.

Tuesday 13th January


Banjo or Freakout
single launch party, White Heat @ Madame JoJos, London

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Part of the new-wave of ultra-hip, genre-smashing music sweeping the artier corners of the globe at the moment. Should be a celebratory atmosphere as it is his single launch party.

Wednesday 14th January

Goldie Lookin Chain, Metro, London

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Ho ho ho, GLC are sooooo funny. Free entry is promised to the gig but don’t leave your purse at home as you’ll have to pay to leave.

The Virgins, Rough Trade East, London

American New Wave tinged indie-rock.

Thursday 15th January

Wet Paint, Rough Trade East, London

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Playing this gig in anticipation of the release of their new album, they’ll be supporting Bloc Party later in the year.

Emmy the Great, 12 Bar Club, London

Intimate solo acoustic performance of debut album First Love in full, ahead of its release in February.

Push, Astoria 2, London

A massive farewell party for the Astoria 2 which will be finally demolished on Friday. Catch Cajun Dance Party live as well as DJ sets from Mystery Jets, Lightspeed Champion, Good Shoes and Neon Gold among many others and mourn the demise of the sticky-floored dingy music venue in central London.

Friday 16th January

Cats in Paris, Brassica, Braindead Improv Ensemble, The Woe Betides, George Tavern, London

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Massively hyped, bonkers 70s-ish glam-electro from Manchester.

The Golden Silvers, The Macbeth, London

Dreamy indie-pop from these regulars of the London gig circuit.

Saturday 17th January

The Bookhouse Boys, Empire, Middlesborough

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Catch this 9 piece mini-orchestra, complete with mariachi brass, duelling drummers and girl-boy vocals, for their Ennio Morricone-style soundscapes.

I Love Boxie: a web-based business in London that tailors a t-shirt especially for you based on the story you tell them. The most astute of the fashion-conscious clan know that style should reflect your spirit and not merely robotic trends. In light of this; don’t wear your heart on your sleeve– instead wear it on a t-shirt; a Boxie t-shirt.
Here, cure founder of Boxie, troche Moxie shares her views on what fashion is truly about, how her brand works and what she hopes to achieve through her t-shirts:

Tell us the story of I Love Boxie.?

Each t-shirt tells a piece of the way – a place we have been, a person we have seen. We have many lines that fit many situations and could tell a piece of your story too. If not, we offer t-spoke. You call us, tell us a story and we turn it into a line on a t-shirt. We believe everyone in the world should have an unbranded, authentic tee that sings a line of where they have been and what they have seen. We are the opposite of any company who just put a logo on a t-shirt.

?Where does the inspiration for your t-shirts come from?

?From the people who write and call in everyday with their stories. The stories are wild, heartfelt, quiet, poignant and are better than anything we could make up.

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What’s the idea behind the “half a conversation” concept?

If you think about branding for the last 30 years it’s been about distillation, reducing everything to a line eg: ‘just do it’ or ‘impossible is nothing’.
Our lines are about provoking expansion. It’s just the first line of the story, or the chapter heading. We want people to come up to someone wearing a Boxie tee – and go ‘wow, what the hell happened to you??’
?
Why do you make it purposefully hard for people to purchase your t-shirts, without contacting you directly first??

The tees are written about stupid, funny, weird, deep moments in people’s lives. All of them from the heart. They feel like they need more exchange than a credit card transaction. T-spoke especially. This is a creative collaboration that begins with the customer telling us their story. It is a strange and wonderful one off encounter between them and us. The t-shirt is their battle scar of that personal story.

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Is all your business Internet based? ?

As far as being web based goes, our tees are obviously a form of self expression and there is no greater arena for that than the web. This taps into what a tee originally was – a piece of underwear, something that wasn’t supposed to be seen but kept close to the chest and hidden like a secret.

These days, the web is a place where secrets can step out of the shade, where people can talk about things they wouldn’t usually talk about in real life. Most times, you can learn more about someone from reading their status report than talking to them for an hour in reality, because the web has taught us the language of openness and sharing.

Boxie exists in the ether as part of that fluency. More importantly those web values – openness, sharing, community – are overflowing back into real life now. So, yes, soon we’ll be on the streets in some form, although the tees will never ever be in a retail space, hanging limply on a rack.

Your favourite Boxie T-Shirt to date??

So High and Solo

How would you describe Boxie in one word??
Gonzo

Any advice for the penniless fashionista?
Everything great creatively comes from being up against it and with no cash. You can’t ever see it when you’re in it but, as far as imagination goes, you are in an infinitely better position than someone with a million dollars. Do something great with this time. And then call us to get the t-shirt. ?

Advice for those wanting to purchase something Boxie??

Write to us directly at moxie@iloveboxie.com
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New York is spawning many a catchy-tuned electro based band at the moment – meet The Discoghosts, more about firstly they have a brilliant name, look secondly, approved they do what they say on the tin, this is a disco fest. Their ethos is nicely summed up in their lyrics, “We love ladies and they love us, cos we’re cool and disco plus.”

Otherwise known as M-Boy and Tracky, they meant their album title – BAD – literally it seems, rather than a tribute to the King of 80′s pop, as they are apparently, “trying to break the taboos of “good” music, while playing with clichés of club sound like repetition, climax, stupidity, autofilter, and sound fetishism.” I see.

This album could be the OST to many an 80′s movie – it’s true, it may be the decade that taste forgot but it produced some pretty good tunes – there are obvious Ghostbusters references ie: track 2 being called Ghostbusters Busters and there’s also hints of the Beverley Hills Cop riffs in there, along with and slinky soul beats, electro voices, rubbish rapping and a guy that sounds suspiciously like the chef from South Park

That’s not to say they’re stuck in the past, their mellower synthetic beats, such as Jellyfish, track 9, have a Hot Chip vibe and that’s not a bad thing at all.

If their aim was to produce an awful album – they failed, maybe it’s just that I have a soft spot/great love for the 80′s but I very much enjoyed this, catchy, listenable songs that don’t take themselves seriously. My favourite line, from Straight but Gayish (sung by a high electro voice), “your boyfriend’s hetro but he looks homo.”

And they dress like this to perform:

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How could you not love them?
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It was legitimate for us to feel nervous. With indiscreet bullying from BAA and no knowledge as to how the police were planning to receive us, sick we tucked our dresses beneath our over-coats and shuffled through the throngs of intimidating fluorescent jackets at Heathrow Departures, illness passports at the ready and an impromptu conversation about flight times – very subtle. I wish I could have seen the briefing, look out for pretty girls in dresses and large jackets.

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Once in, all subtleties were abandoned, a charming sight when the order of the day was Edwardian dress and dinner, an evening of very civil (ised) disobedience. Instruments, top hats, high collars and puffy sleeves – all were revealed as the clock struck seven, the string quartet took to its first note and picnic blankets were unfurled for the beginning of the Climate Rush organized party, Dinner at Domestic Departures.

Music played, food passed cordially from plate to plate, and sashes were handed out. It was not long before currents rippled through the crowd into cheers, claps, and chants, “Deeds Not Words”, “Trains not Planes” and, “No Third Runway”, with a contingency singing to the tune of 90′s classic There’s no Limit. The complete transformation of Zone C was helped along by Artport, a collective of artists working in collaboration with Cilimate Rush to redefine the space as we know it. Green all-in-one clad waiters weaved through the crowd with a planet for a cake and planes for spoons, whilst a parachute game bounced a blow-up earth from edge to edge.

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In amidst this electric and elevating atmosphere, it was a spectacular delivery of a serious message. Climate Change is a very real threat and many people feel let down by the powers that be to address this threat.

We don’t want a third runway and call for cheaper train fares and better transport hubs instead of domestic short-haul flights. It is of course just part of a bigger picture: the greater threat of Climate Change of which aviation expansion is just a part, and the wider feelings of concern and dissatisfaction amongst citizens for whom civil disobedience is also, just a part.

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Describing herself as an ex-Camden townie, link the self-taught illustrator, Zarina Liew, has thrown her arms up at the big smoke and a career in marketing; and has chosen instead the serenity of the Cambridgeshire countryside, pencils, watercolours, and strange lonely creatures ridden by lust and self-ruin.
Her Hunter Series, eight inked paintings which exhibited at the Shoreditch Shuffle Festival, started life as a 24-page graphic novel. It tells the story of a gramaphone and a lonely creature, who forms an unlikely friendship with three musicians. She is driven by a need for company and music, they are captured by her beauty and seduced by her authority. The musicians fall into her charm and into her gramophone where they are trapped and eventually perish, singing songs of solidarity and love.

Over a virtual cup if Green Tea, we ask Liew a bit more about her curious creatures of emotional turmoil, her illustrative inspiration and whether or not she misses Camden.

Tell us about the Hunter Series.

I wanted The Hunter Series to be an extension of the original story both visually and metaphorically – a story within a story. You get a sense of the narrative from the different pieces, but as a whole, you see the Hunter for who she is – a hungry, lonely and melancholic being. It’s an illustration of lust and self-ruin; both the musicians and the Hunter are acting on impulse, blind to their terrible fates. Even though she is the one to end the men’s lives, the Hunter does not get what she wants. With no one to listen or play with, she’s alone again.

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Where do you draw information for your characters from?

I draw most of my information from observing the people around me. I never assume that what you see in someone is what you get – everyone has a hidden interior of ambition and desire. Music plays a large part as well. I found the musicians for The Hunter listening to an unsigned band playing at the Dublin Castle in Camden – the Parallel Animals. After falling in love with them – and the front man! – I offered to sketch them during rehearsals and help out at their gigs. Seeing how hard local bands work at this music business, and how ruthless the whole industry is, gave me a sense of direction in depicting the musician’s fate in my artwork.

The emotional context of the characters is strong; the nature of lust and self-ruin… is this an expression of your own emotional turmoil?

I suppose yes – in a sense that all of my work is an expression of myself, my feelings and thoughts. I wouldn’t say that I am strongly affected by the nature of lust and self-ruin though, let’s just say that I am extremely aware of it in myself, and all too conscious of letting myself go, or losing control of who I am. As I mentioned earlier we all have a hidden interior of ambition and desire – acting on lust however (whatever the desire – money, sex, fame) can only lead to self-ruin. Sometimes I wonder if I’m making the right choices, I question why I did certain things and what is behind my motivations. It’s a constant cycle of self-reflection.

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And finally, Camden vs Cambridge countryside… who wins?

This is a real toughie. Can I be wayward and say that weekdays are for Camden and weekends are for Cambridge?
During the week I get a lot of inspiration from the Camden kids, lovely hidden-away galleries and sweaty underpriced indie nights. By the weekend though it’s full of puffy tourists and very long queues for nothing.
That’s when I retreat to the gentle Cambridge countryside. It’s perfect for lethargic country strolls and relaxing afternoon teas; this is also where I get a lot of my inspiration down onto paper and start to paint. All the week’s bustle leaves my mind ready to draw in peace and quiet!

You can see more of her work here, or catch her at the Alternative Press Fair on Sunday 1st February where she will be featuring the Hunter Storybook alongside other homemade creations, and apparently, lots of Green Tea.

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Why is it no-one tells you that when you leave uni, approved your life will have a huge vacuum and those 3 years you spent studying illustration suddenly seem wasted when all the available jobs are in call centres? What to do? Give up the creative dream? Not if you’re Brighton girl Anna Wenger. She decided that if there was no jobs out there, adiposity she’d start her own business, viagra dosage and Sacred Stitches was born. Her idea of stitching classic tattoo designs onto clothes and homewares has really taken off in recent months, and she’s kindly chatted to us about it:

How did your business come about?
I needed to give my family and friends Christmas presents but without spending much money, so made everyone cushions. I got a lot of attention from these cushions and created more and more and now embroider onto everything I can lay my hands on!

Who are your favourite designers?
I love Angelique Houtkamp, her work mixes classic tattoo imagery with Hollywood romance and her eye for style is very inspirational.
Others include Inka Tattooist James Robinson, Alex Binnie, Jon Burgerman, Tara McPherson and Crush Design Studio.

How would you describe your personal style?

A very modern graphic twist on an old school tattoo style. I like to think that with my designs everyone can appreciate the art form of tattoos without having to get one.

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Do you wear your own designs?
Oh yes, and so does my boyfriend, his friends, my flatmates. My flat is completely covered in sacred stitches cushions!

Who or what inspires you? (i know the obvious answer here is tattoos –
but if there’s anything else!)

I live with a tattooist who influences my work; magazines and art exhibitions are good for getting new ideas. My boyfriend and friends are covered in tattoos and will come home with a new piece of art on their skin, so its hard not to be inspired when your surrounded by moving artwork.


Have you got any tattoos?

No, the design is still in progress.

Do you have a favourite tattoo design / what’s the best you’ve seen so
far?

My favourite so far is by Judd Ripley of an amazingly haunting pirate ship. (pictured below)

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Do you still love Brighton/can you see yourself living anywhere else?
I am originally from Brighton and moved back here after University, as it’s a creative city. I do love Brighton as it’s a very receptive place for my designs because people here like to buy from small businesses.

Can I have a t-shirt please?
Yes, what size are you, xxl?!?

How very dare you. A medium at the very most!
Thanks for your time Anna. Talent and ambition, the best combination.
Contact Anna about getting hold of your own personalised tattoo(ed piece of clothing) here.

So it may have looked like I was deserting my post last week, cheap swanning off to Paris to slide down hills on the ice and hibernate in nice restaurants. However, whilst my trip may have involved quite a lot of that sort of fun, I was not just being a bone-idle holiday-monger. Au contraire. I also had my ears opened to some great new music and had this excellent first EP by Hold Your Horses! thrust into my sweaty and eager palms (fine it was in a nice restaurant that this transaction took place but we were just following the model of most international business).

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Most recent French bands seem either to do an excellent line in electronica or a terrible one in punk rock – you just can’t do attitude if your beige converse match your cashmere v-neck and your hair is cleaner and shinier than a Pantene advert. Hold Your Horses! have most in common with the second school, essentially a guitar band augmented with some strings and wind. However, perhaps the fact that they are a motley crew of diplobrats and true Frenchies contributes to the broader and more interesting range of influences discernible in their music. Sure, The Strokes are probably in every single member of the band’s record collection and at moments on this record, if you were to replace singer Flo’s Chrissie Hinde delivery with a Casablancas drawl, you would be forgiven for thinking you’d stepped back to Strokes-fever 2003, but this is really just what provides the catchy backbone of these songs. There’s a pleasantly shambolic tone – perhaps a little too shambolic at times due to the slightly rough-around-the-edges self-done mix – and when the boy vocals kick in partway through track two, a vaguely Celtic edge emerges.

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Opener Cigarettes and Lies, the strongest song on the record, fanfares its arrival with a blast of trumpets before launching into a danceable meditation on youthful lust and confusion. After that, the titles get longer and the violins more prominent as they have a bit of an Irish-ska moment (fine that’s not like, an official genre but listen and you’ll know what I mean) before ending on the sultry Argue and the sweet Flo’s Folk. Although not perfect or polished, this EP is really promising and tips HYH! as a band it’s definitely worth catching live when they hopefully make it to this side of the Channel.

Click hereto get hold of a copy.

Now you see him now you…hang on, search is that? Yep a giant bunny in a smoking jacket who is theatrically drawing my portrait and grimacing at the fur collar of the girl standing next to me. ‘It’s mink!’ she frantically mimes through Wieden & Kennedy’s shop window on Hanbury Street. ‘Minks are bastards’ he mouths back.

I’m witnessing some of the day-to-day activity taking place outside Imaginary Friends, medicine a rather bizarre shop front exhibition that takes me back to long days spent in the airing cupboard as an only child. Back then, store my imaginary friend was a replica of the devilish dog that encouraged Tintin’s canine companion Snowy to do naughty things (don’t worry, no one else understood that either).

From now until Sunday your imagination takes the form of a wine glugging, abusive life size bunny rabbit (aka recent Central St. Martin’s graduate Jack Bishop).

I managed to catch him on a carrot break.

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LJ: I say ‘carrot’ you say?

IF: Parrot? Ok it is the main component of one’s diet but I much prefer Beef Wellington. I shall not be marginalised.

L.J. Can you be taken for walks?

I.F. Of course I can darling. I’m imaginary after all, I can go anywhere you chose. Usually down the local.

L.J. Do you get along with cats?

I.F. So-so. We have a mutual respect for one another.

L.J. Do you breed well with Holland Lops?

I.F. Most definitely. Although my ideal breeding partner would have to be Jessica Rabbit.

L.J. Of course what a babe, got any celebrity bunny mates or rabbits in high hutches?

I.F. Well Harvey is a dear friend as we’re very alike. I used to be drinking buddies with Bugs but…(he drifts) he said a few things about me…said I drank too much. Lightweight.

L.J. Oh dear, well hopefully you’ll settle your differences over a good carrot or a nice seed selection. What are your thoughts on the following high-profile bunnies?

L.J. Peter Rabbit?

I.F. Wet lad.

L.J. Easter Bunny?

I.F. Fatty boy (all that chocolate).

L.J. Energizer Bunny?

I.F. Nympho.

L.J. Thumper?

I.F. Good Kid.

L.J. Nesquick Bunny?

I.F. He’s sold out. Such a shame. Corporate bastard now.

L.J. Got any plans for Easter?

I.F. (He humphs dismissively) I’m not the religious type. I’ll most probably be alone listening to Smokey Robinson and Sam Cook, drinking fine wines.

L.J. That sounds fun, I’ll be your friend if you want.

I.F. You fool! I can’t chose to be someone’s friend, I’m imaginary, they decide what I am to them, it’s annoying. Sometimes I feel degraded. I’d much rather be on my own.

With that he lolloped back down Brick Lane.

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CarrotMobbing! No it’s not a bunny invasion in the run up to Easter, sick it’s the new consumerist activism from San Francisco. The idea is to sway more businesses to adopt greener habits. An alternative to boycotting, more about CarrotMobbing operates in a way that appeals to businesses by offering cash rewards.

In return for a percentage of a day’s takings to be spent on environmentally-friendly practises (e.g. better energy-efficient appliances, organic produce) a CarrotMob will descend on the establishment on a certain day and spend, spend, spend.

It is the brainchild of American environmentalist Brent Schulkin and it is unique in working alongside businesses that could be greener by offering them the ‘carrot’, as opposed to the ‘stick’ approach of boycotting or picketing.’We recognize that corporations must keep profit as their top priority.Historically, this fact has meant that the environment has suffered. We hope to change that by putting rewards in place that will make environmental responsibility the more profitable choice.’

The concept has already started to make an impact over here. The first UK Carrotmob was in September 2008 at the Redchurch bar in East London and since then carrotmobs have sprung up around the country including the restaurant La Ruca in Bristol.

When I proposed the idea to local cafe Yummy’s, Jason and his brother were really keen! Stay tuned for an Amelia’s Magazine CarrotMob expected to take place in a couple of weeks time.

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Bristol’s Thekla is a down-with-the-kids venue by anyone’s standards. The ship is moored in a floating harbour, approved featured in Skins, shop has been played by Massive Attack and was once graffitied by Banksy. To see a band there tipped as number two in the BBC’s ‘ones to watch 2009′ is incredible. White Lies quite literally rock the boat.

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Anticipation crackles in the air before they mount the stage. I’d fallen deeply in love with the singles months before: deathly, desperate melodies with the lyrics of a romantic poet born in the 80s set to gut-grinding electronica. And I’m praying they won’t let me down. In a swell of turbulence, the band storm on with Unfinished Business liquefying into To Lose My Life. Later, Farewell to the Fairground also stands out as a stark winner, perhaps a forthcoming single?

Harry McVeigh haunts his audience, both in voice and form. Recalling the two great Ian’s of post-punk, McCulloch and Curtis, he’s skinny with a voice that’s anything but. Glimpse him between the strobe lights and he’s a beautiful alien visitor. And the possessor of a truly spectral set of vocal chords.

Through White Lies’ unique ability to craft tangibly spooky scenes with their lyrics, as each new song rumbles into being, I’m by turns walking in an abandoned fairground at night, taking off in an aeroplane, wrestling a ghost in a dream. Captivating. Sound groans in the iron belly of the ship, the guitar rips through thundering drums and Harry wails into the watery deep. There’s no banter, no real movement and yet everyone’s rapt because they’re witnessing something really special.

A few technical hitches mar the proceedings and drown out the vocals, but not to worry, the finale is Death and we’re all singing along. White Lies have mesmerized their crowd good and proper and we pursue them from the boat like crazed rats into the night. Drunken fan’s yelps of ‘yes this fear’s got a hold on meeee’ follow me all along the dark waterfront home.

It’s half way through January – a long way from pay day and you want some new clothes. It’s the only thing that can cheer you up in this depressing month. Visiting an actual shop is out of the question, decease you can barely afford the bus fare there, visit this let alone any of the goods for sale inside the shop.
So here’s an idea – acquiring new clothes without having to actually spend a penny (on the clothes) – via the medium of clothes swapping.
This can be done in many ways, buy more about the first is attending this event:

swap2.jpg

swap1.jpg

However, if the idea of not having complete control over what you actually end up with isn’t exactly what you had in mind, then try this, a swishing event – yes it is £5 entry but for countless amounts of clothes, well worth it. It’s a similar idea to the flyered event above but you can choose what you pick.

If you don’t fancy actually leaving your house, then Bigwardrobe.com is an online swapping platform which is similar to e-bay in that you put your unwanted clothes online and people buy them off you – it’s better than eBay as it has a swap function and it gets even better than that! – you can get actual cash for your unwanted xmas goodies or fashion mistakes of the past. You can use a combination of money and swapping to barter for goods, eg:, “ I’ll give you this blouse and £3 for your skirt,” or something along those lines.

In these lean times, clothes recycling is the best way to update your wardrobe.

St Davids, website on the far south-western tip of Wales, viagra approved is a city of contradictions. Being the smallest city in the UK, it is really more of a village with a great big cathedral plonked down at one end. It is a tranquil little place but alongside the tea-and-scones brigade is a growing community of surfers who ride the waves on the beautiful beaches nearby all year round. Beyond the shoppers rummaging through baskets of souvenir tea-towels are legions of walkers and nature-lovers who explore the coast paths, the sea and the cliffs in between in search of puffins, seals and the delicate, beautiful Manx Shearwater birds that migrate past the headland every summer. Even the visitor centre (known as Oriel Y Parc, which means ‘the park gallery’) is an odd mixture, for if you walk through the coffee shop and past the leaflets on local attractions you will find yourself in a world-class gallery.

1-oriely-parc.jpg

2-oriely-parc.jpg

The gallery, a recent addition to the visitor centre, is itself beautifully harmonious in form and content. The environmentally sustainable building that houses it heralds what we can expect from a gallery in the 21st century. The graceful arc shape of the building catches the sun all day, keeping heating costs to a minimum. The ceilings are insulated with lamb’s wool and a green roof with its swaying grasses also brings warmth and helps to regulate the demand on the drainage system. Rainwater is used for the toilet cisterns and solar energy panels heat water for the kitchen. Recycled and second-hand materials have been used wherever possible – much of the stone for the walls comes from old derelict buildings.

Perhaps it is when you see what is on display inside the gallery that you truly understand the importance of all this low-impact building and energy conservation: to preserve the precious Pembrokeshire landscape that has inspired so many artists including London-born painter Graham Sutherland. Sutherland loved the landscape around St Davids, painting it again and again, and when he died in 1980 he left a great body of work to the people of Pembrokeshire.

3-oriely-parc.jpg

Sutherland’s work will form the permanent central focus of the gallery’s exhibitions. For those used to gentle water-colour scenes of the Welsh coast, Sutherland’s paintings are a hand grenade assault on the senses – fierce, energy-filled evocations of the landscape, both challenging and fascinating.
For Oriel Y Parc to be given permission to exhibit the bequest it had to meet a stringent list of standards, including careful regulation of the humidity and temperature in the air and a complex and highly sophisticated security system. Meeting this criteria has meant that the gallery has been awarded ‘Class A’ status, which means that the work by Picasso and Rembrandt that is displayed alongside Sutherland’s paintings in the current exhibition will be the first in a long line of world-class international art to be shown at the centre.

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Prompted by Sutherland’s extraordinary visions of the surrounding countryside, the gallery plans to use future exhibitions to investigate art’s relationship with the landscape and with nature. Brendan Burns a Cardiff-based painter has been making paintings of the Pembrokeshire coastline for about fifteen years. Being the first artist-in-residence at Oriel Y Parc is, he says, ‘so exciting because everything is new. It feels important, like you’re part of something major.’ He is thrilled by his proximity to his subject, as until now he has had to make the 100-mile journey home before he began to paint. He is also pleased to have Sutherland’s work in the next room, where he can pop in and refer to it whenever he pleases, and says he particularly draws inspiration from the photographs, drawings and writing in the bequest.
He can’t predict how the residency will affect his work, but says he is starting out by ‘taking walks on new beaches’.

• The work produced by Brendan Burns during his residency at Oriel Y Parc will be shown at Oriel Y Parc or the National Museum in Cardiff, towards the end of 2009.

http://www.kerrylemon.co.uk/Vivienne%20Westwood.jpg

This week’s environmental hero award goes to Dame Vivienne Westwood. Not only has she created unashamedly fabulous clothes for the last four decades, more about she also wears her heart on her sleeve. Quite literally, viagra buy in the form of a badge with the ubiquitous image of a rebel in a beret. But this is not Che Guevara, but Rembrandt who, according to Viv, was as much a freedom fighter as the Argentine revolutionary.
She explained this at the Art, Activism and the Legacy of Chico Mendes talk at the RSA a couple of nights ago. We were there to find out how art can be used to promote environmental causes. Unfortunately we left none the wiser, other than to have our suspicions confirmed that Dame Viv is slightly bonkers but an extraordinary creative mind (even if she did refer to the president of Guatemala as the ‘boss of the jungle’).
Amongst mutterings on plumbers and the evils of watching too much TV were moments of clarity; ‘Activists and art lovers are the same thing, through active pursuit of art and resistance to propaganda, they stop becoming consumers and start becoming thinkers.’
She seemed to address the point of the discussion more than any of the other panellists who struggled to reach a conclusion as to how the art world can break through the cloud of elitism that surrounds it and communicate social issues, such as environmentalism, to the average Tom, Dick and Harry.
The most striking thing about Viv (apart from the neon hair) was her honest and heartfelt concern for the state of the world. At times this came across as cringingly naïve; ‘we need to get Gordon Brown to pool all the money and buy the jungle.’ But she’s a wise woman who has campaigned for social causes for several years with the same unashamed eccentricity as her clothes. Read how Pinocchio finds art (among other tales) in her manifesto.

Categories ,Earth, ,Fashion, ,Kerry Lemon, ,Rembrandt, ,RSA, ,Vivienne Westwood

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Amelia’s Magazine | My Habbit is Not a Hobbit – How to Calculate Your Carbon Footprint


All photography by Maria Domican

I was nervous upon arriving at Vintage at Goodwood… Nervous because I had called in sick to work, sickness nervous because I had been hearing bad press about the event and mainly nervous because I had no idea what to expect.

I have to admit, cialis 40mg no matter how fashionable, arty and eco driven a festival is, a major emphasis has always been on being drunk and having a great, if somewhat crazy time… I couldn’t imagine myself getting wasted on ‘classic cocktails’ or ‘gin and tonics’, parading around campsites in my beloved vintage treasures and sleeping through bands in a dusty heap at Goodwood. Apparently that was exactly the crowd that organiser Wayne Hemingway was eager to discourage, not wanting those “out on the lash that leave a load of empty tins at their ripped tent”.

Goodwood was billed as ‘the first of what will be an annual music and fashion led celebration of creative British cool’ ‘The new festival of Britain’. But what was it? A vintage Fashion Fair? An exhibition? Or a festival? Featuring music, art, fashion, film and design I was puzzled as to how it would all come together.

None the less I was excited… I had packed a few of my 2nd favourite dresses (the dirt was still a worry!) far too many hats (and yes I carried them in a vintage hat box) and even two matching vintage parasols, for my friend and I to parade around with; in short, more than I would usually take on a week long holiday.

Upon arrival we were greeted by a red carpet and the famous British High Street. Made up like a spaghetti western, all wooden fronted shops, I felt like I had wandered onto a film set. The high street catered for the big brands: John Lewis, The Body Shop and Dr. Martins all had large stores with all the facilities of any other high street shop. It also was the home for the vintage cinema, a traditional British pub and even an Indian take away! The draw of the festival to many though – the vintage stalls – were down the two side streets in tents. These were much more bazaar-like in style; small cramped lines of tents exploding with clothes, accessories, and when it rained (which it did a lot) crammed in people unable to move.


Vintage shopping at Goodwood.

Bands such as The Faces, Buzzcocks, Heaven 17 and the Noisettes entertained the crowds but it was the fashion that was the main draw of the festival. Workshops taught sewing and knitting while Hardy Amies and Pearl and Daisy Lowe were among those with runway shows.


The Noisettes on the main stage.


Pearl and Daisy Lowe at their runway show.

Divided into eras, the festival celebrated five decades of British cool, with each area having a different ‘curator’ (supposed experts in that field).


The 1970s and 1980s zone curated by Greg Wilson featured a warehouse with interactive graffiti wall and a roller disco.

Also in the 1970s era was Eddie Miller’s Soul Casino nightclub – replicating a mid 70s ballroom and reminiscent of many a bad wedding reception, complete with 1970s swirly carpet, sprung dance floor, pool tables and low lighting – it was here that Wayne Hemingway performed his own DJ set on the Sunday.


Wayne Hemingway

The emphasis of the festival was definitely the 1940s and 1950s, however, with the majority of outfits being so themed and with one of the highlights being leading percussionist, producer and 1940s enthusiast Snowboy’s Tanqueray sponsored ‘Torch Club’: a 1940’s style supper club which served 3 course meals over the weekend, with waiter service and a full orchestra playing while you eat. Behind the club forties allotments and land girls held guess-the-weight-of-the-pumpkin competitions and the guys from The Chap held an Olympian event with cucumber sandwich tossing and tug-o-moustache.


Cucumber sandwich tossing at The Chap Olympiad


Moustache tug-o-war

Still in its first year, the festival organisers have room for improvement before next year’s. The website promised ‘an unparalleled attention to design and organisational detail’ which is a little optimistic considering the press pass debacle. Still, this was upheld in areas such as the attention to period detail in all shops and stages and that all events were first come first served and not fully booked up beforehand.
It’s possible the press pass debacle was a result of the PR company giving all 150 staff free weekend and camping tickets… of which apparently only 8 were used!

One stall holder also complained that they felt the festival had been miss-sold as they thought that the vintage stalls were going to be on the main high street not crammed into the side tents.

Whilst a lot of events over the weekend such as dance classes and the cinema were free, the main grumbles were still about the commercial emphasis of the festival, Bonham’s high profile auction, chain stores and a huge emphasis on shopping and spending money left a lot of people disgruntled, but apparently still willing to spend; Oxfam reportedly made £1000 in the first half hour of opening! Lily Allen‘s no-show to launch ‘Lucy in Disguise’ was probably a blessing in disguise as it prevented the focus of the weekend from being celebrity.

The ‘Glamping’ was on all accounts also seen to be a big disappointment. Situated at the bottom of the hill in the woods this area quickly became a muddy bog with the torrential rain and at £1200 for a tent with an airbed was seen as a complete rip off by many who didn’t even have hot showers. The same was true of the pods which had to move some people to tents due to complaints about size and not being able to stand up.


Glamorous campers.

For the regular campers, though, there were no problems. Many vintage tents, bunting strewn camps and campervans were on a chalk based slope which quickly drained and dressing rooms with full length mirrors and power points enabled everyone to dress up.


Dressing up rooms. Photography by Madeleine Lowry

…And dress up they did! Whilst the day trippers favoured fancy dress over true vintage and stuck to the high street, the weekend crowd were the highlight of the festival. A huge ego-boosting weekend, everyone went out of their way to compliment each other on their outfits and a general blitz spirit coupled with the friendly campsite and interactive nature of events ensured that everyone was quick to make new friends.

Overall the weekend offered an overwhelming range of activities to take part in or witness, and hopefully with the kinks ironed out before next year, things can only get better for Goodwood.



Fashion at Goodwood.


Shopping locally, abortion by Kayleigh Bluck

I have to honestly admit that I don’t really THINK about sustainability in my everyday life. I even recycle without thinking because it is such a natural process to me. You don’t consciously think about why you drink tea from a cup and not from a bowl or why you pee into the toilet and not into the basin.  
I think you’re only truly sustainable when it’s a part of your way of life, just like a diet is pointless unless you actually change your lifestyle and habits. In keeping with this, I came across a test with a perfectly relevant name: “My Habbit“. You can check out your own carbon footprint and you might be surprised at how easy it is to change really small habits. 

Whilst taking the test it visualises your carbon footprint in the form of a strange and creepy semi-alien computer-generated human body. Proportionally distorting a human’s body parts in order to visualise your disproportionate use, you work your way through the different stages of sustainability. For instance, if you use a lot of electricity, you head starts to look more and more like a skeleton. The more meat you eat, the fatter your belly gets. Electricity and gas expands your hands, travel expands your feet until it looks like an almost bursting balloon. Mine looked pretty normal at the end, but it still had suggestions for me to better myself. But how did I even come across this test? 

“So, a guy came into the office today to borrow some of our paper, which was recycled and said ‘So are you trying to save the world or summin?’ (sic) to which I wanted to start replying but by the time I said ‘Um..’ he said ‘Then stop driving!’ I obviously replied ‘I don’t drive’ and he said ‘Oh’ and walked off. What’s the dude hassling me for?” 
This is a snippet of a conversation I had during dinner today, where it transpired that me being a vegetarian and not having a car actually makes me “pretty green” according to a test my partner had taken during the workshop he held at the “Sustainable Futures” exhibition at the Design Museum. I was immediately intrigued. This may have been mainly due to the fact that I was fairly certain I was going to come out of the other end of the tunnel with a result to be proud of (aka something to show off about).  


Shopping locally for fabric, illustrated by Naomi Law

I already knew some of the reasons that were going to be to my advantage. I work from home, which means that in average, I use the underground only once a week for meetings or events in town. I have only travelled by plane once in the past year (last November, in fact), which is highly unusual and mainly down to the fact that work has happily consumed all my time. Either way, I knew it was going to make me look good in the test. I walk to the shops, and buy most of my food and fabric (I am a fashion designer) in the local market where things are mainly locally sourced. I’m very lazy when it comes to anything that is essential to life such as sleep, eating and washing. That’s only of advantage because I own a lot of clothes, which means I very rarely have to actually wash any of them. My washing machine is extremely underused.  

Furthermore, since we’re on the subject of big white goods, I don’t own a dishwasher or tumble dryer or any such machinery. I recycle everything from paper snippets to plastic to glass to fabric. I would say “tins” but I don’t really use them. As I mentioned before, most my food moves directly from the bowl of vegetables of the farmer’s table into my Longchamp shopping bag into my vegetable drawer. Another point that I knew was going to help me look good in this test was the fact that I’m a vegetarian. Apparently, that makes a difference although I’m still not quite sure why. Surely any food needs to be transported, worked on? Do feel free to enlighten me if you know. 

Returning to the subject of technical items, I don’t watch TV. I have a TV set for watching a DVD every now and then, but I usually prefer to work, and the TV is of course unplugged when I don’t use it because otherwise it makes a very annoying humming noise when it’s on standby. I unplug my printers, sewing machines, hair straighteners etc when I’m not using them.

People who don’t live with me would never believe it, but I’d rather look like a couch potato wearing three jackets (I’m at home, right?) than turn on the heating unnecessarily. In fact, the heating is completely switched off until the temperature drops below 10 degrees Celsius for more than a week, which doesn’t make me very popular with my housemates.  

We were given some free sustainable light bulbs when we last switched gas and electricity companies, which we use throughout the house and half of the fluorescent light bulbs we have in our office have burned out and we are too lazy to replace them.


Shopping for clothes, illustrated by Zarina Liew

This one is a big deal, but not a topic that gave me any extra credit during the test. About 80% of my wardrobe (including my shoes) is either second hand, vintage or passed on in some form or another through eBay, TK Maxx, in the form of presents from family and friends, inherited pieces, charity shops etc. This does not, however, mean that I don’t indulge my fashion sense, as a quick peek into the style section of my website will confirm. 

I don’t listen to the radio, I don’t have a CD player or stereo because I have all my music on my Mac and iPhone – who knew being this non-nostalgic about music, could turn into a blessing? 

We have an agreement with our landlord who sends round a gardener every two months. Officially, any carbon footprint they amass during their work is technically not mine, so I am not counting it. The grass is yellow from the few days of “heat” this lame English summer had, but I don’t really see that as my responsibility and as far as I can tell, I don’t think the gardeners ever water the grass – they simply cut it even shorter and dryer and pick up the leaves. 

Some of the questions in the test were difficult. For instance, I had to look up which type of light bulbs we actually use. They cleverly adjust the optimum “habit” you could have at the end and suggest ways in which you can better yourself, even if your carbon emission is as low as one could realistically imagine. 

However, there were aspects of importance that were not quite taken into consideration. A big issue, which could tip someone’s carbon print (especially among us fashionistas and fashionistos, eh?)  is our shopping and consumption habits beyond mere primary necessity (food). Do you buy online? Are your purchases shipped or flown from overseas or do you make sure buy locally? Do you shop in chain supermarkets or local markets? How much stuff do you own? Do you buy from Primark or second hand? Do you buy per trend and season or do you invest in pieces that you have worn for decades? Do you tend to consume actual objects such as electric equipment, decorative items, clothing or something altogether different? 


Using recycled paper, illustrated by Emma Block, using recycled paper!

There are also questions relating to your profession that are not taken into consideration at all. For instance, the test asks you whether you use a printer at home, but not whether you use a printer at work. How much paper do you use and waste, knowing you’re not paying for it? I’ll forgive them for not asking office-related questions, though, as this could get very detailed and complex. But what about mobile phones? No sign of their impact.

Having an iPhone, which I use for work, means I charge my phone up a lot more often than, say, someone who works in a shop and turns theirs off for most of the day. As anybody who owns an iPhone knows, as much as we love them – the battery of the iPhone is abysmal. It needs charging ALL the time. Surely the test should be asking about the different phones one has, the same way they asked about what type of TV I own? On the other hand, I charge my iPhone via my laptop – this means less electricity is used. You can see, the questions can be quite endless, but an essential acknowledgement of such basics would have improved the test. 
Many of my friends and colleagues are writers or need to write in some form or another. When you do your writing, do you do it online or offline? That sounds like it would make no difference, but it does. Here’s a good illustrating example, which has astounded quite a lot of people when I’ve mentioned it. 


Energy in the kitchen, illustrated by Gemma Randall

One of the questions in the questionnaire is how often you boil the kettle. Did you know that every time you do a search on google it uses as much electricity and power from the mighty google servers as it does to boil a full kettle? A question in the test, if I have had any say, should have been “Do you look up the tiniest question on google rather than trying to think that second longer in case you remember?” Do you maybe have a real life dictionary (oh wonder and glory), which can help you just as much? Yes, one should consider the production cost of making said book, but for the sake of the argument, let’s assume it’s a vintage book, which still holds perfectly updated descriptions of most words we know. If it doesn’t, you can STILL use Google, Wikipedia or an online dictionary. But not doing so would immediately reduce your carbon footprint more than you think… 

I am a great believer in the fact that until something is accepted as normal, it has not really been overcome. Until it is, the obstacle of integration is not complete. I feel this is the way with sustainability. I grew up with it, so it was quite strange for me to see what fuss people made about being sustainable – it was new to me. Once people embrace it as part of their lives, it will be a lot easier. You hear campaigns telling you to “be aware” and “do your part” as if most of these acts weren’t perfectly logical. I disagree. Sure, some people just don’t admit to perfectly basic knowledge being obvious, and need those hints and tips, and none of us are perfect and continue to be educated. However, the obsession of making recycling something to be conscious about is not going to help. Only once it’s truly and easily integrated into our lives in a manner that is natural to participate in will sustainability really be standard practice.

Categories ,Apple, ,campaigns, ,Changing Habbits, ,Clothing, ,Design Museum, ,Dictionary, ,earth, ,ebay, ,Electricity, ,Emma Block, ,Fabrics, ,fashion, ,Food, ,Gas, ,Gemma Randall, ,Google, ,Human Body, ,iPhone, ,Kayeligh Bluck, ,Light bulbs, ,Longchamp, ,Mac, ,Markets, ,My Habbit, ,Naomi Law, ,paper, ,Primark, ,Printing, ,Second-hand, ,sustainability, ,Sustainable Futures, ,TK Maxx, ,vintage, ,White goods, ,Wikipedia, ,Zarina Liew

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Amelia’s Magazine | The ballot box calls all the boys to the yard…

Election Night Womens representation – jenny robins

Illustration by Jenny Robins

I didn’t plan on staying up so late on Election night. I had well-meaning plans involving a cup of tea, dosage my pajamas and being tucked up in bed with a book by 10pm. But like many people, hospital as soon as the exit polls rolled in, I was hooked. My emotions swung from disbelief to elation, despair to complete confusion, the latter being the prevailing feeling.

I am not sure if there is any other point in the year where this is the case, but all eyes were on Sunderland. Initially I was baffled by the focus on rushing to count the votes. I would rather it was accurate than rushed, it isn’t Total Wipeout (although how I wish it was! Imagine – the party leaders racing round the course, being pounded with mechanical fists and squaring up to the Big Balls?!) But as the first, second and third result came in, I realized that for a brief, bizarre moment, we had a 100% female government. Imagine that. And bloomin bizarre it was. But why? Why is it so hard to imagine an all female government?

The sad reality is that women are still dramatically under-represented in key areas of public, political and economic life: In the last British Parliament of 646 there were only 126 female MPs. This is abysmal. We lag far far behind countries like Afghanistan, Rwanda, Senegal and Latvia when it comes to women’s representation. The majority of UK senior civil servants, directors of FTSE 100 companies, senior lawyers, and key figures in the media are men. No wonder so many teenage girls cite Katie Price as their role model, though that does make me want to eat my own face. If women are excluded from the top jobs, half the talent of the nation is wasted.


llustration by Jenny Robins

I went to bed around 2.30am unable to keep my eyes open any more, with an excited, but admittedly naïve, confidence that this election would see a significant increase In women in parliament. According to the Centre for Women and Democracy and the Fawcett Society, Thursday’s General Election resulted in… wait for it….. drum roll…… 142 women MPs. Yes! That’s an extra 16! Oh- no, wait a minute… 142 female MP’s in a parliament of 649…. that’s only 22% of parliament. On a positive note, this included Caroline Lucas, leader of the Green Party, and the election of Britain’s first ever female Asian MPs. A tiny bit better, but overall its pathetic, quite frankly. Fuck.

As I write this, there is speculation about the leader of the labour party. Oh, more white men? Déjà vu anyone? Will a women even stand? But more alarmingly, Cameron is currently forming his new cabinet, and according to the BBC, not a single women has been appointed to the cabinet yet, and I’m pretty sure that not a single woman has even been mentioned. Sweet mercy. From bad to dire.

UPDATE: 4 women were appointed to the cabinet, none in the top jobs. This still puts us far behind our European counterparts. Theresa May is the new Home Secretary and Minister for Women and Equalities, who, according to theyworkforyou voted against rights for gay people. Go figure.

This has to change. If women’s representation continues to creep up in 1 or 2 percentage points like it has done up until now it will literally take decades before women are fairly represented in our country. Women only shortlists may sound drastic to some but when you consider the state of women’s representation nationally, you realize that it’s drastically needed.

And then there is proportional representation. Oh sweet, fair, idolized proportional representation! How we long for you! It is a clear olive branch standing out from the mushy confused mess of the election result. (Lib-lab, lab-con, Con-dem anyone?) The case for voter reform is more convincing than ever.

There are apparently gazilillions of different proportional representation systems, but roughly it means that if a party receives 10% of the vote, they receive 10% representation, which is hundreds of miles better than the system we have now when a party receives 51% of the vote but 100% of the influence in parliament. The Electoral Reform Society explains one system thus; “At present, constituencies are represented in parliament by just one MP. Under a Single Transferable Vote system, each constituency is represented by a small group of representatives…This makes it possible for representatives of different parties to be elected in each ward, thus allowing more people to have representatives of the parties of their choice.” Having a group of representatives in each constituency will mean that it will be even more blindingly obvious if women are not represented there (same for other minority groups too). In other countries that operate proportional representation more women are nominated, and the more women are nominated the more they are elected. Proportional representation also means that people can vote according to what they actually believe in (like, for example, electing more women to parliament, amongst other things) rather than tactically to keep certain parties in or out.


Illustration by Sandra Dieckmann

So yes. Women are still dismally under represented. Yes, teenage girls are growing up saving for boob jobs. Yes, we heard more about the dresses of the leaders wives than we did the policies of the female candidates. But it is time to say no. We wont stand for our outdated, old fashioned, unfair voting system any more… Takebackparliament , a coalition of a range of different voter reform groups have organised a demonstration calling for voter reform on Saturday. When you’re talking to your kids and grandkids in years to come about this bonkers election, don’t say you watched it on facebook and TV. Say you got involved and made a difference.

Join them this Saturday At 2pm at Parliament Sq.

*climbs down off soap box and sneaks away quietly….*

Categories ,activism, ,Cabinet office, ,David Cameron, ,earth, ,fashion, ,General Election, ,Jenny Robins, ,london, ,Nick Clegg, ,Theresa May, ,women’s rights, ,Womens representation

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Amelia’s Magazine | The ballot box calls all the boys to the yard…

Election Night Womens representation – jenny robins

Illustration by Jenny Robins

I didn’t plan on staying up so late on Election night. I had well-meaning plans involving a cup of tea, dosage my pajamas and being tucked up in bed with a book by 10pm. But like many people, hospital as soon as the exit polls rolled in, I was hooked. My emotions swung from disbelief to elation, despair to complete confusion, the latter being the prevailing feeling.

I am not sure if there is any other point in the year where this is the case, but all eyes were on Sunderland. Initially I was baffled by the focus on rushing to count the votes. I would rather it was accurate than rushed, it isn’t Total Wipeout (although how I wish it was! Imagine – the party leaders racing round the course, being pounded with mechanical fists and squaring up to the Big Balls?!) But as the first, second and third result came in, I realized that for a brief, bizarre moment, we had a 100% female government. Imagine that. And bloomin bizarre it was. But why? Why is it so hard to imagine an all female government?

The sad reality is that women are still dramatically under-represented in key areas of public, political and economic life: In the last British Parliament of 646 there were only 126 female MPs. This is abysmal. We lag far far behind countries like Afghanistan, Rwanda, Senegal and Latvia when it comes to women’s representation. The majority of UK senior civil servants, directors of FTSE 100 companies, senior lawyers, and key figures in the media are men. No wonder so many teenage girls cite Katie Price as their role model, though that does make me want to eat my own face. If women are excluded from the top jobs, half the talent of the nation is wasted.


llustration by Jenny Robins

I went to bed around 2.30am unable to keep my eyes open any more, with an excited, but admittedly naïve, confidence that this election would see a significant increase In women in parliament. According to the Centre for Women and Democracy and the Fawcett Society, Thursday’s General Election resulted in… wait for it….. drum roll…… 142 women MPs. Yes! That’s an extra 16! Oh- no, wait a minute… 142 female MP’s in a parliament of 649…. that’s only 22% of parliament. On a positive note, this included Caroline Lucas, leader of the Green Party, and the election of Britain’s first ever female Asian MPs. A tiny bit better, but overall its pathetic, quite frankly. Fuck.

As I write this, there is speculation about the leader of the labour party. Oh, more white men? Déjà vu anyone? Will a women even stand? But more alarmingly, Cameron is currently forming his new cabinet, and according to the BBC, not a single women has been appointed to the cabinet yet, and I’m pretty sure that not a single woman has even been mentioned. Sweet mercy. From bad to dire.

UPDATE: 4 women were appointed to the cabinet, none in the top jobs. This still puts us far behind our European counterparts. Theresa May is the new Home Secretary and Minister for Women and Equalities, who, according to theyworkforyou voted against rights for gay people. Go figure.

This has to change. If women’s representation continues to creep up in 1 or 2 percentage points like it has done up until now it will literally take decades before women are fairly represented in our country. Women only shortlists may sound drastic to some but when you consider the state of women’s representation nationally, you realize that it’s drastically needed.

And then there is proportional representation. Oh sweet, fair, idolized proportional representation! How we long for you! It is a clear olive branch standing out from the mushy confused mess of the election result. (Lib-lab, lab-con, Con-dem anyone?) The case for voter reform is more convincing than ever.

There are apparently gazilillions of different proportional representation systems, but roughly it means that if a party receives 10% of the vote, they receive 10% representation, which is hundreds of miles better than the system we have now when a party receives 51% of the vote but 100% of the influence in parliament. The Electoral Reform Society explains one system thus; “At present, constituencies are represented in parliament by just one MP. Under a Single Transferable Vote system, each constituency is represented by a small group of representatives…This makes it possible for representatives of different parties to be elected in each ward, thus allowing more people to have representatives of the parties of their choice.” Having a group of representatives in each constituency will mean that it will be even more blindingly obvious if women are not represented there (same for other minority groups too). In other countries that operate proportional representation more women are nominated, and the more women are nominated the more they are elected. Proportional representation also means that people can vote according to what they actually believe in (like, for example, electing more women to parliament, amongst other things) rather than tactically to keep certain parties in or out.


Illustration by Sandra Dieckmann

So yes. Women are still dismally under represented. Yes, teenage girls are growing up saving for boob jobs. Yes, we heard more about the dresses of the leaders wives than we did the policies of the female candidates. But it is time to say no. We wont stand for our outdated, old fashioned, unfair voting system any more… Takebackparliament , a coalition of a range of different voter reform groups have organised a demonstration calling for voter reform on Saturday. When you’re talking to your kids and grandkids in years to come about this bonkers election, don’t say you watched it on facebook and TV. Say you got involved and made a difference.

Join them this Saturday At 2pm at Parliament Sq.

*climbs down off soap box and sneaks away quietly….*

Categories ,activism, ,Cabinet office, ,David Cameron, ,earth, ,fashion, ,General Election, ,Jenny Robins, ,london, ,Nick Clegg, ,Theresa May, ,women’s rights, ,Womens representation

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Amelia’s Magazine | Anna Glowinski’s AnaNichoola – Girls Allowed!

anna-pic-left-with-design-tAll photographs courtesy of ananichoola.co.uk

AnaNichoola, stuff a label created by avid cyclist Anna Glowinski, is fast growing fashion brand with a simple idea; attractive, affordable and convenient fashion for female cyclists. With the growing popularity of cycling as a means of exercise, being eco friendly, and indeed for fun, her range of clothing and accessories has catered to a market close to her heart. As Anna explains; ‘We (female cyclists) don’t want to apologise for who we are, or hide our pony tails under our helmets; feminine style doesn’t mean kissing goodbye to performance, and that is what AnaNichoola is trying to embrace.’ I met up with Anna to chat about her designs and passion for the sport.

What made you start designing cycle fashion for women?

It was sort-of an accident, I mean, I’ve always had conversations with women about the lack of nice, practical female cycle clothing. It was always just too practical. So I handmade some fun bits and pieces – the LoveLocks and SPD heels for fun, and people loved them, so I decided to try and do more stuff. Once I committed myself to the plan, the ideas kept on coming! It was obviously a suppressed desire from being a vain lady cyclist my whole life!

beltbuckle

With all the media attention you have been getting, have you noticed an increase in sales?

Yes, I have. AnaNichoola is still in the baby stages, so sales are often an after thought. The press happens, the hits to my website go up, someone important e.g. a shop, asks me about my ability to mass produce, I start thinking about that, and then suddenly a member of the public wants something and I’m like, oh yeah, that’s what this is about. Up to Christmas sales increased so I reckon people who saw AnaNichoola two months ago probably held off until later to buy. Ultimately, I’m really glad for the press coverage because for one, it is nice that they believe in my products, and for two, I can’t afford any advertising right now.

Do you have new designs for combating these winter months?

I launched my technical designs at this year’s Cycle Show in October, so it’s quite a funny time to launch. I have tried to think about who will be buying right now, for example, Harrods stock The Curve jacket, but I changed the lining from the one at the show to have a more thermal winter lining. My next range is aimed at Spring/Summer, although some pieces will simply have the technical aspects of the same designs changed.

model-wearing-windbreaker-a

With people trying to be more environmentally friendly, what would you advise new cyclists, especially when travelling around cities?

I’d advise any new, or experienced, cyclist to get cycle training. I’ve ridden on the roads my whole life and was very confident going for training rides as a young teenager on fast moving roads, but I had cycle training when I was 20 and I can’t bear to think about how I used to ride before! Cycle training was developed after a group of people looked at the stats of cycle incidents, deaths and injuries and they worked out strategies for cyclists to avoid dangerous situations. I think that every cyclist should have it. If they don’t, then the biggest thing I would recommend is never, ever undertake a lorry or a bus- they can’t see you!

Redlace_trousergarter

Where do you get inspiration for your designs from?

The technical side comes from my experience as a racing cyclist; when you ride hard or for long hours it becomes very evident what a “bad” piece of cycle clothing is. I want my things to be technical, to perform and to look good. I keep up to date with mainstream fashion trends and try to combine that with the performance. I also get inspired by things I like; there is no market strategy, it’s just a thought that I like it, my Mum likes, and my mates like, then I’ll go with it.

model-wearing-earing

What is your personal favourite piece from your collection?

AHHHHH! I don’t know! The things I wear that fit best with my day-to-day living is the Curve Jacket, ball-bearing earrings and a bamboo base layer. However, I feel super cool when I wear the high-heeled SPDs or one of Shannon’s (accessories designer at AnaNichola) lairy belt buckles.

Ananichoola

What would be your all-time dream bike to own?

Good question! I want one bike for each type of cycling. I want it to always be ready to go, with no punctures and the correct pedals on it. I need a good off-road bike right now, as I’ve been doing the season on a road bike with knobbly tyres. I need a new set of wheels, and some curly handle bars. I wouldn’t mind a tandem for going on holidays with my boyfriend. I want to re-spray my road bike pink and gold. I need to get the rust off my BMX. I want a lighter jumps bike and a newer track bike. Ooh, I also badly want a Dutch bike, or a Pashley. And maybe an electric bike for when I’m tired. And a friendly talking bike, that knows the route and sings songs to me, that can fly sometimes….

AnaNichoola designs are on sale in Harrods, or www.ananichoola.co.uk where you can read more about Anna and her team.

Categories ,accessories, ,accessories designer, ,bicycles, ,BMX, ,cycle show, ,cycle training, ,cycling, ,Dutch bike, ,Eco-Design, ,ecofriendly, ,fashion, ,Fashion Clothing, ,female cycle clothing, ,Harrods, ,Pashley.

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Amelia’s Magazine | Earth Listings: Events

illustration.jpg

She burps between songs, treat website often forgets the words, more about and sings about wet dreams and peanut butter (Skippy, the crunchy one) – sort of a young Kimya Dawson suffused with Parisian prowess. Soko headlined at the Borderline this Friday for an evening of folk/anti-folk? put on by Platforms Magazine. The Melodica, Melody and Me were there to support – I know the words to all their songs by now but more on them later, their Christmas party on the 22nd of December is a date to keep – as were Jay Jay Pistolet and Planet Earth. She commanded most of them to the stage at various points throughout the set to join in, saying flamboyantly, “um, they’ve never played this before but they’ll pick it up” (repeat out loud in a French accent), and though rough round the edges, it seemed to work, and that’s all part of the charm anyway, no?

soko.jpg

You wouldn’t want her to drive your car (not that I have one), but there is something irresistible about her chaotic demure: the more child-like her deliverance, the more charming and hilarious her quirky and brazen lyrics (I’m thinking of “My Wet Dreams” here). She commanded silence and rapturous applause, and her name is surely carved into the hearts of the somewhat young crowd that gathered to the 15 + event.

I found myself humming “I will never love you more” on the bike-ride home, the place where all good songs are mulled over. She’s playing tomorrow night (if you read this now). Expect to leave a small piece of your heart behind.

andrew%20bird.jpg
As the congregation of indie-nerd-folk-checked-shirt-bearded types flocked into the church pews hidden from the bustle of London’s West End, dosage echoes and chattering excitement rang through the nave. Behind a gilded wooden screen, I could see Andrew Bird, wrapped up in wax jacket and scarf, stretching and performing breathing exercises that bring back painful memories of my grade six singing teacher’s living room…

Self entitled ‘multi-instrumentalist’, Chicago based singer-songwriter and classically trained violinist, Bird is the ultimate in US hippy offspring. Musically trained in the Suzuki method from the age of four, Bird makes you want to pack your unborn children with rice cakes and shovel them off to the nearest music school.

He treats us to a spiritual injection of vocal, violin and guitar looped and tangled together, wrapping you up in a smooth melodic blanket. The unforgiving church acoustics are not for the faint at heart. But Bird effortlessly maintains musical perfection throughout the performance. What he lacks as a guitarist he more than makes up for as violinist, vocalist, lyricist and all round musical prodigy.

New album heavy, with only two “oldies”- ‘Armchair Apocrypha’s’ ‘Plasticities’ and the glorious ‘Scythian Empires’, there’s much to be excited about in forthcoming album ‘Noble Beast’, particularly the soulful and reflective ‘Effigy’ and the harmonious ‘Natural Disaster’. A more contemplative Andrew Bird, with the notable absence of infamous ‘Dr Strings’, he had the audience in rapture. Indeed, the deliciously raw cover of ‘Some of These Days’ rang from the altar as though he was making his way back to some celestial home.

If you fancy a lump in your throat, ethereal wonder, and sheer disappointment that you will never EVER be this talented…sit back…and enjoy the Andrew Bird experience.

If you’re planning on going to any of these events, site or have something you want to write an article about for the Earth Blog, cialis 40mg email us at earth@ameliasmagazine.com!

heritage_dress.jpg
vinspired.com
Calling All Ethical Fashion Designers!
“For all budding designers out there, the chance has come for your finest handiwork to be unveiled to the public with the world’s first ‘virtual wardrobe’ for re-worked recycled clothes at vinspired.com/fashion.
Selected items uploaded to the Virtual Wardrobe will go down the catwalk in a London fashion event. The show will take place on World Aids Day in front of a judging panel headed by Ben de Lisi and hosted by Miquita Oliver…”
The Fashion Favours project aims to highlight the issues surrounding throwaway fashion and change the image of volunteering while raising money for charity.
For more information visit www.fashionfavours.com
dress pictured above: ‘Beautiful Heritage Dress’ /London Fashion Favours Workshop

Christmas Arts, Craft & Design Fair in Stokey
Abney Public Hall, 73a Stoke Newington Church Street, N16 OAS
www.abneypublichall.co.uk
Saturday 29th & Sunday 30th November

Handmade and Organic Christmas Treats!
for more info e-mail: info@oggleverything.com
website: www.oggleverything.com
Entry is free!

nationalwaterfrontmuseum.jpg
Festive Green Fayre
National Waterfront Museum, Maritime Quarter, Swansea, SA1 3RD
Sunday 30 Nov 2008

Time: 10am – 4pm, Entry is free!
There will be 50 stalls offering recycled, fairtrade, organic, and renewable energy products, local handmade gifts, green books and much much more! Another opportunity to purchase some unique Christmas gifts!
Also at the event will be information and campaign stalls where you can find out about recycling in your area and volunteer with local conservation groups!
This year the Fayre will also host the launch of the latest Undercurrents production, “On The Push – A Surfers Guide To Climate Change” (for more info visit www.undercurrents.org). On the Push is an inspiring story about how Anne Gallagher, an ordinary surfer girl from Wales, learns about the serious threat of climate change and how a surfer can help protect the marine environment. Film showings will be held throughout the day.
Contacts: Hannah Adkins, The Environment Centre, Swansea. 01792 480200
e-mail: info@environmentcentre.org.uk
www.environmentcentre.org.uk

christmaswithoutcruelty.jpg
Christmas Without Cruelty Fair
Sunday 30th November 2008, 10am -5pm
Kensington Town Hall, Hornton Street, London, W8 7NX
The Christmas Without Cruelty Fair will be a fun day out for all the family, with more than 85 stands selling animal-friendly and ethically produced Christmas gifts, plus a Children’s workshop and Press-Ups Competition. All profits to charities, campaign groups and ethical trader who are tying to make a positive-difference in the world. Goods on sale include vegan chocolates, cruelty-free toiletries and cosmetics, non-leather shoes and boots, cards and gifts.
An auction with all the goodies pictured above is also taking place at the Fair. These include a pair of Stella McCartney Sunglasses in a signed case and a dress and signed book by Marie Helvin.
for more info e-mail: mary@animalaid.co.uk
www.animalaid.org.uk

Animal_Aid_logo.jpg

Categories ,Animal Aid, ,Competition, ,Craft, ,Earth, ,Event, ,Fair, ,Fashion, ,Listings

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Amelia’s Magazine | SpeedArting: the art of seduction

Thumb
The Cinematic Orchestra were playing on the laptop. With the rain petering down outside, erectile the tarmac awash with its newfound uninhabitable river, viagra I opened the enormous wooden door and peered outside. I didn’t want to go and rush away with the stream of no return. I wanted to stay here, treat with him. His jeans were baggy and beautiful, his carpet pulled at the soles of my tights. I left. To Build A Home faded.

Cinematic Orchestra by Matilde Sazio

Man With A Movie Camera Illustration by Matilde Sazio

Walking back along the slippery treadmill of road I made no effort to shelter from the swiping blankets of droplets. My brow furrowed and my eyes looked up as I stood at the top of the hill and looked at the sea from left to right, my heart taking my breath away. Unquestionably gluttonous for punishment I fell into my room and To Build A Home was alive again. I was confused. I was in love.

Dawn by The Cinematic Orchestra is on and i’m walking to the beach, with a cider and baguette in my backpack. It’s a beautiful sunny day and the strings mix with the birds as I feel my eyes glint in the harmony of the simplicity of now. Of this love sitting against the wall.

The Royal Albert Hall Karina Yarv

The Royal Albert Hall Illustration by Karina Yarv

I’m at The Royal Albert Hall, Breathe by The Cinematic Orchestra is playing live. The London Metropolitan Orchestra are stationed and moving with fierce precision. The circle envelops me, I look and he smiles. I peer the miles down from our sectioned box and I see Heidi Vogel is about to unleash and pour her voice over the hall again. She does it slowly and blends with the instruments before together they gallop and circulate the grand hall, swirling us up in a haze of stunning sound.

Heidi Vogel by Matilde Sazio

Heidi Vogel, Illustration by Matilde Sazio

The Cinematic Orchestra in their live form are impressive and encapsulating. Like tablets of emotion, they use their prowess to orchestrate and leave impressions upon the many. They were formed in 1999 by Jason Swinscoe. A Ninja Tune employee, he arrived in South London from Scotland, via Yorkshire and Cardiff. With a love of jazz bass players, rhythm sections and film soundtracks he worked on The Cinematic Orchestra in his own time. After getting together a group of jazz players, he delivered the debut album, ‘Motion’, on the Ninja Tune. It was considered the perfect soundtrack to the dangerous bar, the femme fatale, the hero and the dead, with throbbing riffs, repeated loops and instrumental phrases. It’s music on tenterhooks, awaiting the next explosion of this, that and everything.

HelsLights

The Cinematic Orchestra tracks certainly sound as though they have been lifted from a gorgeous, very visual film, yet of course these films do not exist. That is, they didn’t until their first film soundtrack came along in the shape of ‘Man With A Movie Camera’. In 1999. Swinscoe was asked by the organisers of the Porto European City of Culture 2000 if the band wanted to score a silent movie to open the celebrations. The film was Dziga Vertov’s ‘Man With A Movie Camera’, a 1929 early documentary cinema film from the Soviet Union, focusing on the daily life of an average worker. The work made the band think about unwrapping musical narratives slowly, combing sounds and textures. Influencing ‘Every Day’, the ‘Man With A Movie Camera’ album was released in 2003, on Ninja Tune. ‘Every Day’ was The Cinematic Orchestra’s second album, released again on Ninja Tune. With ten minute tunes, like ‘All Things to All Men’, they experimented with softly, softly orchestra mixed with moody deep notes. Swinscoe worked with bass player, Phil France on this album and enlisted the talents of Roots Manuva and modern Jazz legend, Luke Flowers.

‘Ma Fleur’ on Ninja Tune, is the band’s latest album, released in 2007, and features To Build A Home, as well as Breathe and Child Song. It feels very refined and yet sporadic in its waterfall outbursts of music. Adding to their film credentials, The Cinematic Orchestra also recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos in 2008. They also released; Live At The Royal Albert Hall in 2008, on Ninja Tune, after their last performance at the prestigious Hall.

stage1

Listening to their music in such a venue can only be described as very special. It is one of those ‘nothing and yet everything matters right now’ moments. You are right there with every note, engulfed in a hall, reverberating in the clarity the sounds produce. It is difficult not to be moved by the rising and falling emotions, the burst of the strings, the flowing piano. The serene and yet momentous feeling. So what an earth can it be like to actually be on that stage, and play at The Royal Albert Hall, so steeped in grandeur, beauty and respect? I asked Heidi Vogel some questions about this after her incredible performance.

What was it like performing at The Royal Albert Hall last night?
It was a night I will never forget.  Performing at the Albert Hall,  on that beautiful stage,  and in such a beautiful space,  looking out to a sea of people filling the entire hall to its fullest capacity, is an experience unlike anything else.

Helsrah

What was the best moment for you?
Standing at the side of the stage waiting to come onto the stage for my first vocal of the evening, which was on ‘Burn Out’. I was so excited to come onto the stage and join in with the Orchestra, to be part of the music that was being made. I was standing there, all ready and the Orchestra had come in for the beginning of Ivo’s piano solo. It was such a moving moment in the music, and I felt my hairs standing up hearing it being played like that with The London Metropolitan Orchestra. It was really something so special.

How does the RAH compare to other venues around the world? Where in the world have you loved performing?
Well RAH can’t be compared to anywhere in the world,  it is so completely special and unique. I have played on many wonderful stages that I loved, and RAH is unique among them all. We have played in Sete in France in the open air Roman Amphitheatre on the sea, and lovely outdoor stages such as in Toronto Harbourfront, or Milan Jazz Festival, The Big Chill, Fuji Rock,  and many beautiful theatres, festivals and countries that we loved.

roof

This night was Ninja Tune’s 20th birthday, Ninja Tune XX. They celebrated with the band that produces real and imaginary film soundtracks, formed in the minds of people whose lives they have run beside. Without an actual film, the music lends itself to whatever narrative you bestow upon it. To me obviously, this has allowed me to wallow in my own sadness and skip in ecstasy (ha!) But to see The Cinematic Orchestra live was to feel the elation of an evening comprising of a huge range of talented musicians, performing beautifully. It was a night to rejoice in the achievement of humans producing descriptive and emotive sound that mirrors and acknowledges life in all its forms and idiosyncrasies.

The Cinematic Orchestra were playing on the laptop. With the rain petering down outside, physician the tarmac awash with its newfound uninhabitable river, I opened the enormous wooden door and peered outside. I didn’t want to go and rush away with the stream of no return. I wanted to stay here, with him. His jeans were baggy and beautiful, his carpet pulled at the soles of my tights. I left. To Build A Home faded.

Cinematic Orchestra by Matilde Sazio

Man With A Movie Camera Illustration by Matilde Sazio

Walking back along the slippery treadmill of road I made no effort to shelter from the swiping blankets of droplets. My brow furrowed and my eyes looked up as I stood at the top of the hill and looked at the sea from left to right, my heart taking my breath away. Unquestionably gluttonous for punishment I fell into my room and To Build A Home was alive again. I was confused. I was in love.

Dawn by The Cinematic Orchestra is on and i’m walking to the beach, with a cider and baguette in my backpack. It’s a beautiful sunny day and the strings mix with the birds as I feel my eyes glint in the harmony of the simplicity of now. Of this love sitting against the wall.

The Royal Albert Hall Karina Yarv

The Royal Albert Hall Illustration by Karina Yarv

I’m at The Royal Albert Hall, Breathe by The Cinematic Orchestra is playing live. The London Metropolitan Orchestra are stationed and moving with fierce precision. The circle envelops me, I look and he smiles. I peer the miles down from our sectioned box and I see Heidi Vogel is about to unleash and pour her voice over the hall again. She does it slowly and blends with the instruments before together they gallop and circulate the grand hall, swirling us up in a haze of stunning sound.

Heidi Vogel by Matilde Sazio

Heidi Vogel, Illustration by Matilde Sazio

The Cinematic Orchestra in their live form are impressive and encapsulating. Like tablets of emotion, they use their prowess to orchestrate and leave impressions upon the many. They were formed in 1999 by Jason Swinscoe. A Ninja Tune employee, he arrived in South London from Scotland, via Yorkshire and Cardiff. With a love of jazz bass players, rhythm sections and film soundtracks he worked on The Cinematic Orchestra in his own time. After getting together a group of jazz players, he delivered the debut album, ‘Motion’, on the Ninja Tune. It was considered the perfect soundtrack to the dangerous bar, the femme fatale, the hero and the dead, with throbbing riffs, repeated loops and instrumental phrases. It’s music on tenterhooks, awaiting the next explosion of this, that and everything.

HelsLights

The Cinematic Orchestra tracks certainly sound as though they have been lifted from a gorgeous, very visual film, yet of course these films do not exist. That is, they didn’t until their first film soundtrack came along in the shape of ‘Man With A Movie Camera’. In 1999. Swinscoe was asked by the organisers of the Porto European City of Culture 2000 if the band wanted to score a silent movie to open the celebrations. The film was Dziga Vertov’s ‘Man With A Movie Camera’, a 1929 early documentary cinema film from the Soviet Union, focusing on the daily life of an average worker. The work made the band think about unwrapping musical narratives slowly, combing sounds and textures. Influencing ‘Every Day’, the ‘Man With A Movie Camera’ album was released in 2003, on Ninja Tune. ‘Every Day’ was The Cinematic Orchestra’s second album, released again on Ninja Tune. With ten minute tunes, like ‘All Things to All Men’, they experimented with softly, softly orchestra mixed with moody deep notes. Swinscoe worked with bass player, Phil France on this album and enlisted the talents of Roots Manuva and modern Jazz legend, Luke Flowers.

‘Ma Fleur’ on Ninja Tune, is the band’s latest album, released in 2007, and features To Build A Home, as well as Breathe and Child Song. It feels very refined and yet sporadic in its waterfall outbursts of music. Adding to their film credentials, The Cinematic Orchestra also recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos in 2008. They also released; Live At The Royal Albert Hall in 2008, on Ninja Tune, after their last performance at the prestigious Hall.

stage1

Listening to their music in such a venue can only be described as very special. It is one of those ‘nothing and yet everything matters right now’ moments. You are right there with every note, engulfed in a hall, reverberating in the clarity the sounds produce. It is difficult not to be moved by the rising and falling emotions, the burst of the strings, the flowing piano. The serene and yet momentous feeling. So what an earth can it be like to actually be on that stage, and play at The Royal Albert Hall, so steeped in grandeur, beauty and respect? I asked Heidi Vogel some questions about this after her incredible performance.

What was it like performing at The Royal Albert Hall last night?
It was a night I will never forget.  Performing at the Albert Hall,  on that beautiful stage,  and in such a beautiful space,  looking out to a sea of people filling the entire hall to its fullest capacity, is an experience unlike anything else.

Helsrah

What was the best moment for you?
Standing at the side of the stage waiting to come onto the stage for my first vocal of the evening, which was on ‘Burn Out’. I was so excited to come onto the stage and join in with the Orchestra, to be part of the music that was being made. I was standing there, all ready and the Orchestra had come in for the beginning of Ivo’s piano solo. It was such a moving moment in the music, and I felt my hairs standing up hearing it being played like that with The London Metropolitan Orchestra. It was really something so special.

How does the RAH compare to other venues around the world? Where in the world have you loved performing?
Well RAH can’t be compared to anywhere in the world,  it is so completely special and unique. I have played on many wonderful stages that I loved, and RAH is unique among them all. We have played in Sete in France in the open air Roman Amphitheatre on the sea, and lovely outdoor stages such as in Toronto Harbourfront, or Milan Jazz Festival, The Big Chill, Fuji Rock,  and many beautiful theatres, festivals and countries that we loved.

roof

This night was Ninja Tune’s 20th birthday, Ninja Tune XX. They celebrated with the band that produces real and imaginary film soundtracks, formed in the minds of people whose lives they have run beside. Without an actual film, the music lends itself to whatever narrative you bestow upon it. To me obviously, this has allowed me to wallow in my own sadness and skip in ecstasy (ha!) But to see The Cinematic Orchestra live was to feel the elation of an evening comprising of a huge range of talented musicians, performing beautifully. It was a night to rejoice in the achievement of humans producing descriptive and emotive sound that mirrors and acknowledges life in all its forms and idiosyncrasies.

Thumb

The Cinematic Orchestra were playing on the laptop. With the rain petering down outside, approved the tarmac awash with its newfound uninhabitable river, I opened the enormous wooden door and peered outside. I didn’t want to go and rush away with the stream of no return. I wanted to stay here, with him. His jeans were baggy and beautiful, his carpet pulled at the soles of my tights. I left. To Build A Home faded.

Cinematic Orchestra by Matilde Sazio

Man With A Movie Camera Illustration by Matilde Sazio

Walking back along the slippery treadmill of road I made no effort to shelter from the swiping blankets of droplets. My brow furrowed and my eyes looked up as I stood at the top of the hill and looked at the sea from left to right, my heart taking my breath away. Unquestionably gluttonous for punishment I fell into my room and To Build A Home was alive again. I was confused. I was in love.

Dawn by The Cinematic Orchestra is on and i’m walking to the beach, with a cider and baguette in my backpack. It’s a beautiful sunny day and the strings mix with the birds as I feel my eyes glint in the harmony of the simplicity of now. Of this love sitting against the wall.

The Royal Albert Hall Karina Yarv

The Royal Albert Hall Illustration by Karina Yarv

I’m at The Royal Albert Hall, Breathe by The Cinematic Orchestra is playing live. The London Metropolitan Orchestra are stationed and moving with fierce precision. The circle envelops me, I look and he smiles. I peer the miles down from our sectioned box and I see Heidi Vogel is about to unleash and pour her voice over the hall again. She does it slowly and blends with the instruments before together they gallop and circulate the grand hall, swirling us up in a haze of stunning sound.

Heidi Vogel by Matilde Sazio

Heidi Vogel, Illustration by Matilde Sazio

The Cinematic Orchestra in their live form are impressive and encapsulating. Like tablets of emotion, they use their prowess to orchestrate and leave impressions upon the many. They were formed in 1999 by Jason Swinscoe. A Ninja Tune employee, he arrived in South London from Scotland, via Yorkshire and Cardiff. With a love of jazz bass players, rhythm sections and film soundtracks he worked on The Cinematic Orchestra in his own time. After getting together a group of jazz players, he delivered the debut album, ‘Motion’, on the Ninja Tune. It was considered the perfect soundtrack to the dangerous bar, the femme fatale, the hero and the dead, with throbbing riffs, repeated loops and instrumental phrases. It’s music on tenterhooks, awaiting the next explosion of this, that and everything.

HelsLights

The Cinematic Orchestra tracks certainly sound as though they have been lifted from a gorgeous, very visual film, yet of course these films do not exist. That is, they didn’t until their first film soundtrack came along in the shape of ‘Man With A Movie Camera’. In 1999. Swinscoe was asked by the organisers of the Porto European City of Culture 2000 if the band wanted to score a silent movie to open the celebrations. The film was Dziga Vertov’s ‘Man With A Movie Camera’, a 1929 early documentary cinema film from the Soviet Union, focusing on the daily life of an average worker. The work made the band think about unwrapping musical narratives slowly, combing sounds and textures. Influencing ‘Every Day’, the ‘Man With A Movie Camera’ album was released in 2003, on Ninja Tune. ‘Every Day’ was The Cinematic Orchestra’s second album, released again on Ninja Tune. With ten minute tunes, like ‘All Things to All Men’, they experimented with softly, softly orchestra mixed with moody deep notes. Swinscoe worked with bass player, Phil France on this album and enlisted the talents of Roots Manuva and modern Jazz legend, Luke Flowers.

‘Ma Fleur’ on Ninja Tune, is the band’s latest album, released in 2007, and features To Build A Home, as well as Breathe and Child Song. It feels very refined and yet sporadic in its waterfall outbursts of music. Adding to their film credentials, The Cinematic Orchestra also recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos in 2008. They also released; Live At The Royal Albert Hall in 2008, on Ninja Tune, after their last performance at the prestigious Hall.

stage1

Listening to their music in such a venue can only be described as very special. It is one of those ‘nothing and yet everything matters right now’ moments. You are right there with every note, engulfed in a hall, reverberating in the clarity the sounds produce. It is difficult not to be moved by the rising and falling emotions, the burst of the strings, the flowing piano. The serene and yet momentous feeling. So what an earth can it be like to actually be on that stage, and play at The Royal Albert Hall, so steeped in grandeur, beauty and respect? I asked Heidi Vogel some questions about this after her incredible performance.

What was it like performing at The Royal Albert Hall last night?
It was a night I will never forget.  Performing at the Albert Hall,  on that beautiful stage,  and in such a beautiful space,  looking out to a sea of people filling the entire hall to its fullest capacity, is an experience unlike anything else.

Helsrah

What was the best moment for you?
Standing at the side of the stage waiting to come onto the stage for my first vocal of the evening, which was on ‘Burn Out’. I was so excited to come onto the stage and join in with the Orchestra, to be part of the music that was being made. I was standing there, all ready and the Orchestra had come in for the beginning of Ivo’s piano solo. It was such a moving moment in the music, and I felt my hairs standing up hearing it being played like that with The London Metropolitan Orchestra. It was really something so special.

How does the RAH compare to other venues around the world? Where in the world have you loved performing?
Well RAH can’t be compared to anywhere in the world,  it is so completely special and unique. I have played on many wonderful stages that I loved, and RAH is unique among them all. We have played in Sete in France in the open air Roman Amphitheatre on the sea, and lovely outdoor stages such as in Toronto Harbourfront, or Milan Jazz Festival, The Big Chill, Fuji Rock,  and many beautiful theatres, festivals and countries that we loved.

roof

This night was Ninja Tune’s 20th birthday, Ninja Tune XX. They celebrated with the band that produces real and imaginary film soundtracks, formed in the minds of people whose lives they have run beside. Without an actual film, the music lends itself to whatever narrative you bestow upon it. To me obviously, this has allowed me to wallow in my own sadness and skip in ecstasy (ha!) But to see The Cinematic Orchestra live was to feel the elation of an evening comprising of a huge range of talented musicians, performing beautifully. It was a night to rejoice in the achievement of humans producing descriptive and emotive sound that mirrors and acknowledges life in all its forms and idiosyncrasies.

The Cinematic Orchestra were playing on the laptop. With the rain petering down outside, help the tarmac awash with its newfound uninhabitable river, cialis 40mg I opened the enormous wooden door and peered outside. I didn’t want to go and rush away with the stream of no return. I wanted to stay here, pilule with him. His jeans were baggy and beautiful, his carpet pulled at the soles of my tights. I left. To Build A Home faded.

Cinematic Orchestra by Matilde Sazio

Man With A Movie Camera Illustration by Matilde Sazio

Walking back along the slippery treadmill of road I made no effort to shelter from the swiping blankets of droplets. My brow furrowed and my eyes looked up as I stood at the top of the hill and looked at the sea from left to right, my heart taking my breath away. Unquestionably gluttonous for punishment I fell into my room and To Build A Home was alive again. I was confused. I was in love.

Dawn by The Cinematic Orchestra is on and i’m walking to the beach, with a cider and baguette in my backpack. It’s a beautiful sunny day and the strings mix with the birds as I feel my eyes glint in the harmony of the simplicity of now. Of this love sitting against the wall.

The Royal Albert Hall Karina Yarv

The Royal Albert Hall Illustration by Karina Yarv

I’m at The Royal Albert Hall, Breathe by The Cinematic Orchestra is playing live. The London Metropolitan Orchestra are stationed and moving with fierce precision. The circle envelops me, I look and he smiles. I peer the miles down from our sectioned box and I see Heidi Vogel is about to unleash and pour her voice over the hall again. She does it slowly and blends with the instruments before together they gallop and circulate the grand hall, swirling us up in a haze of stunning sound.

Heidi Vogel by Matilde Sazio

Heidi Vogel, Illustration by Matilde Sazio

The Cinematic Orchestra in their live form are impressive and encapsulating. Like tablets of emotion, they use their prowess to orchestrate and leave impressions upon the many. They were formed in 1999 by Jason Swinscoe. A Ninja Tune employee, he arrived in South London from Scotland, via Yorkshire and Cardiff. With a love of jazz bass players, rhythm sections and film soundtracks he worked on The Cinematic Orchestra in his own time. After getting together a group of jazz players, he delivered the debut album, ‘Motion’, on the Ninja Tune. It was considered the perfect soundtrack to the dangerous bar, the femme fatale, the hero and the dead, with throbbing riffs, repeated loops and instrumental phrases. It’s music on tenterhooks, awaiting the next explosion of this, that and everything.

HelsLights

The Cinematic Orchestra tracks certainly sound as though they have been lifted from a gorgeous, very visual film, yet of course these films do not exist. That is, they didn’t until their first film soundtrack came along in the shape of ‘Man With A Movie Camera’. In 1999. Swinscoe was asked by the organisers of the Porto European City of Culture 2000 if the band wanted to score a silent movie to open the celebrations. The film was Dziga Vertov’s ‘Man With A Movie Camera’, a 1929 early documentary cinema film from the Soviet Union, focusing on the daily life of an average worker. The work made the band think about unwrapping musical narratives slowly, combing sounds and textures. Influencing ‘Every Day’, the ‘Man With A Movie Camera’ album was released in 2003, on Ninja Tune. ‘Every Day’ was The Cinematic Orchestra’s second album, released again on Ninja Tune. With ten minute tunes, like ‘All Things to All Men’, they experimented with softly, softly orchestra mixed with moody deep notes. Swinscoe worked with bass player, Phil France on this album and enlisted the talents of Roots Manuva and modern Jazz legend, Luke Flowers.

‘Ma Fleur’ on Ninja Tune, is the band’s latest album, released in 2007, and features To Build A Home, as well as Breathe and Child Song. It feels very refined and yet sporadic in its waterfall outbursts of music. Adding to their film credentials, The Cinematic Orchestra also recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos in 2008. They also released; Live At The Royal Albert Hall in 2008, on Ninja Tune, after their last performance at the prestigious Hall.

stage1

Listening to their music in such a venue can only be described as very special. It is one of those ‘nothing and yet everything matters right now’ moments. You are right there with every note, engulfed in a hall, reverberating in the clarity the sounds produce. It is difficult not to be moved by the rising and falling emotions, the burst of the strings, the flowing piano. The serene and yet momentous feeling. So what an earth can it be like to actually be on that stage, and play at The Royal Albert Hall, so steeped in grandeur, beauty and respect? I asked Heidi Vogel some questions about this after her incredible performance.

What was it like performing at The Royal Albert Hall last night?
It was a night I will never forget.  Performing at the Albert Hall,  on that beautiful stage,  and in such a beautiful space,  looking out to a sea of people filling the entire hall to its fullest capacity, is an experience unlike anything else.

Helsrah

What was the best moment for you?
Standing at the side of the stage waiting to come onto the stage for my first vocal of the evening, which was on ‘Burn Out’. I was so excited to come onto the stage and join in with the Orchestra, to be part of the music that was being made. I was standing there, all ready and the Orchestra had come in for the beginning of Ivo’s piano solo. It was such a moving moment in the music, and I felt my hairs standing up hearing it being played like that with The London Metropolitan Orchestra. It was really something so special.

How does the RAH compare to other venues around the world? Where in the world have you loved performing?
Well RAH can’t be compared to anywhere in the world,  it is so completely special and unique. I have played on many wonderful stages that I loved, and RAH is unique among them all. We have played in Sete in France in the open air Roman Amphitheatre on the sea, and lovely outdoor stages such as in Toronto Harbourfront, or Milan Jazz Festival, The Big Chill, Fuji Rock,  and many beautiful theatres, festivals and countries that we loved.

roof

This night was Ninja Tune’s 20th birthday, Ninja Tune XX. They celebrated with the band that produces real and imaginary film soundtracks, formed in the minds of people whose lives they have run beside. Without an actual film, the music lends itself to whatever narrative you bestow upon it. To me obviously, this has allowed me to wallow in my own sadness and skip in ecstasy (ha!) But to see The Cinematic Orchestra live was to feel the elation of an evening comprising of a huge range of talented musicians, performing beautifully. It was a night to rejoice in the achievement of humans producing descriptive and emotive sound that mirrors and acknowledges life in all its forms and idiosyncrasies.


All illustrations by Sean Lennon and Charlotte Kemp Muhl

The Ghost of a Saber Tooth Tiger is very much the sonic embodiment of its band members. Sean Lennon and Charlotte Kemp Muhl are intrigued by everything around them and distill this into the music that they make, diagnosis like two wide-eyed innocents, holding each others hands and trying to make sense of the wonders and absurdities of life with the aide of a couple of mics and a multitude of instruments. Their recently released new album Acoustic Sessions (which can be brought here) acts as the perfect showcase for their union as both musical and romantic collaborators. Sean and Charlotte duet together on every track; her voice is as delicate as a thimble and rings clear as a bell, a perfect addition to Sean’s deeper timbre (which interestingly, has the slightest trace of a Liverpudlian burr to it when he sings). The songs are whimsical without being twee, and while they pay homage to 60′s folk-pop, there is no element of pastiche.

My hour spent with Sean and Charlotte on their whistle-stop touchdown in London was an illuminating peek into the high-octane lifestyle of two very in-demand individuals. While most of our music interviews take place in make-shift back stage areas, this interview is conducted 22 floors up at the William Morris Agency housed in London’s Centre Point Building. The plush meeting room offers sweeping views across Central London. Managers and PR’s field incoming emails and update schedules on ever buzzing Blackberries, but thankfully Sean and Charlotte seem unaffected by the surrounding melee. The first surprise of the morning comes when they reveal that the print version of Amelia’s Magazine was one of their favourite publications. “We’ve read almost every single issue!” exclaims Sean as Charlotte explains that their sound engineer on Acoustic Sessions introduced them to us and subsequently, the Amelia’s Magazine issues were the go-to reading material as the album was recorded.

As abstract as one of their self-designed illustrations, the interview takes the form of a free flowing stream of consciousness with Sean and Charlotte finishing off one another’s sentences and thoughts. (Their website wasn’t wrong when it wrote that The GOASTT work from one heart despite having two separate minds). While it wasn’t the typical Q+A that I was anticipating, it was way more fun – and fascinating – to touch on topics such as geodesic domes, Bauhaus, Buckminster Fuller, synesthesia, the phallic stature of city buildings, and what this represents in society – over to Sean on this one: “Joseph Campbell says if you look at the history of architecture you can see what the value system of society was like. The idea is that whatever the biggest object in your city is, is what you care about the most. In the beginning of civilization it was your hut i.e your home; in the middle ages we had churches as our spiritual centers and now the biggest buildings are banks, so it shows that we worship money now.” As seemingly random as the threads of conversation were at the time, looking back over my notes I could see that it’s all part of Sean and Charlottes conviction that everything is connected; art, music, culture; so why not question and draw inspiration from what’s around us?

While Sean has had both a solo career and been involved in other bands, The GOASTT seems like his most personal endeavor to date. “It’s the work that I’m most excited about having done since I’ve met Charlotte” he says. Sean’s musical lineage is well documented, but Charlotte is somewhat of an unknown force. I asked her about her background. “I had written a lot of folk music”, she explained, “but it wasn’t for commercial purposes. I was travelling a lot when I was younger doing modelling and at that point my only companion was a guitar.” With no firm musical direction, she abandoned her music, but when she met Sean she found her inspiration, and received a crash course in Sean’s prolific record collection. “Folk and classical music was my only background, and Sean was a rolodex of so many different musical genres; he played me so much music that I had never heard of and it just blew my mind.” Sean reminisces about the first time he heard Charlotte’s music; “She kept it a secret that she played at all and I found it very mysterious. She had written all these songs and didn’t tell me till we had been dating for a year, and then she played them to me and I was like: ‘wow’…….. ” Joining forces, they embarked on an outpouring of work. “We wrote, like, 50 songs quickly. There was a lot of chemistry, not just in our relationship but creatively.” Charlotte is quick to praise Sean’s musical versatility: “I think Sean is so schizophrenic musically because he’s so talented. I’ve heard him playing so many styles, from folk, to funk, to..” “To flunk”, chimes in Sean helpfully, “that’s funk and folk combined”. (Is it? I need to do some research on this).

We talk about the nature of the album, and the fact that it’s entirely acoustic (the clue’s in the title). “It’s funny”, says Sean, “because someone asked us if this record was a concept album, and it’s not per se, except that there is one concept which is that we wanted to do everything on the record by just the two of us – no one else plays on it – and all the instruments are non electrical.” I remark that all of their performances feature a lot of instruments being used; guitars, cymbals, melodicas and xylophones are laid around Sean’s and Charlotte’s feet, ready to be picked up and played. “The record that you hear is very much live” confirms Sean, “and in order to recreate that live we had to figure out how to multi-task with our instruments which makes the show a lot more exciting for us – although I don’t know if it does for the audience!” (FYI, their set at The Roundhouse Studio on the following night was seamless and very well received).

Their days are currently filled up with gigs around the globe, most of the time performing strictly as The GOASTT, or occasionally pulling in musical friends of theirs. If that doesn’t keep them busy enough, the band is housed by their own record label, Chimera Music which they run from their home in New York. Also signed to Chimera is his mother Yoko’s group; The Plastic Ono Band, of which Sean is musical director. (Sean and Charlotte had come to London by way of Iceland, where he was overseeing the Plastic Ono Band gig, held in honour of what would have been John Lennon’s 70th birthday). All in all, it’s been an incredibly busy and productive year for Sean and Charlotte, and while their schedule seems to verge on the absurd, they are keeping a cool head. “It’s a good time, an inspiring time for us”, Sean assures me, and on the basis of Acoustic Sessions, I can believe this.


By Daniel Williams

Maybe theres something in the air, more about maybe its my age or maybe its the season but it seems everybody around me has suddenly spawned. Friends have started to have babies, viagra approved and family members are producing them faster than I can count them.


By Michelle Urvall Nyren

I am also a little south of skint, so my meagre craft skills have come in pretty handy. I recently made a baby mobile out of stuff lying around my flat. It was easy, free and convenient , so I thought I’d show you how to make one.

You’ll need:

Wire coat hanger
Fabric (I used an old running t shirt, denim cut offs, and some other fabric I had lying around)
Ribbon, if you have any
Scissors
Glue
Buttons (Optional)

Firstly, bend a wire coat hanger into a circle. Easier said than done. I found that laying it on the table and beating it into submission with a hard object worked best. Wrap some thin strips of fabric around the wire coat hanger, using a dab of glue every few wraps to secure it.

To make the part that will attach to the ceiling, plait 3 strips of fabric 3 times. Then attach the three plaited strips evenly around the fabric covered wire frame, using glue or a staple or a few stitches.

Cut your strips of ribbon and fabric to the same width and length, then fold the top of each strip of fabric around the fabric covered wire frame, using a dab of glue to secure each strip.
To make sure none of the lengths of ribbon fall from the frame, you could also add a few stitches to each strip too.

Baby Mobile Finished
Baby Mobile Finished

This is easy enough to encourage little hands to help you do it, as I did with my creation above. I fashioned the wire and plaited the three strips that attach to the ceiling, and my little assistent attached the individual strips to the frame. You could neaten it by hemming the fabric, or using only ribbon, or keep it rough and ready. Parents will appreciate the time you put into it and babies will love the colours and the way it moves. And, more importantly, it doesn’t add to the inevitable pile of growing tacky plastic crap, either. Winner.

This column attempts to provide lovely ways to recycle junk into useful and beautiful things. If you have a genius recycling idea or if you are stuck with something you don’t want to chuck away, leave a comment and let me know! I may feature your idea or I will try and come up with a solution to your recycling conundrum.

Illustration by Daria Hlazatova

Fashion illustration. You may have noticed we get pretty excited about the genre, nurse particularly with Amelia’s new book on the way. Drawing Fashion at the Design Museum has been hotly anticipated and it doesn’t let down. Put together by Joelle Chariau of Galerie Bartsch & Chariau over 30 years, viagra the show covers fashion illustration from the early 20th century forward. The present installment at the Design Museum is the first time the collection has been shown together.

The quick overview: the show captures the power of illustration to reflect not only the fashion but also the tone of the times, for sale in a way unique to other media forms such as photography. It proves that although photography has become the predominant media from the 1930s, illustration still holds a valid and special place in fashion. 


George Lepape

The longer version: split into five eras, the exhibit focuses the viewer to the changing role of fashion illustration and its connection to the culture it is a part of. The first, From Gold to Silver 1910-29, captures the optimism and new worldviews of the early 20th century with bold use of colours, a new vibrancy and a focus on lifestyle in the illustrations. The single figures of Erté, the Vogue and La Gazette du Bon Ton George Lepape covers bring out the new silhoette of the 1920s. Stylised illustrations celebrate the lifestyles that few could afford, but which encapsulate post war enthusiasm. The highlight here: George Lepape’s Chapeaux D’Hiver for Le Bon Ton in pen, ink and watercolour, showing both the original and use in editorial. 

Moving forward to 1930-46, the tone of Time & Decay reflects the changing times: the depression, the movement of focus from Paris to America during the war years, the popularity of the cinema and a focus on leisure and sportswear in fashion. This more casual tone is brought through the illustration, with looser strokes, more muted colours and more introspective compositions. This section highlights the talent of Bernard Blossac and René Bouché


René Gruau

Enthusiasm returns in New Rhythms, New Rules 1947-59, introducing Dior‘s ‘New Look‘ in 1947. The illustrations of Réne Gruau perfectly capture the ‘exagerated elegance’ of Dior’s bold new style. His bold use of colour and line, with a predominance of red, white, back and orchre shine through this section of the exhibit. The timelessness of the illustrations is highlighted by a Vogue Paris cover illustration, first published in the 1950s, republished for the Juin/Juillet 1985 edition, that would look equally contemporary today. Another highlight is a single pink glove, showing a movement from full figure to individual detail and objects of the body. 


Antonio Lopez

The true star of the show is Antonio (Lopez), the sole focus of Liberty & Licence, taking the viewer through 1960-89. Anotonio’s bold graphics in pencil and watercolour celebrate the dynamic feminism of the 1970s and especially the 1980s. This is power illustration to the max, matching the era’s power dressing with big shoulders, tight waists and attitudes to match. Hitting the mood of each decade, Antonio’s style adapts through the 1960s-80s, with a focus on form and art. 


François Berthoud

The exhibit concludes with The Tradition Continues 1990-2010 and Fashion Drawing for the Future. The illustrations chosen in this section react against ‘the cult of the individual’ and big budget commerciality of fashion and advertising. Matts Gustafson and François Berthoud show new paths forward in terms of form and technique. Berthoud’s Allure de Chanel for Rebel, France (enamel on paper) reduces the figure to positive and negative forms.


Mats Gustafson

Overall, illustrations are more moody and suggestive and are often simplified to form, colour and movement. An Aurore de la Morinere for Christian Lacroix published in Süddeutsche Zeitung Magazine loses the form of figure and clothes to a shimmer of colours, becoming etherial and fantasy rather than any depiction of the body. A dark illustration for Alexander McQueen with the figure walking away from the viewer and displayed alone poignently reminds of the loss of this fashion great. 

There is currently a resurgence of interest in fashion illustration and Drawing Fashion celebrates this. With any retrospective, it’s difficult to cover everything and there are a few illustrators missing – notably David Downton who we interviewed recently. The exhibition, however, demonstrates illustration’s power to take the viewer beyond the simple display of clothes and connecting what we wear with the mood, ideologies and changing tides of the 20th century.

Get all the information you need, including the line up of talks associated with the exhibition, in our listings section.
Gemma Milly Speedarting

SpeedArting by Gemma Milly.

So I’ve spent an hour getting ready. I’ve gone for a little black dress, viagra 40mg bird necklace and black shu-boos, for sale and am heading out to Stone Horse Paper Cow on Bishopsgate. As I draw nearer the anticipation rises and I can feel my heart beating faster. Why does this always happen when you’re about to meet some potential totty?

But this is no ordinary date, oh no, I’m about to arrive at an altogether more intriguing rendez-vous. Tonight, with my best-friend at my side, I am going SpeedArting. There is every possibility that I will still meet a dark and handsome stranger, the only difference is that he’ll be hanging on my wall rather than off my every word (as I’m sure they always do). And none of the ‘I’m not ready to have a relationship’ after a few dates to put up with. Hurrah!

Victoria Topping - Illustrator

‘Gesamtkunstwerk’ by Victoria Topping.

Brainchild of Jody Kingzett, Photographer who has snapped the likes of Dame Helen Mirren and Naomi Campbell, and who I met two years ago on a photoshoot in the freezing cold in Southwark, the concept is so simple that I’m surprised no-one has thought of it before. In a nutshell, it’s all about matchmaking you, the public ,with affordable art, in quirky locations – think Sketch Parlour not Slug and Lettuce (thank the lord!). So hats off to Jody for spotting a niche and hop, skip and jumping right into it.

Illustration by Darren Cranmer

Illustration by Darren Cranmer.

Amongst the artists that will be exhibiting and selling their wares this Wednesday are Neha Mojaria, who produces street-art style canvasses with a fashion twist, Illustrator Victoria Topping who creates surreal music-based illustrations, and Darren Cranmer who’s illustration style is sublimely delicate and atmospheric. Not to mention the man himself – Jody Kingzett.

Meha Mojaria - Artist

Painting by artist Meha Mojaria.

The next SpeedArting event is this Wednesday November 24th at Stone Horse Paper Cow, and promises to be a festive one. What better antidote to a tiring day in the office than to grab your friends and head out for a spot of high-brow Christmas shopping, with a free drink thrown in? So if you fancy being part of the newest big thing to hit the London art scene, make sure www.speedarting.com is firmly at the top of your bookmarks, and follow SpeedArting on Facebook or twitter. Who knows, you might bag yourself a nice little bit of eye candy.

Categories ,Affordable, ,Bishopsgate, ,Christmas Presents, ,Dame Helen Mirren, ,Darren Cranmer, ,fashion, ,Gemma Milly, ,illustration, ,Jody Kingzett, ,Naomi Campbell, ,Neha Mojaria, ,painting, ,photography, ,Sketch Parlour, ,Speed Dating, ,Speedarting, ,Stone Horse Paper Cow, ,street art, ,Victoria Topping

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Amelia’s Magazine | SpeedArting: the art of seduction

Gemma Milly Speedarting

SpeedArting by Gemma Milly.

So I’ve spent an hour getting ready. I’ve gone for a little black dress, bird necklace and black shu-boos, and am heading out to Stone Horse Paper Cow on Bishopsgate. As I draw nearer the anticipation rises and I can feel my heart beating faster. Why does this always happen when you’re about to meet some potential totty?

But this is no ordinary date, oh no, I’m about to arrive at an altogether more intriguing rendez-vous. Tonight, with my best-friend at my side, I am going SpeedArting. There is every possibility that I will still meet a dark and handsome stranger, the only difference is that he’ll be hanging on my wall rather than off my every word (as I’m sure they always do). And none of the ‘I’m not ready to have a relationship’ after a few dates to put up with. Hurrah!

Victoria Topping - Illustrator

‘Gesamtkunstwerk’ by Victoria Topping.

Brainchild of Jody Kingzett, Photographer who has snapped the likes of Dame Helen Mirren and Naomi Campbell, and who I met two years ago on a photoshoot in the freezing cold in Southwark, the concept is so simple that I’m surprised no-one has thought of it before. In a nutshell, it’s all about matchmaking you, the public ,with affordable art, in quirky locations – think Sketch Parlour not Slug and Lettuce (thank the lord!). So hats off to Jody for spotting a niche and hop, skip and jumping right into it.

Illustration by Darren Cranmer

Illustration by Darren Cranmer.

Amongst the artists that will be exhibiting and selling their wares this Wednesday are Neha Mojaria, who produces street-art style canvasses with a fashion twist, Illustrator Victoria Topping who creates surreal music-based illustrations, and Darren Cranmer who’s illustration style is sublimely delicate and atmospheric. Not to mention the man himself – Jody Kingzett.

Meha Mojaria - Artist

Painting by artist Meha Mojaria.

The next SpeedArting event is this Wednesday November 24th at Stone Horse Paper Cow, and promises to be a festive one. What better antidote to a tiring day in the office than to grab your friends and head out for a spot of high-brow Christmas shopping, with a free drink thrown in? So if you fancy being part of the newest big thing to hit the London art scene, make sure www.speedarting.com is firmly at the top of your bookmarks, and follow SpeedArting on Facebook or twitter. Who knows, you might bag yourself a nice little bit of eye candy.

Categories ,Affordable, ,Bishopsgate, ,Christmas Presents, ,Dame Helen Mirren, ,Darren Cranmer, ,fashion, ,Gemma Milly, ,illustration, ,Jody Kingzett, ,Naomi Campbell, ,Neha Mojaria, ,painting, ,photography, ,Sketch Parlour, ,Speed Dating, ,Speedarting, ,Stone Horse Paper Cow, ,street art, ,Victoria Topping

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Amelia’s Magazine | The Art of Fashion at the Whitechapel Gallery: In Conversation with Erdem Moralioglu

Joe Worricker by Karina Yarv
Joe Worricker by Karina Yarv.

Joe Worricker was indeed wearing stars on his face, generic as declared on twitter twenty minutes before I arrived at his gig. I could hear Joe’s idiosyncratic voice even as I raced into this industry thick showcase at new venue XOYO, buy located just behind the main Old Street thoroughfare. He was also wearing the same clothes that he sports in his Finger-Waggers video (digital download out this week, sales though as Joe was only too happy to admit, easily downloadable somewhere online for free.)

Joe Worricker-XOYO-Photo by Amelia Gregory
Joe Worricker at XOYO. All photography by Amelia Gregory.

Joe Worricker by Sarah Ushurhe
Joe Worricker by Sarah Ushurhe.

A whole 45 minutes later I was still somewhat struggling to describe Joe, who sings with a session-type band that wouldn’t look out of place on the X Factor – but then this is the lad who auditioned for that very show… and was turned down. “I think they were scared of my voice” he told me in our earlier interview. And he does indeed have an almighty set of curiously old-fashioned lungs, somewhat at odds with his outwardly trendy demeanour.

Joe Worricker by Fay Morrow
Joe Worricker by Fay Morrow.

He swung through a set which included some slow tempo tales of weddings and fairytales, before returning to his trademark upbeat tracks. “We’ve got two fun ones now, don’t worry,” he told his many friends in the audience, including what I can only presume was his granny sat pride of place in the front row, and another relative who was doing his best impression of the funky chicken.

Joe Worricker at XOYO. All photography by Amelia Gregory.
Joe Worriker by Sarah Ushurhe
Joe Worricker by Sarah Ushurhe.

Joe Worricker is an intriguing proposition for Rough Trade. He’s poppy – he fronts a band without an instrument – dance-y, and a whole lot of soulful. Who knows where he fits into the current market place, but that distinctive voice paired with some jaunty tunes could well make him the next big thing. One thing’s for sure, anyone who puts their granny in the front row at their debut gig gets my vote. And bless, being the polite lad he is, he even thanked me on twitter.

Joe Worricker XOXO granny

Go check him out. And read my interview with him here.
Joe Worricker was indeed wearing stars on his face, about it as declared on twitter twenty minutes before I arrived at his gig. I could her Joe’s idiosyncratic voice even as I raced into this industry thick showcase at new venue XOYO, viagra 100mg located just behind the main Old Street thoroughfare. He was also wearing the same clothes that he sports in his Finger-Waggers video (digital download out this week, though as Joe was only too happy to admit, easily downloadable somewhere online for free.)

A whole 45 minutes later I was still somewhat struggling to describe Joe, who sings with a session-type band that wouldn’t look out of place on the X Factor – but then this is the lad who auditioned for that very show… and was turned down. “I think they were scared of my voice” he told me in our earlier interview. And he does indeed have an almighty set of curiously old-fashioned lungs, somewhat at odds with his outwardly trendy demeanour.

He swung through a set which included some slow tempo tales of weddings and fairytales, before returning to his trademark upbeat tracks. “We’ve got two fun ones now, don’t worry,” he told his many friends in the audience, including what I can only presume was his granny sat pride of place in the front row, and another relative who was doing his best impression of the funky chicken.

Joe Worricker is an intriguing proposition for Rough Trade. He’s poppy – he fronts a band without an instrument – dance-y, and a whole lot of soulful. I’m not entirely sure where he fits into the current market place, but that distinctive voice paired with some jaunty tunes could well make him the next big thing. One thing’s for sure, anyone who puts their granny in the front row at their debut gig gets my vote. Go check him out.

Being the polite lad he is, he even thanked me for coming on twitter.

Joe Worricker was indeed wearing stars on his face, this site as declared on twitter twenty minutes before I arrived at his gig. I could her Joe’s idiosyncratic voice even as I raced into this industry thick showcase at new venue XOYO, recipe located just behind the main Old Street thoroughfare. He was also wearing the same clothes that he sports in his Finger-Waggers video (digital download out this week, though as Joe was only too happy to admit, easily downloadable somewhere online for free.)

A whole 45 minutes later I was still somewhat struggling to describe Joe, who sings with a session-type band that wouldn’t look out of place on the X Factor – but then this is the lad who auditioned for that very show… and was turned down. “I think they were scared of my voice” he told me in our earlier interview. And he does indeed have an almighty set of curiously old-fashioned lungs, somewhat at odds with his outwardly trendy demeanour.

He swung through a set which included some slow tempo tales of weddings and fairytales, before returning to his trademark upbeat tracks. “We’ve got two fun ones now, don’t worry,” he told his many friends in the audience, including what I can only presume was his granny sat pride of place in the front row, and another relative who was doing his best impression of the funky chicken.

Joe Worricker is an intriguing proposition for Rough Trade. He’s poppy – he fronts a band without an instrument – dance-y, and a whole lot of soulful. I’m not entirely sure where he fits into the current market place, but that distinctive voice paired with some jaunty tunes could well make him the next big thing. One thing’s for sure, anyone who puts their granny in the front row at their debut gig gets my vote. And bless, being the polite lad he is he even thanked me on twitter.

Go check him out. And read my interview with him here.
Joe Worricker was indeed wearing stars on his face, story as declared on twitter twenty minutes before I arrived at his gig. I could her Joe’s idiosyncratic voice even as I raced into this industry thick showcase at new venue XOYO, story located just behind the main Old Street thoroughfare. He was also wearing the same clothes that he sports in his Finger-Waggers video (digital download out this week, buy information pills though as Joe was only too happy to admit, easily downloadable somewhere online for free.)

A whole 45 minutes later I was still somewhat struggling to describe Joe, who sings with a session-type band that wouldn’t look out of place on the X Factor – but then this is the lad who auditioned for that very show… and was turned down. “I think they were scared of my voice” he told me in our earlier interview. And he does indeed have an almighty set of curiously old-fashioned lungs, somewhat at odds with his outwardly trendy demeanour.

He swung through a set which included some slow tempo tales of weddings and fairytales, before returning to his trademark upbeat tracks. “We’ve got two fun ones now, don’t worry,” he told his many friends in the audience, including what I can only presume was his granny sat pride of place in the front row, and another relative who was doing his best impression of the funky chicken.

Joe Worricker is an intriguing proposition for Rough Trade. He’s poppy – he fronts a band without an instrument – dance-y, and a whole lot of soulful. I’m not entirely sure where he fits into the current market place, but that distinctive voice paired with some jaunty tunes could well make him the next big thing. One thing’s for sure, anyone who puts their granny in the front row at their debut gig gets my vote. And bless, being the polite lad he is he even thanked me on twitter.

Go check him out. And read my interview with him here.
Shea Alchemy by Cat Palairet
Shea Alchemy by Cat Palairet.

I am a big fan of cottage industries – after all, cialis 40mg I am one myself. In the first of an ongoing series that will profile ethical skincare and makeup brands, let me introduce you to Shea Alchemy founder Sally Mumford. Having discovered her creams some years ago (at a market) I can indeed testify that they are very yummy… Here she talks about how she set up her business and why it is possible to avoid spending a fortune on good quality natural skincare.

Shea Alchemy founder Sally Mumford by Charlotte Hoyle
Shea Alchemy founder Sally Mumford by Charlotte Hoyle.

What did you do before you set up Shea Alchemy?
I was marketing manager at Random House publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

Shea Alchemy pots

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, being a practical kind of person, (and miserly), I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s Yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantic in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Shea Alchemy by Alison Day
Shea Alchemy by Alison Day.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

SheaAlchemyBottleIllustration_by_JessGu
Illustration by Jess Gurr.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Shea Alchemy by Karina Yarv
Shea Alchemy market stall by Karina Yarv.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

SheaAlchemy by Reena Makwana
Illustration by Reena Makwana.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins and pots – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Shea Alchemy Stall by Charlotte Hoyle
Shea Alchemy Stall by Charlotte Hoyle.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!
What did you do before you set up Shea Alchemy?
I was marketing manager at Random House Publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, salve being a practical kind of person, pharmacy (and miserly), diagnosis I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantics in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via Twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!
What did you do before you set up Shea Alchemy?
I was marketing manager at Random House Publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, rx being a practical kind of person, healing (and miserly), buy more about I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantics in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via Twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!
What did you do before you set up Shea Alchemy?
I was marketing manager at Random House Publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, viagra order being a practical kind of person, (and miserly), I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantics in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via Twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!
I am a big fan of cottage industries – after all, order I am one myself. In the first of an ongoing series that will profile ethical skincare and makeup brands, let me introduce you to Shea Alchemy founder Sally. Having discovered her creams some years ago (at a market) I can indeed testify that they are very yummy… Here she talks about why it is possible to avoid spending a fortune on good quality natural skincare.

What did you do before you set up Shea Alchemy?
I was marketing manager at Random House Publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, being a practical kind of person, (and miserly), I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantics in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via Twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!
I am a big fan of cottage industries – after all, pharm I am one myself. In the first of an ongoing series that will profile ethical skincare and makeup brands, cialis 40mg let me introduce you to Shea Alchemy founder Sally. Having discovered her creams some years ago (at a market) I can indeed testify that they are very yummy… Here she talks about why it is possible to avoid spending a fortune on good quality natural skincare.

What did you do before you set up Shea Alchemy?
I was marketing manager at Random House Publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, viagra 40mg being a practical kind of person, (and miserly), I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantics in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via Twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!
I am a big fan of cottage industries – after all, cheapest I am one myself. In the first of an ongoing series that will profile ethical skincare and makeup brands, let me introduce you to Shea Alchemy founder Sally. Having discovered her creams some years ago (at a market) I can indeed testify that they are very yummy… Here she talks about how she set up her business and why it is possible to avoid spending a fortune on good quality natural skincare.

What did you do before you set up Shea Alchemy?
I was marketing manager at Random House Publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, being a practical kind of person, (and miserly), I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantics in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via Twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!
I am a big fan of cottage industries – after all, pharm I am one myself. In the first of an ongoing series that will profile ethical skincare and makeup brands, let me introduce you to Shea Alchemy founder Sally. Having discovered her creams some years ago (at a market) I can indeed testify that they are very yummy… Here she talks about how she set up her business and why it is possible to avoid spending a fortune on good quality natural skincare.

What did you do before you set up Shea Alchemy?
I was marketing manager at Random House publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, being a practical kind of person, (and miserly), I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s Yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantic in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via Twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!
I am a big fan of cottage industries – after all, dosage I am one myself. In the first of an ongoing series that will profile ethical skincare and makeup brands, web let me introduce you to Shea Alchemy founder Sally. Having discovered her creams some years ago (at a market) I can indeed testify that they are very yummy… Here she talks about how she set up her business and why it is possible to avoid spending a fortune on good quality natural skincare.

What did you do before you set up Shea Alchemy?
I was marketing manager at Random House publishers. Absolutely nothing to do with skincare. After having my kids I wanted to be around at home more so I went freelance from home as a graphic designer and copywriter. This all sounds totally unrelated but has actually helped me set up the business as I haven’t had to pay designers or marketing people which would have cost a fortune and I did know about running a business.

What prompted you to set up shop? Where did you learn how to make skincare products and where would you recommend that budding skin magicians go to train?
I went to stay with a friend in the States when I was a freelance designer and met a woman who was really into natural skincare who told me all about all the rubbish that is in so many commercial skin creams. I was pretty horrified and bought some ‘natural’ creams made by a company called Arbonne. I loved them but they were INCREDIBLY expensive. When they ran out I looked at the ingredients list and, being a practical kind of person, (and miserly), I thought I’m sure I could make this myself and save myself £100’s. So, I bought a natural beauty recipe book from Amazon and with Claire, my daughter, I set off to Neal’s Yard and spent a fortune on natural ingredients (far more than £100 in the end) and came home and had fun in the kitchen. We squashed beetroot through sieves, blocked the sink with melted beeswax and made all kinds of weird and wonderful concoctions. That was just the beginning but I got hooked on it. I did loads of reading, experimenting and talking to various chemists and toxicologists. I researched ingredient properties and finally, once I had decided I wanted to sell my creams, rather than just giving them to friends and family as I had been – I went on a course run by Aromantic in Fulham to find out how to make sure they didn’t curdle or go off and to learn about the legal side of things.

Why Shea Butter? Do you ever feel tempted to throw another substitute product in the mix?
On that first Neal’s Yard trip in 2003 we bought some shea butter just because it was in one of the recipes I fancied making. I really liked its texture and the feel of it on my skin. When I read about its properties I decided to make it the theme of my creams. Shea butter is fantastically good for the skin and has been used for centuries in Africa as a natural skin moisturiser. It helps heal scars, offers natural sun protection, soothes eczema and a whole range of dry skin conditions and is also used as a hair conditioner. We mix it with other ingredients though as in its basic unrefined form it is hard and wax like and needs warming before use.

How do you source your shea butter? What led you to Ghana?
We get our fairtrade, unrefined shea butter via a child rights organisation in Ghana called Afrikids and it is made in a woman’s fairtrade cooperative. Ghana is the main place for Shea butter and as a friend of mine had some Ghanaian contacts it seemed the natural place to head for.

What other products do you add to the shea butter and where do you find these?
We use organic oils such as olive, apricot kernel, thistle and avocado, aloe vera, horse chestnut extract and cocoa butter. We use spring water which we get from my cousin’s farm in Northants where they have a natural spring. They bottle and sell their water and I am sure this is why our creams are so good for sensitive skins because our water is SOOOO pure. We use an emulsifier – cetyl alcohol, which comes from coconut oil – to blend the fats and the water together. We scent the creams with organic essential oils. All our ingredients are sourced from different companies.

Can you explain a bit of the process behind the making your products?
It’s a cross between cooking and chemistry! Lots of heating, cooling, whisking and stirring. Heating has to be very precise and timing is crucial. In the early days we had loads of disasters with curdled messes in saucepans but now we have it down to a fine art. The cooks in the company are Prue (my sister), Emma (my oldest friend) and me. Emma has a science background and that helps a lot.

Why is selling in markets so important to you, and which markets do you sell in?
Selling at markets is great because it really keeps you in touch with the people who buy our stuff and what they want. We love the feedback and because we are a tiny company we can actually act on it. If people say they love the smell of geranium for example – we go and get organic essential oil of geranium and add it to stuff. If people show interest in hemp oil for example or blackcurrant seed or blackseed oil etc (as they have done) we can add it to products. We do have to get every recipe toxicology tested though before selling it so its not totally ad hoc. We sell at Broadway Market in London Fields every Saturday and Brick Lane Upmarket in the Truman Brewery on Sundays. We also do one off markets in York (we are there loads over Christmas), Suffolk, Brighton etc. Our website is regularly updated with our plans for the next month and every Friday we confirm our venues via twitter. I chose Broadway and Brick Lane as regular markets because they are GREAT venues and I love being there! Lots of people, lots of great stalls and really friendly stall holders. If I am going to spend my weekends working I want to make sure I am going to enjoy myself.

How do you work between Crouch End and York?
I am based in Crouch End and make stuff in my kitchen and sell at markets in London. Emma makes it in her kitchen in York,  services most of the web orders and sells at York markets. My sister, Prue, makes creams in her kitchen in Northants and brings batches of cream up to me on a weekly basis.

What are your new products?
Our new products are Cyclists’ Sore Bits Cream and Cyclists All Weather Face protection because we have had loads of cyclists asking for specialist creams – particularly on Broadway market. We also do a blusher and tinted moisturiser because it is simple to just add mineral tints to our existing creams. We don’t have plans to extend the make up range but these two products fit comfortably with the rest of our products.

All your products come in distinctive little tins – why have you decided to package them in this way and what inspired the distinctive bright design?
I just liked the idea of tins because they are really practical, unsquashable and have a kind of basic honesty about them – no fake bottoms here. I did some basic market research before becoming a Ltd company and the results of the survey I did showed that people wanted something a bit different that would stand out from the endless white boxes. I design all our packaging myself and I love bright colours. I looked at lots of Ghanaian batiks for inspiration and the borders of all our tins are based on a batik I liked.

Why are gift boxes such a good idea for a small brand like yours?
I think people like to buy presents that are packaged in some way so it made sense to put combinations of creams together. I have to admit I love little bags, boxes, tissue and ribbon so it gave me a great excuse to go and spend loads of money at the packaging factory!

What are your dreams for the future of your brand?
Oh wow … Well, I think we want to stay small. This company is a lifestyle for us rather than an ambition to make mega bucks. We like messing around in the kitchen and making lovely products. If we were to go into shops and get big, our recipes would have to be made in a factory, we would need a distribution network and a production line and who wants to spend their days dealing with all that hassle and the stress of borrowing large amounts of money? If we just sell online and at markets the other great thing is we can keep our prices very competitive because our overheads are massively reduced.  We do want to make a bit more money than we do at the moment though … I think online sales are the way to go. So check out our website www.sheaalchemy.co.uk and start doing your christmas shopping!

Erdem, online illustrated by Katie Walters

The Whitechapel Gallery is, this month, hosting a series of talks which see a host of London-based fashion designers in conversation with curator Kirsty Ogg. The first of these talks saw Turkish/English/Canadian designer Erdem Moralioglu take to the stage. 

Personally I’m a massive fan of Erdem and the inherent beauty he’s displayed across collection after collection. Amelia’s Magazine supported the designer since his first show, with an interview and feature in Issue 08 of the printed magazine. It’s a shame, then, that we didn’t get a ticket to his most recent show so we haven’t covered his work in a while. Yes, they probably go faster than Take That tickets, but, y’know, we’ve been on the Erdem wagon longer than it takes to correctly spell his surname.

Above: Erdem S/S 2011 Below: Erdem S/S 2010, illustrated by Michelle Urvall Nyrén

After a warm introduction from Elle‘s fashion director Anne-Marie Curtis, who thanked Erdem for her wedding dress (cringe), the conversation began, as these things tend to, rather awkwardly. We got a brief synopsis of Erdem the man so far – he relayed stories from his childhood, described his Virgin Suicides-esque hometown and discussed his fascination with right and wrong. He’s a man after my own heart who has always been fascinated by women and the impact that fashion has on their lives. The contrast of cultures – a Turkish father, an English mother, a Canadian upbringing – has had a massive impact on the designer’s work and life. He has always been obsessed by reality, fantasy and femininity.

This unusual series of talks see fashion designers talk about the influence of the art world, generally speaking, on their work. Each designer has been asked to pick 10 pieces of art that they feel have been most inspirational. Erdem had hand-picked a wide range of pieces that had been influential, from centuries-old paintings to the work of modern photographers.
From Ryan McGinley‘s ethereal firework images to Singer Sargent‘s oil paintings, all genres were covered, with an unsurprising theme of women and figures running throughout. Here are a few of his picks:

Seeing Peter Doig’s White Canoe (1990-1) in oils appeared like a close-up image of Erdem’s many digital prints, but also evoked his own memories of growing up near this ‘large lake’…

Singer Sergant’s Madame X conveyed Erdem’s fascination with mysterious women…(detail)

Ryan McGinley’s Fireworks Hysteric was a combination of the female form and his obsession with reality…

Inspiration from Tina Barney’s Matador, from the conscious influence of Erdem’s detailing to the juxtaposition of the elaborate jacket with the crispness of the shirt and tie… 

While there’s no doubt that art and fashion are physically and psychologically intertwined, it did feel at times that the emphasis was on the deeper and often patronising themes that existed in Erdem’s choices. I would have happily listened to his dulcet Canadian tones wax lyrical about fashion than hear him struggle somewhat to form concepts from pieces of art that just weren’t there. ‘There isn’t really a meaning, love!’ I kept thinking to myself as Ogg tried to worm out themes from his choices. ‘Leave him alone!’ I forced myself not to say aloud. ‘LEAVE MY ERDEM ALONE!’ It was a little like sitting in on a psychiatrist extract information from a sane person who didn’t really need to see a psychiatrist.  

Generally, the idea of a fashion designer discussing his influences, and purely artistic ones, is a great concept, but what it didn’t need was patronising drivel. Just my philistine opinion, obviously.  


Illustration by Katie Harnett

You can catch Marios Schwab in conversation with Daniel F. Herrmann on Wednesday 24th November. Click here for more details.

Categories ,Anne-Marie Curtis, ,art, ,canada, ,Elle, ,England, ,Erdem Moralioglu, ,fashion, ,John Singer Sargent, ,Kirsty Ogg, ,Peter Doig, ,Ryan McGinley, ,Take That, ,Tina Barney, ,Turkey, ,Virgin Suicides, ,Whitechapel Gallery

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Amelia’s Magazine | Vintage at Goodwood Review, by vintage enthusiast and fashion blogger Maria Domican


All photography by Maria Domican

I was nervous upon arriving at Vintage at Goodwood… Nervous because I had called in sick to work, more about this nervous because I had been hearing bad press about the event and mainly nervous because I had no idea what to expect.

I have to admit, web no matter how fashionable, arty and eco driven a festival is, a major emphasis has always been on being drunk and having a great, if somewhat crazy time… I couldn’t imagine myself getting wasted on ‘classic cocktails’ or ‘gin and tonics’, parading around campsites in my beloved vintage treasures and sleeping through bands in a dusty heap at Goodwood. Apparently that was exactly the crowd that organiser Wayne Hemingway was eager to discourage, not wanting those “out on the lash that leave a load of empty tins at their ripped tent”.

Goodwood was billed as ‘the first of what will be an annual music and fashion led celebration of creative British cool’ ‘The new festival of Britain’. But what was it? A vintage Fashion Fair? An exhibition? Or a festival? Featuring music, art, fashion, film and design I was puzzled as to how it would all come together.

None the less I was excited… I had packed a few of my 2nd favourite dresses (the dirt was still a worry!) far too many hats (and yes I carried them in a vintage hat box) and even two matching vintage parasols, for my friend and I to parade around with; in short, more than I would usually take on a week long holiday.

Upon arrival we were greeted by a red carpet and the famous British High Street. Made up like a spaghetti western, all wooden fronted shops, I felt like I had wandered onto a film set. The high street catered for the big brands: John Lewis, The Body Shop and Dr. Martins all had large stores with all the facilities of any other high street shop. It also was the home for the vintage cinema, a traditional British pub and even an Indian take away! The draw of the festival to many though – the vintage stalls – were down the two side streets in tents. These were much more bazaar-like in style; small cramped lines of tents exploding with clothes, accessories, and when it rained (which it did a lot) crammed in people unable to move.


Vintage shopping at Goodwood.

Bands such as The Faces, Buzzcocks, Heaven 17 and the Noisettes entertained the crowds but it was the fashion that was the main draw of the festival. Workshops taught sewing and knitting while Hardy Amies and Pearl and Daisy Lowe were among those with runway shows.


The Noisettes on the main stage.


Pearl and Daisy Lowe at their runway show.

Divided into eras, the festival celebrated five decades of British cool, with each area having a different ‘curator’ (supposed experts in that field).


The 1970s and 1980s zone curated by Greg Wilson featured a warehouse with interactive graffiti wall and a roller disco.

Also in the 1970s era was Eddie Miller’s Soul Casino nightclub – replicating a mid 70s ballroom and reminiscent of many a bad wedding reception, complete with 1970s swirly carpet, sprung dance floor, pool tables and low lighting – it was here that Wayne Hemingway performed his own DJ set on the Sunday.


Wayne Hemingway

The emphasis of the festival was definitely the 1940s and 1950s, however, with the majority of outfits being so themed and with one of the highlights being leading percussionist, producer and 1940s enthusiast Snowboy’s Tanqueray sponsored ‘Torch Club’: a 1940’s style supper club which served 3 course meals over the weekend, with waiter service and a full orchestra playing while you eat. Behind the club forties allotments and land girls held guess-the-weight-of-the-pumpkin competitions and the guys from The Chap held an Olympian event with cucumber sandwich tossing and tug-o-moustache.


Cucumber sandwich tossing at The Chap Olympiad


Moustache tug-o-war

Still in its first year, the festival organisers have room for improvement before next year’s. The website promised ‘an unparalleled attention to design and organisational detail’ which is a little optimistic considering the press pass debacle. Still, this was upheld in areas such as the attention to period detail in all shops and stages and that all events were first come first served and not fully booked up beforehand.
It’s possible the press pass debacle was a result of the PR company giving all 150 staff free weekend and camping tickets… of which apparently only 8 were used!

One stall holder also complained that they felt the festival had been miss-sold as they thought that the vintage stalls were going to be on the main high street not crammed into the side tents.

Whilst a lot of events over the weekend such as dance classes and the cinema were free, the main grumbles were still about the commercial emphasis of the festival, Bonham’s high profile auction, chain stores and a huge emphasis on shopping and spending money left a lot of people disgruntled, but apparently still willing to spend; Oxfam reportedly made £1000 in the first half hour of opening! Lily Allen‘s no-show to launch ‘Lucy in Disguise’ was probably a blessing in disguise as it prevented the focus of the weekend from being celebrity.

The ‘Glamping’ was on all accounts also seen to be a big disappointment. Situated at the bottom of the hill in the woods this area quickly became a muddy bog with the torrential rain and at £1200 for a tent with an airbed was seen as a complete rip off by many who didn’t even have hot showers. The same was true of the pods which had to move some people to tents due to complaints about size and not being able to stand up.


Glamorous campers.

For the regular campers, though, there were no problems. Many vintage tents, bunting strewn camps and campervans were on a chalk based slope which quickly drained and dressing rooms with full length mirrors and power points enabled everyone to dress up.


Dressing up rooms. Photography by Madeleine Lowry

…And dress up they did! Whilst the day trippers favoured fancy dress over true vintage and stuck to the high street, the weekend crowd were the highlight of the festival. A huge ego-boosting weekend, everyone went out of their way to compliment each other on their outfits and a general blitz spirit coupled with the friendly campsite and interactive nature of events ensured that everyone was quick to make new friends.

Overall the weekend offered an overwhelming range of activities to take part in or witness, and hopefully with the kinks ironed out before next year, things can only get better for Goodwood.



Fashion at Goodwood.

You can read our insightful preview of Vintage at Goodwood here, and Amelia’s experience of the festival here.

Categories ,1940s, ,1950s, ,1960s, ,1970s, ,1980s, ,art, ,British cool, ,British High Street, ,Buzzcocks, ,Cocktails, ,daisy lowe, ,Dr. Martins, ,Eddie Miller, ,fashion, ,Gin & Tonic, ,Glamping, ,Hardy Amies, ,Heaven 17, ,Indian takeaway, ,John Lewis, ,lily allen, ,Lucy in Disguise, ,music, ,Noisettes, ,Olympiad, ,oxfam, ,Parasols, ,Pearl Lowe, ,Snowboy, ,Soul Casino, ,Tanqueray, ,The Blitz, ,The Body Shop, ,The Chap, ,The Faces, ,Vintage at Goodwood, ,Wayne Hemmingway

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