A/W 2010 – Page 3 – AmeliasMagazine

Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Welsh Designer Collective

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Criss-crossing the international date line over two days, sick ambulance the crew were very possibly the first and last people on Earth to celebrate Jan 1, viagra order 2009. (Photo by Adam Lau/Sea Shepherd Conservation Society)

New years eve. After the refuel and resupply we are back at sea, order enjoying cake, drinks and a super vegan buffet. The sea is rough and outside it is pitch black. As we clear the EEZ boundary the spy ship is nowhere to be seen. Last we heard it was waiting for us just south of Hobart. Our plan of sneaking out under the cover of darkness and in bad weather seems to work. When we left in December the whalers had hired surveillance planes under false pretences so they could track our movements. This worked for a while, until the hire company found out what the real deal was. Even if they were able to find someone to hire them a plane, the weather might be too bad for them to come out. A group calling themselves ‘Taz Patrol’ later announced on Twitter that the spy ship was still waiting for us at the EEZ boundary when we had already sneaked out and were way out of their reach. Hurray!

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Dusk aboard the M/V Steve Irwin (Photo: Eric Cheng / Sea Shepherd Conservation Society)

We sail straight south towards the Commonwealth Bay area, where we were not more than a fortnight ago. An Antarctic cruise ship spotted the whalers and some of the passengers informed us. The Ady Gil is roughly in the same area, though low on fresh water and fuel, they are waiting on us to be resupplied. As we are heading down, another vessel is coming in from the west. Kept secret until now, this is our third vessel, the ice-classed Bob Barker, named after the American TV presenter and animal rights campaigner who purchased it for us. It has been at sea for over a month now, trying to reach the whaling grounds to join in on the action. With the Ady Gil south east of the fleet, the Bob Barker coming in from the west and us bearing down on them from the north, there is literally nowhere for them to run.

The Bob Barker (photo: JoAnne McArthur / Sea Shepherd)

We have quite a way to go yet, about two and a half days sailing. The Bob Barker is closing in too and briefly meets with the Ady Gil. This is when things get ugly. The Bob Barker has located the whaling fleet and sets course for the factory ship Nisshin Maru. This ship, where the whales are hauled onto and processed once they have been caught, is at the hearth of the whaling fleet. You shut it down and the rest of the ships are unable to operate. The Nissin Maru starts running at full speed. Meanwhile, the other whaling ships scatter in different directions. It seems the chase is on.

photo: Glenn Lockitch / Sea Shepherd

We are on watch in the engine room. The phone rings, it is the bridge. ‘Hey guys, have you heard the news?’ I listen intently as the story unfolds. The Ady Gil is drifting close by the Bob Barker, waiving and cheering before leaving to meet up with us, still some distance away. The vessel is drifting, not accelerating, and the some of the crew sit on the aft deck. In the distance the spy ship Shonan Maru No 2 is approaching at full speed. It is getting closer and closer and at a distance of about a hundred meters it starts to turn sharply towards the Ady Gil. When the crew realize what is going on, they fire up the engines and start to pull back, hoping to avoid a collision, but to no avail. The more than 800 tonnes heavy harpoon ship throws itself into the much smaller trimaran. It crashes into the vessel, tearing open its hull and cutting off 4 metres of the bow.

Whalers Ram Sea Shepherd Ship Ady Gil (photo credit: JoAnne McArthur / Sea Shepherd)

The Ady Gil starts sinking. A MAYDAY distress signal is sent out and the Bob Barker changes course and rushes to its aid. It gets there just in time to rescue the 6 crew members from the vessel. The Japanese whaling fleet ignores the emergency distress signals and steams away, hoping to loose us and continue their illegal whaling operation elsewhere. The Shonun Maru No 2 ignores the distress signal at first but later agrees to stay nearby after the Bob Barker makes numerous radio calls to them, relaying the urgency of the situation. The rest of the whaling fleet runs far west.

Ady Gil Sinking (Photo: Glenn Lockitch / Sea Shepherd)

The next day, everyone on the ship is catching up with the impact that the ramming and sinking of the Ady Gill is having. On the international stage, media wise and in turn how it effects people all over the world who hear about what is going on and are starting to ask questions. From the emails we are receiving and the reports we are reading, it seems that the world media is all over this. It has definitely put whaling back on the map, though I doubt that governments will finally live up to their obligation to uphold the laws they undersigned to protect these whales. In a sense it feels like governments aren’t even part of this whole situation anymore. It is down to us, the only force in the Southern Ocean to protect these gentle giants of the sea from the deadly harpoons that are after them. Looking to shoot, pull, haul up and process, what in business terms will be another few boxes of whale meat on the inventory. Another product in the freezer storage ready to be distributed once the fleet arrives back in Japan. Another statistic on the books for the whaling company. That is what it is for the whalers, for those with no regard for the sacredness of life, with no understanding of the importance that a healthy ocean and therefore healthy planet has to all of us.

Southern Ocean, Jan 2010 (Photo: It’s a Wildlife)

After the sinking of the Ady Gil we turn at full speed in pursuit of the whaling fleet. After 10 days they are still running from us. When they are nearing the boundary of the area they have allocated themselves to conduct their ‘research’ in, an announcement is made that the area is to suddenly be expanded by another 1000 nautical miles west. Very convenient. We are forced to change course to meet the Bob Barker as they are running low on supplies.

Humpback breaching, Southern Ocean (Photo: It’s a Wildlife)

‘Attention all crew, whales breaching off the bow, whales breaching off the bow’. The announcement makes everyone jump into action straight away.
‘Whales! Quick quick!’ We all rush up the stairs and onto the deck. There, about 50 meters from the ship, two humpback whales jump out of the water, throwing their huge bodies up in the air, and crashing back down, causing huge eruptions on the surface. We all stand there in awe. So far, we hadn’t seen many whales at all. Quite a discouraging observation when you consider a vast industrial whaling fleet is looming about. But they’re definitely here and happy to show off their tricks. Under the sound of cheering and clapping from the ever growing spectator crowd on deck, they continue to breach, flip and dive back down. When you see these animals in the free, open ocean, their wilderness, their world, it gives you strength to carry on. Inspiration to pursue our goals in shutting down these pirate whalers.

Humpback breaching, Southern Ocean (Photo: It’s a Wildlife)

Read Part 2 and Part 1

For latest updates and news, please see the Sea Shepherd website
The Welsh Designer Collective is a handpicked selection of Wales’ emerging fashion design talent. The Welsh are GOOD. Who knew?

They certainly know how to plug Wales, adiposity for starters. I hope everybody noticed even the seats had been given the Welsh treatment – covered in fabulous geometric fabric by Melin Tregwynt.

The goodie bags contained Welsh cakes, online Welsh socks, order Welsh whiskey and Welsh spring water. Alright, we get it! They’d really missed a trick with the ambient music – a Sir Tom or Dame Shirley track would have been far more appropriate, considering.

Onto the show, where Josie Beckett’s collection appeared first. Models sported hair that was a hybrid of Bride of Frankenstein and soft, cloud-like forms. Some great stuff here, influenced by the Tudors. Puffed shoulders, typical of the era, were given a modern flavour – taking the fashions of the Elizabethan upper-classes and making them wearable and dynamic.

Fabulously illustrated by June Chanpoomidole

Hem-lines were very high indeed, not particularly appropriate for Queen Liz I but very, very now. The collection was relatively simple, but extremely effective, and also included prints of infamous faces from the Tudor period. I loved the Henry VIII tee. Make one for the boys please, Josie.

Elinor Franklin’s collection was sports-lux meets disco-glam, making great use of the aesthetics of leather and silk. These materials were juxtaposed across tops and skirts, developing into bolder winged forms, shaped like graduation gowns.

Both silk and leather were panelled into the same garments, and creases, twists and knots flattered the female form. An Elinor Franklin woman is confident and downright sexy.

Fabulously illustrated by June Chanpoomidole

Emma Griffiths also made great use of materials, contrasting the aesthetic properties of varying forms. Totally body-concious, the models were literally wrapped in leather and PVC.

Fabulously illustrated by June Chanpoomidole

Patches of PVC were applied to yet more body-con dresses to echo the female form, and were pretty futuristic. Playful gemoetric jackets were structured and left little to the imagination. I loved Griffiths’ black and nude colour palette, which oozed sophistication.

Cymru Am Byth!

Written by Matt Bramford on Monday February 22nd, 2010 6:51 pm

Categories ,A/W 2010, ,Elinor Franklin, ,Emma Griffiths, ,Josie Beckett, ,London Fashion Week, ,wales, ,Welsh Designer Collective

Amelia’s Magazine | London Fashion Week A/W 2010: Esther Coombs/Nicole Farhi Windows

If you go down to Bond Street today, seek or throughout Fashion Week, sickness in fact, thumb you’re sure of a big surprise.

I’m sure their windows always look lovely (most of the stores in this highly desirable area probably have bigger visual merchandising budgets than some designers have for their collections) but Farhi’s windows are currently adorned with illustrations by the lovely Esther Coombs.

Esther usually works on more smaller mediums – she rescues ornate and delicate china from charity shops and customises each piece by hand with ceramic ink. Her linear doodles of buildings old and new bring fresh life to dated objects.

Commissioned by Farhi, Esther has created huge drawings on canvases, acryllic pop-ups and the windows themselves. They provide a welcome change to the morose ‘decadent’ displays one tends to spot on Bond Street, and vivid colours combine with monochromatic sketches for dramatic effect.

From the BT Tower to the Houses of Parliament, a range of iconic buildings get the Coombs treatment for a limited time only. Catch ‘em while you can.

Written by Matt Bramford on Saturday February 20th, 2010 7:51 pm

Categories ,A/W 2010, ,Bond Street, ,Esther Coombs, ,London Fashion Week, ,Nicole Farhi, ,Window display

Amelia’s Magazine | London Fashion Week AW 2010: Fashion East Menswear Installations

If coping with sashaying around London Fashion Week’s Menswear Day from show to show wasn’t enough, try there was also the incredible Fashion East Menswear installations, more about which never fail to impress.

It’s great to see some previous Fashion East designers progressing to catwalk shows, approved which no doubt most of these will too.

Here’s a (very brief) round-up of what we saw yesterday…

Lou Dalton
We’ve been a fan of Lou Dalton for a while now, and her show last season was a nautical treat. She’s a designer for the young, hip kind – a category I sadly don’t fall into but still have a huge appreciation for her skillz.

This time around, Lou moves into checks and even more knitwear, whilst still retaining that modern-tailoring-with-classic-British influence. She’d clearly instructed her models to do their best blue-steel too, which made for good photographs…

Florian
Florian is, apparently, a jewellery designer. I did see some racks of jewellery, briefly, but I failed to look at it as I was mesmerized by this strange creature (read: poor young bemused model who had to wear fake tusks on his arms for four hours, changing poses when anybody entered the room).

Matthew Miller
Fantastic tailoring suitable for the sartorial dresser. Great styling in the room, too – made up a heap of good-looking man-about-town types chatting away. What larks.

Mr Hare
Very, very nice shoes. That is all.

Martine Rose
Bit of an odd set-up here, with live models playing Nintendo hand-held consoles (I’m sure they have a real name, but I’m damned if I know what they’re called). Very little fashion, but what I did see – tailored shirts featuring patches of contrasting colours – were fun and wearable.

Sibling
Sibling invited us to delve into the world of zombies and other horror-related imagery with the launch of their spooky collection. A rather charming film that made use of 1950-60s b-movie style horror movie imagery and graphics played in the background. There collection consisted of intricate knitwear which used bright and neon colours and playful graphics. By far one of the best installations in the building!

Written by Matt Bramford on Thursday February 25th, 2010 7:10 pm

Categories ,A/W 2010, ,Fashion East, ,Florian, ,footwear, ,knitwear, ,London Fashion Week, ,Lou Dalton, ,Martine Rose, ,Matthew Miller, ,menswear, ,Mr Hare, ,sartorial, ,Sibling, ,tailoring, ,Tartan, ,zombies

Amelia’s Magazine | An interview with British fashion designer Samantha Cole

Illustration by Gabriel Ayala

British fashion is normally typified by its quirky features, this web but Samantha Cole of Samantha Cole London is a stand out star in her own rights. Having presented her collection Identity III: A New Dawn at the London Fashion Week On|Off Presents… show and winning Best Womenswear Designer at New York Fashion Week for Spring Summer 2009, buy more about she is truly a force to be reckoned with. In an interview with her, malady I got to know the inner workings of her creative mind, and pick her brains (er…not literally) about her unique style.

Your Autumn/Winter 2010 collection, Identity III: A New Dawn, made heavy use of your smocking technique, giving the fabrics a beautiful texture. Do you think that this is a key element in the feeling of “coming out, coming through, a fresh start and something new” that you had?

The feeling of coming out and coming through was more from a cleansing point of view and starting over with a clean slate which, in its purest state, was emphasised through the use of white. It was a re-birth into something new that felt almost alien-like and surreal in approach, which can be seen from the styling images of the collection to further enhance this point. ?It is my love of structure, detail, texture and architecture that produced the smocking techniques inspired by the pyramids of Egypt used to create the textured feel to the collection.

Besides your smocking technique, there is an elegance and grace in your clothing, which is arguably difficult to find when using your unique and exaggerated silhouettes. How would you define the style your line exemplifies?

Thank you for that, it’s the first time my work and the words “elegance and grace” have been used in the same sentence. ?My style stems from a definitive point of view, very rarely subtle or subdued. It can be aggressive to further emphasis a point and for the most, be part fearless in its approach. This can be seen in more detail through the styling of my work, it goes beyond the garments to produce a complete overall look of my inspiration which, for the most part, is a combination of both fantasy and reality.

Your previous two collections Identity: A Journey of Self Discovery and Identity II: Warrior, as well as A New Dawn, both feature quite voluminous and textured aspects, especially in the tailored yet feminine qualities. Would you agree in saying that these techniques create an haute-couture element to your designs?

To some degree yes it does, I love detail and textures which does give that couture feel but still like to keep the silhouettes simple at the same time.

Your collections tend to only draw very little influence from modern trends. Every designer in the industry is unique, but do you feel that your collections, such as A New Dawn, allow you stand out like many designers before you, such as the late Alexander McQueen?

I don’t know that I stand out as such, but there are a plethora of creative minds doing similar things who are also unique in their approach. I just do what I want to do regardless of what’s going on around me. ?In regards to my influences, it’s really what I’m drawn to at that time. Though having said that, there is so much to pull from the past, which I find more interesting as a designer to do.

Illustration by Gabriel Ayala

You worked on the design team at Burberry before your venture into your own label, leaving that uniquely British imprint on your designs. Do you feel that your designs exemplify what British fashion is all about?

British fashion for me has always been about creativity, individuality, eccentricity, rebellion and the freedom to explore your skills and talent to the fullest. It’s the complete and total abandonment that you can only get here in the UK, which is why I love this country so much and why it’s such a perfect fit for me. So in answer to your question, yes, I do believe that my designs exemplify what british fashion is all about.

Arguably, there is a lack of popularity among British brands in the market, with the exception of the likes of Burberry, and that consumers aren’t really aware of other labels. Do you feel that, as an award-winning British label, there is a need to promote the rebellious and eccentric natures? Do you feel that Samantha Cole London could be a potential front-runner in promoting these British natures?

I don’t look to what the industry wants, expects or requires. It’s not intentional to rebel or to be seen as different, and I’m personally so overwhelmed with the outpouring of so much commerciality, that I’m sometimes bored to tears. I’m not here to raise the flag or be a front runner but just to be me and express my thoughts and ideas through what I do. It’s why I got into the industry in the first place – I have something to say, it may be considered rebellious, but it’s just an opinion. Something I don’t go out of my way or ethos to express, and definitely wouldn’t, is consider myself a poster child or otherwise to what you call “British natures”….I’m just me, doing me.

Illustration by Gabriel Ayala

With the head scratching, questions out of the way, I took it upon myself to ask Miss Cole a few quick fire questions:

Do you prefer sketching designs or actually constructing them?

Constructing them for me is the fun part, the first garment mostly sets the path for the rest of the collection and i never end up with what I sketched anyway, so it is sometimes a waste of my time

What do you like the most about designing your clothes?

Experimenting with textures and details

How would you define your personal style in three words?

Dark, understated, confused

What does fashion mean to you in three words?

Creativity, rebellion, individuality

What advice would you give to anyone who would like to follow in your footsteps and do fashion design?

I think if it is their dream and passion they should go for it. It will be stressful, tiring, exhausting, most days feel like an emotional rollercoaster and it can be disheartening but as long as they stay true to the dream and the passion they started with and are in it for the right reasons, then I say great!!…The fashion industry is an amazing place to be, and design is the hub of creativity.

You can see more of Samantha Cole’s collections on her website, and read our review of the On|Off Presents… show here.

Written by Colin Dawidziuk on Wednesday May 26th, 2010 3:11 pm

Categories ,A/W 2010, ,British Fashion, ,Burberry, ,Colin Dawidziuk, ,Gabriel Ayala, ,London Fashion Week, ,onoff, ,On|Off Presents…, ,Rebellion, ,Samantha Cole, ,Smocking, ,Texture, ,Womenswear

Amelia’s Magazine | Pre-London Fashion Week S/S 2011 Interview: Ziad Ghanem

JASPER GARVIDA lfw s/s 2011 Rachel Clare Price
A selection of Jessie’s corsarges

Walking around Broadway Market, approved one cold wintery Saturday, feeling hungry and looking at all the delicious food I could ill afford, (oh the joys of being a student!). I came across a treasure trove of a stall run by the delightful Jessie and Buddug and instantly fell in love with their charming designs. Since this initial visit, I have returned time and time again to buy unique necklaces as birthday (incredibly successful!) gifts.

So you can imagine my delight coming across their Columbia Road shop, originally located in the upstairs of one the picturesque houses adorning the street. Jessie and Buddug have recently expanded ‘downstairs’, and in celebration of their success, I had the pleasure of interviewing the talented textile artists for Amelia’s Magazine.

I first noticed your designs at Broadway Market on Saturday, was this your first venture?

Buddug: We started broadway market after we graduated 5 years ago and got the shop 2 years ago.

What was your experience of the market? Do you still have a stall there?

Buddug: We still have a stall at Broadway Market, we feel it has grown so much since we started. It’s been cold and wet at times but it’s been great learning what people buy. Its been great socially too, speaking with our friends and customers.

As friends from home, what has it been like to work together?

Buddug: We met when we were on art foundation and always said we we would like to collaborate together in the future. We find it easier that we both do our own work and then display together because we both have different working hours.

You previously occupied an upstairs room in Columbia Road, how did the opportunity to expand into a downstairs space arise?

Buddug: We got offered a place at ground level by Bev who had the shop before us, she made handmade clothes and toys etc, she offered it to us before anyone else which was an honour and we jumped at the chance.

What was your experience of the Goldsmiths Textiles course (which sadly no longer exists?)

Jessie: I was at Goldsmiths, at a very tricky time, the course was going through a real denial period, as they were finding the debate about what to do with textiles and fine art really hard. Which made it hard for us as students and as someone who is passionate about cloth and textiles and most of all making, I found the course incredibly frustrating!

But I had very supportive parents; Primmy Chorley and I am close friends with Audrey Walker and Eirian and Denys Short. So I always had a huge back up behind me in the textile world. I did feel incredibly pulled between the two worlds though and I was lucky enough to come out fighting, determined to set up my own business and to carry on my making process.

Overall I am pleased I went through the Goldsmiths experience, as the academic and written side of it, (for me) has helped me today to think the way I do and pushed me in other ways.

What course did you study Buddug and what was your experiences?

I studied at London Guildhall (now London Metropolitan University)in Jewellery, silversmithing and other crafts. I enjoyed the experimenting with different materials. It was very much a hands on course.

Buddug’s designs for Urban Outfitters.

Buddug, what was it like to work for Urban Outfitters?

It was quite difficult working for URBAN OUTFITTERS, due to the ammount i had to make! and I waited a long time for payment!

Jessie, what role does recycling play in your practice? Why is it important to you and how did you first become interested in using recycled materials?

Recycled materials has and I believe will always be a huge part of my work, I like it that it creates a timeless feeling, I guess it started from the scrap books I made with my Mum when I was young and colleting and using found and recycled items for me creates a story, old clothes and books hold some kind of story and depth to them.

A detail from Jessie’s seating plan for her Wedding Collection.

And how did the wedding collection develop?

I was asked to create a whole wedding theme for a lady who used to buy my cards at Broadway Market, I handmade her invites, table names and a seating plan and really from here I got other customers and then early this year I designed some invites which were slightly quicker to make and I did a huge wedding show in London and its kind of gone from here I have made for several weddings this summer and I am already making for 2011-2012 weddings.

An enamel plate by Buddug.

Buddug, how did you start designing the Home Ornaments collection?

I’ve always been interested in developing the enamel process since university and always liked/inspired by objects mother and grandmother had in the kitchen, I invested in a bigger kiln, which was a challenge to make bigger things!

What materials do you like working with and why?

Jessie: Fabrics, worn clothing, paper they all hold such a good quality and are embedded with an excisting narrative

Designs by Jessie Chorley

Buddug: I’ve always tried to use things that are around me and be inventive with the materials i already have/been thrown away and in old/secound hand things, there’s such a quality in materials and making process and a added charm in old things and it’s actually nicer to use…

Broach by Buddug

I like to combine different materials metal and fabric. fabric and paper or wood…but i mostly enjoy metal and enamel. I really like the solidness of metal and the duribility of it as a raw material.

What was it like to make the stage set for: the launch of Laura Dockrill’s book Ugly Shy Girl and how did you became involved in this?

Buddug: I can’t remember were we met Laura Dockrill, but she asked if we were interested in doing the stage for her. It was quite a challenge because we didn’t know the size of the stage but the best thing was Jessie’s bunting it was really big and yellow!

Have you made or participated in Set Design before? Is this something you will continue to participate in?

Jessie: Yes for me it is a real passion, I love to create things and watch others create a story with the objects I make. A lot of quite random masks and house like boxes which I display in the shop are often borrowed for shoots, and I always like the outcome. For me styling our shop is like creating a stage set I love making it all different each week and then watching the customers come in and their response to it!

My degree show was also about staging and the response of the audience and the creator, for this I made a huge seven foot book which you could walk inside.

Buddug: I haven’t done much set design before, but wold love to, it’s been quite good having practice doing the shop window.

What are the inspirations for your collections?

Jessie: Story telling, people places and preserving memories creating beautiful things from lost or found objects.

Buddug My inspiration for my work is a collection of things I find and come across, I usually collect and draw in sketch books. Nature, a sense of home comforts and memories/naustalgic sences. It’a quite a mish mash of ideas and influencs.

Design by Buddug

We have a few pieces in the shop were we bring things together such as the fabric bows with enamel buttons, but we find it easier to make our own work and display together.

Do you both run and participate in the organisation of the workshops?

Jessie: No I run the workshops I have done for quite a few years now. For me I love to go out and meet other people and hopefully change the way they see the world through making, I have worked with a lot of charities, which is both frustrating and very rewarding at the same time, I am always touched by certain characters which can feed directly in to my work.

The whole workshop trend has gone huge now though and people expect so much more, and have so much more since places like hobby craft became so big and shows like The Knit and Stitch.

I am currently organising my Christmas workshops which will be in November in North London. I will have some day workshops creating simple gift wrap and gifts.

Jess Chorley

Buddug Jess does a lot of workshops, I’m yet to start, but it might be something I would be interested in doing when I’m a bit older.

What’s next for Jess Chorley and Buddug?

Buddug: At the moment we are preparing for christmas, thinking of making stocking filler ideas and promoting our little shop. Nothing too big, taking up projects as they come along…

To find out more please visit: www.jessiechorley.com, www.buddug.com and www.jandbtheshop.com

We started broadway market after we graduated 5 years ago and got a shop 2 years ago.

We still have a stall at Broadway Market, medical we feel it has grown so much since we started. It’s been cold and wet at times but it’s been great learning what people buy. Its been great socially too, prescription speaking with our friends and customers.

We got offered a place at ground level by Bev who had the shop before us, she made hand made clothes and toys etc, she offered it to us before anyone else which was an honour and we jumped at the chance.

We met when we were on art foundation and always said we we wold like to collaborate together in he future.We find it easier that we both do our own work and then display together because we both have different working hours.

What was your experience of the Goldsmiths Textiles course (which sadly no longer exists?)

Jessie
I was at Goldsmiths at a very tricky time the course was going through a real denial period they were finding the whole debate to do with textiles and fine art very hard which made it hard for us a students so as someone who is passionate about cloth and textiles and most of all making I found the course incredibly frustrating! But I had very supportive parents Primmy Chorley and I am close friend with Audrey walker and Eirian and Denys Short so I always had a huge back up behind me in the textile world. I did feel incredibly pulled between the two words though and I was luck enough to come out fighting and to be determined to set up my own business and to carry on my making process. But overall I am please I went through the Goldsmiths experience as the academic and written side of it for me has helped me today to think the way I do and pushed me in other ways.

BUDDUG
I studied at London Guildhall (now London Metropolitan University) Jewellery, silversmithing and other crafts. I enjoyed the experimenting in different materials, it was very much a hands on course.

BUDDUG

it was quite difficult working for URBAN OUTFITTERS, due to the ammount i had to make! and I waited a long time for payment!

What role does recycling play in your practice? Why is it important to you and how did you first become interested in using recycled materials?

Jessie

Recycled materials has and I believe will always be a huge part of my work I like it that it creates a timeless feeling, I guess it started from the scrap books I made with my Mum when I was young and colleting and using found and recycled items for me creates a story, old clothes and books hold some kind of story and depth to them.
How did the wedding collection develop?
I was asked to create a whole wedding theme for a lady who used to buy y cards at Broadway Market, I hand made her invites, table names and a seating plan and really from here I got other customers and then early this year I designed some invites which were slightly quicker to make and I did a huge wedding show in London and its kind of gone from here I have made for several weddings this summer and I am already making for 2011-2012 weddings.

BUDDUG
(home ornaments)
I’ve always been interested in developing the enamel process since university and always liked/inspired by objects mother and grandmother had in the kitchen, i invested in a bigger kiln, and was a challenge to make bigger things!

What materials do you like working with and why?
Jessie
Fabrics, worn clothing, paper they all hold such a good quality and are embedded with an excisting narrative

BUDDUG
I’ve always tried to use things that are around me and be inventive with the materials i already have/been thrown away and in old/secound hand things, there’s such a quality in materials and making process and a added charm in old things and it’s actually nicer to use…

I like to combine different materials metal and fabric. fabric and paper or wood…but i mostyl enjoy metal and enamel. i really like the solidness of metal and the duribility of it as a raw material.

BUDDUG
I can’t remmeber were we met Laura Dokrill, but she asked if we were interested in doing the stage.It was quite a challenge because we didn’t know the size of the stage but the best thing was jessie’s bunting it was really big and yellow!

Have you made or participated in Set design before? Is this something you will continue to participate in?

Jessie:

Yes for me it is a real passion I love to create things and watch others create a story with the objects I make a lot of quite randon masks and house like boxes which I display in the shop and people ofter borrow them for shoots, and I always like the outcome. For me styling our shop is like creating a stage set I love making it all different each week and then watching the customers come in and there responsis to it!
My degree show was also about staging and the response of the audience and the creator, for this a made a huge seven foot book which you could walk inside of.

BUDDUG
I haven’t done much set design before, but wold love to, it’s been quite good having practice doing the shop window.

What are the inspirations for your collections?

Jessie:
Story telling, people places and preserving memories creating beautiful things from lost or found objects.

BUDDUG
My inspiration for my work is a collection of things I find and come across, i usually collect and draw in sketch books. Nature, a sense of home comforts and memories/naustalgic sences. It’a quite a mish mash of ideas and influencs.

We have a few pieces in the shop were we bring things together such as the fabric bows with enamel buttons, but we find it easier to make our own work and display together.

Do you both run and participate in the organisation of the workshops?

Jessie
No I run the workshops I have done for quite a few years now for me I love to go out and meet other people and to hopefully change the way they see the world through making, I have worked in a lot of charities which is both frustrating and very rewarding at the same time, I always touched by certain characters which can feed directly in to my work.
The whole workshop trend has gone huge now though and people expect so much more, and have so much more since places like hobby craft got so big and shows like the Knit and Stitch.

I am currently organising my Christmas workshops which will be in Nov in North London I will have some day workshops creating simple gift wrap and gifts.

BUDDUG
Jess does a lot of workshops, I’m yet to start, but might be something I would be interested in doing when I’m a bit older.

Immodesty Blaize wearing Ziad Ghanem AW 2010, buy illustrated by Krister Selin

At Fashion Week in February, flailing after a weekend of shows and struggling to even stand up, I was dragged to a late evening show by previous fashion editor Sally Mumby Croft. ‘You’ll LOVE it!’ she exclaimed. I couldn’t say no, could I? So off we popped to see the Autumn/Winter 2010 collection of one Ziad Ghanem.

Wow. I had never seen anything like it in my life, and it was, by and large, the highlight of my fashion week (and my year, probs.) Ziad Ghanem is a trained couturier, which smacks you in the face when you first see his clothes. It almost feels a little disrespectful to call Ghanem’s creation ‘clothes’ – such a meaningless word to describe these works of art.

Photography by Matt Bramford

I couldn’t wait to find out more about the designer. The name sounded so familiar; it turned out I’d bought a Ziad Ghanem t-shirt a few years ago in a sample sale. I was delirious!

The show featured the most beautiful creations, modelled by tattooed models of all shapes and sizes, with a breathtaking finale featuring Immodesty Blaize. The show was a lesson in how to undress, and Immodesty certainly did – with the final show piece being three dresses, each removed to reveal the next. The audience went crazy, as did I.

I’ve been waiting since February to have a chat with Ziad about his collection and what the future holds, and last week, I finally got the chance.

Ziad Ghanem, illustrated by June Chanpoomidole

Hi Ziad! What are you working on at the moment?
I am working on my new collection for spring/summer 2011. I am making a film for it…

What is it about fashion and making beautiful clothes that keeps you hooked?
I love to dress people. I am ever so grateful to my models and to my supportive clients. They are my muses. I also love the fact that I can do what ever I wish and I don’t have to listen to any fashion ‘rules’ that the industry forces on other designers.

You work both in ready-to-wear and couture. Do you have a preference?
I would rather work in couture. I understand it more.

Ziad Ghanem couture, illustrated by Joana Faria

What techniques do you use? Are the array of embellishments and features handmade?
Most features are hand made, especially in couture – we always use traditional methods.I love printing and beading. I am a trained couturier.

Your astounding AW2010 show was the highlight of my fashion week, by far. Can you tell us a bit about it? Were you pleased with the outcome?
Thank you, I was very pleased – I am so happy with all the positive feedback. I want everybody to know that you made my day.

The finalé featuring Immodesty Blaize and the 3-piece ensemble was incredible. How did this collaboration come about?
My collection was about the art of dressing and undressing. On catwalks, particularly in the fashion shows of the 1950s, models really worked the outfits. I wanted a burlesque artist to undress – they do it best. I didn’t want it to be about nudity – it is about the art of undressing. I met Immodesty and asked her to model in my show and I am very grateful that she did. She is an amazing performer and artist.

Photography by Matt Bramford

The models you used were incredibly diverse, as if each piece had been tailored to an individual. We also see recurring models, like Jme and Polly Fey, throughout your work. What’s the story behind your models?
I love working ‘in family’ I only use models that understand and read my work. My models are artists that want to wear and perform in my clothes. I let the model be themselves and I ask and take their opinion into consideration.
My shows are a platform and a chance for people I love to show off. I love helping and I love getting help back. It is the secret of a healthy society.

Going back to your SS2010 collection, there was a strong sustainability ethic with recycled couture and a reaction to consumerism. Are these issues important to you?
Yes. I respect the world and the planet I live in. I am anti-fur and anti-cruelty to people and animals. I want happy people to work with my clothes so I am anti-sweatshop labour. But, I am realistic in knowing where to draw the ethical line.

Your inspiration over the past few seasons has been cited as anything from Victoriana to the Middle East. Can you talk us through where your inspiration comes from, and how it translates to the catwalk?
I am inspired by many cultures and I love music and films.I want be a film maker when I grow up. At the moment I’m still a baby playing dressing up… hahahahaha!

Ziad Ghanem AW 2010, illustrated by Naomi Law

We’ve recently had a chat with Marnie Hollande about the film on which she collaborated with you. Where you happy with the result? What was the aim of this film?
Marnie is a wonderful artist and a lovely person. I am more than happy and thankful for her work and talent. There will be more and more to come. She is a lady… and I want apologise about the dirty talk in my studio. I blame Aiden Connor, my assistant…!

What can we expect from Ziad Ghanem SS2011?
Romance and a carnival of print and a performance. I love it when my clothes perform and my models always do a great job.
Plenty of organic silk. A very simple silhouette

What does the future hold for Ziad Ghanem?
The present is wonderful I can hear and feel my self breathing and nothing can replace that. The future is a bonus and I welcome it with open arms.

Ziad Ghanem AW 2010, illuustrated by Amy Martino

To see our review of Ziad’s autumn/winter show, click here, and to see more photographs, click here.

Written by Matt Bramford on Monday August 23rd, 2010 2:25 pm

Categories ,1950s, ,A/W 2010, ,Aiden Connor, ,Amy Martino, ,Burlesque, ,couture, ,fashion, ,film, ,Immodesty Blaize, ,Jme, ,Joana Faria, ,June Chanpoomidole, ,Krister Selin, ,London Fashion Week, ,Marnie Hollande, ,Middle East, ,Naomi Law, ,Nudity, ,performance, ,Polly Fey, ,print, ,Ready-to-wear, ,Romance, ,Sally Mumby-Croft, ,Undressing, ,Victoriana, ,Ziad Ghanem

Amelia’s Magazine | An interview with couturier Ziad Ghanem

Immodesty Blaize wearing Ziad Ghanem AW 2010, illustrated by Krister Selin

Photography by Matt Bramford

I couldn’t wait to find out more about the designer. The name sounded so familiar; it turned out I’d bought a Ziad Ghanem t-shirt a few years ago in a sample sale. I was delirious!

I’ve been waiting since February to have a chat with Ziad about his collection and what the future holds, and last week, I finally got the chance.

Ziad Ghanem, illustrated by June Chanpoomidole

Hi Ziad! What are you working on at the moment?
I am working on my new collection for spring/summer 2011. I am making a film for it…

You work both in ready-to-wear and couture. Do you have a preference?
I would rather work in couture. I understand it more.

Ziad Ghanem couture, illustrated by Joana Faria

Photography by Matt Bramford

Ziad Ghanem AW 2010, illustrated by Naomi Law

What does the future hold for Ziad Ghanem?
The present is wonderful I can hear and feel my self breathing and nothing can replace that. The future is a bonus and I welcome it with open arms.

Ziad Ghanem AW 2010, illuustrated by Amy Martino

To see our review of Ziad’s autumn/winter show, click here, and to see more photographs, click here.

Written by Matt Bramford on Monday August 23rd, 2010 2:25 pm

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