In typical fashion week style it was chaos up to the last minute as the venue, Beach Blanket Babylon in Shoreditch, had been double booked and the show ended up in what was essentially a storage room. Even so, they did a good enough job of dressing it to make it look intentionally basic, and I think the raw whiteness of it suited the work. Once I had set up my paints I watched Eleanor Amoroso set to work with hair straighteners on the long sinuous tassels that hang from her macramé pieces.
It was a shame not to see Eleanor Amoroso‘s garments on models, as the long free flowing cords are clearly made to be seen in movement. Instead I have tried to capture that shape and movement in my illustrations.
Both the designers worked on a big and small scale, with Eleanor Amoroso presenting full length and more minimal versions (which would work well as accessories) of her intricately knotted black and white pieces. She has somewhat downscaled from more epic pieces previously featured on Amelia’s Magazine, probably for sensible commercial reasons.
Claudia Ligari’s collection
Claudia Ligari, on the other hand, showed a strong sensitivity for the power of simple shapes in both her garments and her jewellery collection. The strength of the lines in her work were the opposite of her physical presence, as I drew her (‘wearing herself’), she was constantly in motion, catching the light on the leather panels of her dress. She also showed her work in the exhibition at Fashion Scout.
In general I preferred Claudia Ligari‘s more complex garments over the austere leather pieces. But then I’m not usually a fan of clean as an aesthetic on it’s own: the camel coat illustrated was getting a lot of love. I’d be interested to see the two designers’ work worn together actually, as I think the intricacy of the macramé thread work against the stark panels of leather could work well.
I’m a big fan of spending an evening this way. Not only did I get to draw all night, whilst drinking free drinks and meeting interesting people, but I now have ready to go illustrations for this article, saving me time to do other London Fashion Week journalism. Hooray.
Beth Buxton on the left, some interesting looking fashion people, and Eleanor Amoroso holding her portrait.
Written by Jenny Robins on Tuesday February 19th, 2013 9:05 pm
Nothing satiates a foodie quite like the first forkful of their best-loved grub, try but reading about it comes close. For those gastronomes who believe that food’s role reaches far beyond basically fuelling our existence – that it’s integral to community bonds, economies of every scale and our relationships with our environment, as well as our physical wellbeing – the new book from Tamzin Pinkerton and Rob Hopkins (yes, he of Transition Culture fame) will have you salivating over the nosh-related possibilities that a little ambition, curiosity and organisation can create close to home.‘Local Food: How to Make it Happen in Your Community’ (Transition Books) shadows Hopkins’ inspiring ‘Transition Handbook’, training the spotlight on the integral subject of our food and what we can do to go back to the literal roots of the good life – and stay there. While written against the unnerving but inescapable global backdrop of peak oil, food security and climate change crises, ‘Local Food’ incites excitement about the potential of a carefully considered future, both long and short term, rather than fear of a hopeless one. With the onus on the ‘local’ part of its title, the book encourages a proactive, fun approach to sustainability by profiling a huge and diverse range of CSA (Community Supported Agriculture) initiatives based all over the world.
“The kind of community engagement facilitated by CSAs generates and harnesses passionate enthusiasm among the people who participate in it,” write Pinkerton and Hopkins, “and this is due, in no small part, to the sheer thrill that comes from being able to shape and engage with the food system that feeds us.” From legitimate legume growers to dig-by-night guerrilla gardeners, the teams and organisations featured in ‘Local Food’ not only explain their motivations for picking up tools, but reveal the thrills, difficulties, surprises and benefits that they have faced since they did.
Image courtesy of Stephen Prior
Unsurprisingly, the majority of these people are driven by a passion for good food, and a respect for and desire to greater understand the environment that provides it. However deeply they’re involved in the food production within their community – be it founding community gardens or filling their fridges with farmers’ market fodder – the individuals highlighted in ‘Local Food’ prove how attainable a sustainable lifestyle is, whether you want to get muddy or not. And, if you do want to have direct involvement in and influence over what ends up on your plate, there’s even a contacts section to introduce you to your nearest initiatives. As the authors put so succinctly, “We can have our affordable, local, organic cake, and eat it too”. Zorb catsuit in exclusive silk/ glassino jacquard knit and silver and red gold stacked skull rings and spinning skull slice ring.
Last week I was lucky enough to meet a fashion designer whom I would describe as one of the most innovative, sildenafil visionary and hard working designers of the moment; Brooke Roberts. Brooke’s self named women’s wear label is heavily influenced by radiology and juxtaposes the worlds of science and fashion to great technical effect. I caught up with Brooke in her Hackney based studio to find out more….
Brooke Roberts SS10 collection, taken in designer’s studio.
Where were you born and raised?
I grew up in rural Australia and went to university in Sydney and at that point I was studying to become a radiographer as I loved science and the anatomy. Whilst I was there I tried a bit of styling and then moved to London. I temped for a while then ended up going to LCF and Central St. Martin’s after deciding I wanted to be a tailor.
How long ago did you graduate?
It feels like decades ago but I finished at Central St. martin’s at the end of 2005.
Zagna dress in skull python printed georgette and ortho suede belt.
Close-up of skull python printed georgette.
What have you been up to since graduating?
In four years I’ve been juggling everything. I’m still working as a radiographer and I’ve been doing that all the way through even when I was studying. At the same time I’ve worked with people like Giles Deacon and Louise Goldin. I’ve also been keeping busy doing some freelance bits here and there, the most recent of which was a job for Daphne Guinness with Jens Laugesen. I’ve been travelling a lot as well working at factories in Italy and developing links in India, just trying to immerse myself in the industry and developing contacts. In the last year specifically I’ve been focusing on trying to build my label.
Zagna dress in printed waffle georgette with embroidered ortho trim and ortho georgette belt.
How does your job as a radiographer influence your designs?
You can’t really separate the two because everything I do in terms of my design links directly back to my work as a radiographer. I’m very scientifically minded and I think what I do looks more at the technology side of science. From technique to materials to imagery it all goes full circle. All the artwork, the shapes the way I cut it all relates to it. It’s different because it’s not purely aesthetic and I really like to think about function. When I design I think about how it’s going to be cut and put together even down to which seams I’m going to use which is why I thought about becoming a tailor. Stay tuned for the second installment…
Written by Rachael Oku on Tuesday December 1st, 2009 8:52 pm
14 Bacon Street, erectile E1 6LF, page 11th-18th December
The pop-up shop does what it says on the tin, buy appears in a different location for a limited time, so you have to be quick to get in and see what’s inside. But make the effort as you can find a plethora of goodies from new designers and artists, hand picked from exotic locations all around the world. The store also supports the East End charity Kids Company, so you’ll be doing your bit to help as you shop.
Enjoy an evening of late-night shopping on London’s trendiest street, as well as rumageing through all that vintage, there will be refreshments on hand and special Christmas gifts available only on this night.
The Bizarre Bazaar
Sunday 21st December
Monday 8th December Joan as Policewoman, Thekla, capsule Bristol
Ex-Antony and the Johnsons collaborator touring in support of her new album. Expect mesmerising vocals and heart-rending tunes.
Boss Hog, Luminaire, London
Jon Spencer (as in Blues Explosion) and his wife Cristina Martinez front this long-standing blues-rock outfit.
Tuesday 9th December
Kong, Buffalo Bar, London
Art-noise, cool as Manchester band, heavy on the guitars.
The Miserable Rich, Wedgewood Rooms, Portsmouth
Folky, orchestrated Brighton group, with links to Lightspeed Champion.
Sixtoes, Big Chill House, London
Cinematic, spooky blues-folk with a melancholy Eastern European edge.
Wednesday 10th December
Little Death, Club Fandango @ 229, London
Cool, cosmopolitan London band playing psychadelic tinged noise-pop.
Land of Talk, Water Rats, London
Canadian indie-rock.
Thursday 11th December
Good Books, Proud Galleries, London
Danceable indie-electro.
Mike Bones, Old Blue Last, London
One man and his guitar.
Friday 12th December
Rose Elinor Dougall, Barfly, Cardiff
Pretty girl music from this ex-Pipette. Still very pop but less of the sixties girl group rip-offs.
Free Fridays: Brute Chorus, La Shark, Josh Weller, 93 Feet East, London
Bonkers hair (Josh Weller) and outfits (La Shark) will abound at this FREE night featuring up-and-coming bands including Brute Chorus who will presumably play new single ‘She Was Always Cool’.
Saturday 13th December
Herman Dune, The Deaf Institute, Manchester
Perennial Parisian folksters on tour to promote new album ‘Next Year in Zion’.
Glissando, Holy Trinity Church, Leeds
Dreamy and ethereal. Should be lovely in a church.
Stereolab, Black Box, Belfast
Long-standing lounge/electronic post-rock with female French singer.
Getting up at 6am on a cold Saturday morning may be unthinkable to some -but for myself and fellow fashion enthusiasts, information pills the Angels Vintage and Costume clothing sale was more than enough motivation for the long, look early trek over to Wembley….or so we thought. The queue turned out to be VERY long… a 3 to 4 hour wait we were told. Despite our earlier determination, it was too long for us and we gracefully admitted defeat, leaving behind a growing queue of seriously hardcore shoppers.
One of those hardcore shoppers was ameliasmagazine.com’s very own Music Editor, Prudence Ivey, here’s her take on it, “Leaving the house at 6.30am, we were in the queue by about 7.15am and, although in the first 500, we were nowhere near the front. Some people – vintage shop buyers – had been there since Friday afternoon. There was a really friendly atmosphere, you could tell these people were true vintage fiends, as there was not a scruffbag in sight, it was all red lipstick and glamourous outfits despite the ungodly hour.
When we were allowed in, after just over an hour of wating, there was virtual silence and heads down as people rifled through the cardboard boxes packed with clothes on the floor. A cloud of dust filled the room after about 10 minutes, most of the clothes were in a bit of a state and everything I ended up with turned the water black when I put it in to hand-wash, not to mention my black snot… A quick sort through, try on and swapping session with my friend, along with some excellent packing meant that I left with 18 items of pretty decent, some of them really excellent, vintage finds for a measly £20. One of my favourite shopping trips EVER.” (above and below is Prudence modeling her two of her wonderful buys)
So now I wish I had stayed in the queue – but my day was not wasted, I found a far more inviting alternative, which boasted the benefits of being a. inside and b. no queue! It was the first London edition of New York magazine BUST‘s Christmas Craftacular.
Set in the St. Aloysius Social Hall in Euston, a mixed group of cool crafty kids, cute guys and even grannies filled the aptly dated-yet-cozy bar, and the Shellac Sisters played classic retro tunes on their wind-up gramophone, which added to the kitsch atmosphere. Having taken off in New York over the last 4 years, the Craftacular event has now come to British shores and brings together craft sellers, knitting circles, badge making stations and of course, lots of cake!
Tatty Divine turned into doctors for the day and set up their very own ‘craft clinic’ offering advice and tips to craft novices or lovers.
An ArtYarn Guerilla Graffiti Knitting Crew even set up a training camp, where boys sat happily next to their teachers, learning how to knit one, pearl one and Random Monkey Designs offered lessons in cross stitch.
With a packed out venue and buzzing crowd, it’s likely that (and we hope) the Craftacular event will become a regular date in the British calendar.
Monday Dec 8th
It seems most exhibition spaces in this area begin like this, drugs in someone’s flat. Every day this week at 79a Brick Lane, viagra 100mg there will be an exhibition of seven separate artists (one for each day) alongside a selected feature film, including the likes of Saturday Night Fever, North by Northwest, and The Truman Show. It starts at eight and ends when the film does. For a more detailed itinerary, check here. Admission is free.
Tuesday Dec 9th A Family in Disguise, by Yu Jinyoung has been extended at Union on Teesdale Street and is worth a look, if not only for the fact that entering the exhibition is a surreal experience in itself. Not a curator to be seen, and with a camera that links the room to their gallery in Ewer Street, you are alone in a haunting room with this disparate family of forlorn faces. Ring the buzzer and take a look.
Wednesday Dec 10th
Indian Highway is the new exhibition starting today at the Serpentine, describing itself as a snapshot of the vibrant generations artists working across the country today, well-established artists shown besides lesser known practitioners. Using a array of medias they are threaded together with a common engagement with the social and political, examining complex issues in contemporary India such as environmentalism, religious sectarianism, globalisation, gender, sexuality and class. It runs until Feb 22nd.
Thursday Dec 11th
Hermetic Seel is a new exhibition by Shane Bradford opening on Wednesday at the Vegas Gallery. It might just be satisfying to see fourteen historical art encyclopedias subjected to Bradford’s “post-Pollock” dipping technique.
Friday Dec 12th
Here’s what one of our writers said of Omnifuss’ last exhibition: In the heart of Dalston, down the end of a small alley road was a large garage with a little door. Through this door, a group of 24 artists showcased their work. Sculpture, music, performance and photography took place in the old car workshop that was far away from the usual pristine white walls of gallery spaces and created a rustic, and inspiring location for this exhibition. With flame heaters to warm those tootsies, and the symphonious sound of a violinist haunting the open rooms, I found myself immersed in the eclectic furniture and art… Downstairs is their new exhibit, an exploration of domesticity in its rawest states through sound, sculpture, video and installation, and by the sounds of it is worth a visit.
Saturday Dec 13th Awopbopaloobop. Artists listen to music, everyone listens to music. Lyrics are etched into our minds whether we want them there or not, and we can’t help but allow them to inform our everyday. Awopbopaloobop (I just like saying that word) is an exhibition at http://www.transitiongallery.co.uk/index.html, asking a host of artists to produce based on a favourite song lyric. This exhibition is coming to an end, (21st of Dec), so go and see it if you haven’t already. The space itself is worth the trip, and it’s fun to walk around a gallery with a song-sheet in your hands!
Brian Aldiss’ short story, drug “Super-Toys Last All Summer Long”, this to which the exhibition “Super-Toys” makes reference, abortion tells the story of a mother and her android son in the overcrowded world of the future who, however hard they try, cannot find a way to love each other. It makes love seem like a human malfunction, a flaw which can never be imitated. But moreover it captures the feeling of dismay when two people who know that they should love each other realise they can’t – that they fundamentally don’t know how. The android boy, who questions whether or not he is real, seems more humane than his human mother; who sends him to be repaired for the flaw from which she herself suffers. Love cannot be programmed; but is a lover not someone who says all those things that you want to hear, like an automated machine?
So with high expectations of an exhibition dealing with the strange interaction between humans and machine, fantasy and reality, love and compromise; what I found was initially disappointing. The notions the story had alluded to, the emotions and the complexity of them, were not to be found. Machine ducks floating in a pond, a room of human shaped stuffed objects lying mundanely on the floor; flashing machines dancing in a square box; all interesting to look at, but lacking explanation. The most interesting part of the exhibition was the nightmarish, garish and lurid room that followed, full of toys ripped apart: toys with two head, toys mutilated and deformed by visitors, and all in the name of art. With shelves and window ledges packed already, I was invited to create my own monster from a pile of rejected toys. There was something sinister about being instructed to rip the head off a teddy bear; glue Barbie legs where paws should be; and to work at a designated workstation. Despite the visual pleasure and hands on aspect of super-toys, it seemed to be an exhibition full of concept without real content. But maybe that’s what it allows you to do; to explore you own memories of love, childhood, playfulness and ultimately rejection; and realise that everyone else feels the same way too.
Anne Collier Dispersion is a patchy affair. Curated by the director of the Chisenhale gallery Polly Staple, hospital it features seven artists working from different locations, view tied together under the banner of an examination of the ‘circulation of images in contemporary society….in our accelerated image economy’. This seems a fairly sound starting point, although a bit nebulous and too wide in the sense of the number of artists that could be described as grappling with these issues.
Recycling and colliding of images is examined most clearly in Anne Collier’s photographs. Iconic posters, complete with creases, walk the line between multiple realities; but unlike other work in the show, the centre of power lies not in some theoretical hinterland but in the jarring sensation between seeing the photograph of the image and the image itself. Again this is hardly a new idea but it is well executed. The twin set of images a box of photos of the sea provides a further layer of tension between the natural and man-made.
Anne Collier
Seth Price
Most of the the other works are films. Seth Price’s ‘Digital Video Effect:Editions‘ (2006) , juxtaposing high and low cultural references (such as those barriers still exist), feels like an early 90′s MTV insert in its scope and complexity. Mark Leckey, now with the epithet ‘Turner Prize Winner’, is due to give a one off lecture/live performance ‘Mark Leckey in the Long Tail‘ in January tackling the similar ground, hopefully to better effect.
A better example of the film work on display is Hito Steyerl’s fascinating ‘Lovely Andrea’ (2007). This is an engaging documentary-esque look at a Japanese bondage artist, cut with scenes fom Wonder Woman cartoons and ‘backstage’ footage of the creation or recreation of scenes, calling the whole film’s authenticity into question. This could have led to a horribly self reflexive pile of mush but is actually a taut and gripping set of mixed narratives.
Henrik Olesen’s computer printed images mounted on blackboards, ‘some gay-lesbian artists and/or artists relevant to homosocial culture V,VI.VII’(2007), a collection reappropriated around queer history, touched on interesting ideas; a collection of female portraits by female artists from Renaissance onwards, for example. But the sum of its parts felt lazy and, like the rest of the show, he veers into hectoring or frustrating silence instead of fostering conversation between the work and viewer.
This is a problem, but one the ICA can absorb better than other cultural centres. The institution was founded as an ‘adult playground’ and this remit naturally involves risky and challenging work, which sometimes works and sometimes doesn’t. Dispersion is a perfect encapsulation of this.
The disjointed art punk of San Fransisco’s Deerhoof is pretty brilliant on record but I’d heard it was even better live and so couldn’t wait to see them at ULU on their only UK date this year. Their music is disarmingly simple sounding, online loved by music aficionados and 10 year old girls alike – my kid sister loves Panda Panda Panda and Milkman almost as much as any Girls Aloud single. Perhaps I should have sent her along to review the show. It would have been easier for her to convince the people on the door that she was called Prudence Ivey (the name I was under on the list) than a scruffy and definitely male reviewer. They thought I was a street-crazy.
Achieving such wide-ranging popularity is an impressive feat considering that, sick underneath that childlike simplicity, their songs consist of complex structures alongside fragments of dissonant guitar thrash/twang and improvisation. However, seeing Deerhoof is no overblown, intellectual chore. They manage to be simultaneously clever, loud and cartoonishly entertaining and enlivened ULU with a set that encompassed a lot of new album material alongside some stuff to keep the old school fans happy.
The crowd were particularly receptive to old favourite Milkman, along with the Yo La Tengo-in-a-parallel-universe sounds of new album Offend Maggie – a title that always gives me the mental image of an outraged, pre-dementia Margaret Thatcher. There were clipped drums ahoy, along with Deerhoof’s twinkling wire to fuzz guitar textures. Satomi’s vocals, all coy and Japanese, were accentuated by goofy hand gestures – a fitting accompaniment to her surreal and playful subject matter. The whole band were really tight and surprisingly enthusiastic after fourteen years playing together. I can’t wait to see them again.
For anyone wanting to brush up on their climate science, drugs I thoroughly recommend this charming animation by Leo Murray.
The friendly and clear narration takes you steadily through the various chemical processes that are happening on our planet in it’s present climatic state. Without being overly ominous, the film warns how these processes, unchanged for millions of years, are being disturbed by man-made CO2 emissions and may be heading towards a tipping point where we will be plummeted into a place of no return. This definitely ‘isn’t about polar bears anymore!’
I found it really helpful for clarifying some terminology, the science bits- told in a simple way- are up- to- date, and it projects a statement of encouragement, not one of doom. The prospects are scary but we’re lucky to be the generation who could prevent them from happening.
To vote for Wake Up Freak Out then Get a Grip in the Aniboom Awards 2008 click here.
For anyone wanting to brush up on their climate science, buy information pills I thoroughly recommend this snappy animation by Leo Murray.
The friendly and clear narration takes you steadily through the various chemical processes that are happening on our planet in it’s present climatic state. Without being overly ominous, the film warns how these processes, unchanged for millions of years, are being disturbed by man-made CO2 emissions and may be heading towards a tipping point where we will be plummeted into a place of no return.
I found it really helpful for clarifying some terminology, the science bits- told in a simple way- are up- to- date, and it projects a statement of encouragement, not one of doom. The prospects are scary but we’re lucky to be the generation who could prevent them from happening.
To vote for Wake Up Freak Out in Aniboom Awards 2008. No Equal clothing are a company who don’t pander to press agendas and celebrities, sick instead they are refreshingly focused on working with new and exciting design talent and helping charities.
They also know how to throw a party – and it was good cause central. In the first room of The Russian Club Studios was a display of logoed t-shirts and hoodies, website like this made in collaboration with three emerging illustrators– Yann Le Bec, Thibaud Herem and Jean Jullien.
10% of the sales – not just profit – of this No Equal apparel are being donated to three charities, which No Equal Clothing are supporting, Kidsco, Addaction and XLP. To mix up the mediums and give some background to the collaborations, there was also a video installation showing the three artists at work.
In the second room, as part of their desire to champion new designers, No Equal clothing held a silent auction (of which all profits go to Kidsco, Addaction and XLP) for the London College of Fashion. Seven of LCF’s undergraduate students working for the college’s Centre for Sustainable Fashion created collections that were environmentally and ethically conscious and these were being sold.
The auction is also a possible reason for the eclectic mixture of guests. East London kids hung out with men in suits (in separate groups obviously) in the sparse concrete venue created an unusual atmosphere, you could have been in an underground club, art gallery or exclusive couture shop.
The students collections were varied and interesting, Michela Carraro (pictured below) used hemp based fabrics sourced from small family run businesses to create a romantic chiffon-esque collection, while Manon Flener created deconstructed / reconstructed garments made of pieces of fabric pieced together with studs. She says her motivation for the collection was to reduce waste in fashion; each piece can be put together in a different way to make many garments.
Supporting the Fashioning the Future programme at LCF, which encourages designers to think about the environmental imapct of their work, No Equal clothing are actively championing eco-friendly designers of the future and with their own clothing label, bucking the greedy fashion trend by giving a percentage of profits to charity. Good work all round.
Last week the Earth team at Amelia’s Magazine went along to the Friends House in Euston to listen to a report made by the Public Interest Research Centre (PIRC). The issue was climate change and the information it uncovered was alarming.
As a self-confessed newbie to these sorts of events I must admit to harboring uneasiness about feeling out of place in a room full of swampys. But my silly preconceptions were immediately flattened.
Lead by a panel of speakers expert in their field, story the atmosphere at the Friends House was alive with people from all manner of backgrounds but united in the opinion that climate change is a matter of urgency.
Chairing the debate was Christian Hunt who kicked off by asking the audience a few questions. 99% raised their hand when asked whether they would describe themselves as environmentalists. Roughly 70% would say they had some knowledge of climate change while roughly 20% would say they had lots of knowledge on the subject. 99% of us responded yes we did like his t-shirt that read ‘don’t give up.’
The first to speak from the panel was Kevin Anderson from the Tyndall Centre for Climate Change Research. He started with a clear message: the question of climate change is a humanitarian one. While the U.K. and E.U’s definition of a dangerous climate change as 2°C per annum may be an adequate threshold for us in the western world, it is not nearly small enough to safeguard the rest of the world.
It is the southern hemisphere, containing the world’s poorest, that is targeted the most by global warming in it’s present state, with people dying on a daily basis. Therefore it is an ethical decision about how much we care about the world’s weakest as to how and when we go about dealing with the climate.
He went on to say that the entire climate change debate needs an urgent rethink when taking into account the latest emissions data. The planet is heating up at an even faster rate than we thought, and our government seems to be denying this is happening by following the miscalculated advice from the Stern Report and not pumping in nearly dosh needed to implement a strategy that will radically cut back our emissions.
But Kevin Anderson pointed out there may be a silver lining to retrieve from the present economical situation. History has shown us that larger emission reductions occur when there is economic turmoil. I guess this has something to with cut backs in industry forced by a plummeting economy. When the Soviet Union collapsed, for example, there was a record drop of 5% per annum.
Tim Helweg-Larson, the director of Public Interest Research Centre bounded onto the platform next. So this is where it gets rather technical but don’t worry, Tim’s clear and straightforward delivery meant that even my mind didn’t drift into thinking about what I might eat for tea.
He showed us a series of images showing the levels of sea ice in the arctic in 1979 and in 2007 and I was taken back to those pretty pictures in my school science lab…Predictably the more recent images contained a much larger surface area of dark gloominess.
These dark regions absorb more heat. This additional heat penetrates 1500km inland across a plain of perma-frost. This stuff is harmless if left untouched but once melted, its carbon content-which is twice the amount of the entire global atmosphere-is released into the air. Yep that means even more bad stuff is added to the high intensity of CO2 that started this whole malarkey.
The knock-on effect going on in the arctic-known as the triple melt- is steadily destroying the climatic state of the entire planet. Soon we will reach the point where we will no longer be within the realm of temperatures that enable things to grow and humanity to survive (known as the middle climate). If this isn’t scary enough this tipping point is likely to peak sooner than we thought; as early as 2011 to 2015.
George Momboit was next to speak. Hello. His exuberance for the cause was exciting…ooh la…did you know he has been shot at, shipwrecked and pronounced clinically dead? Well he was very much alive that evening as I listened – intently- to his practical, if ambitious, advice to the government to stop fannying about and introduce a ‘crash program of total energy replacement.’
He whizzed through a series of steps geared to cut our emissions by 20% by 2012 and more thereafter. But those wild curls, brisk demeanor and air of academic brilliance were just a little distracting. Without getting too carried away I managed to jot down the key points of this radical plan:
1. To train up a green army of builders that is equipped to build more energy efficient homes
2.A mass subsidy program to re insulate homes
3.Replacement of power plants
4.Re engineering of roads to cater better for cycles and coaches
5. To Cap number of landing spots for airports so that by 2030 the maximum number of flights is 5% of current levels.
6.Agriculture should be devoted to the most efficient carbon saving schemes
7.He summed up with the statement that lowering demand for fossil fuels should happen simultaneously with lowering their supply and we need to dramatically cut oil and gas exploitations.
Pretty rousing stuff…
Solar energy pioneer, Jeremy Leggett gave us a more buisnessy slant on what can be done for climate change especially in this current state of economic upheaval and an encroaching energy crunch (the I.E.A. predicts 5 years time). With people becoming increasingly disheartened by the government’s spending priorities, now’s the time to duck in and make a collective effort to re-engineer capitalism. He enforced the notion that money needs to go into building a carbon army of workers that would create 10 thousand new jobs and…cost a measly half a billion squid
Caroline Lucas, MEP for South East England and Leader of the Green Party, disheartened by the inertia of our government, shocked us all by urging ‘a massive campaign of civil disobedience.’ This prompted uproar amongst the audience and I must say it felt pretty inspiring .She went on to talk about Climate Rush, an activist group who take their inspiration from the Suffragette movement. Like the women who were denied the vote, their rush on parliament really is a demand for life itself. They also dress-up in fancy Edwardian petticoats, which sounds fun. But their theatricality is not without sincerity, direction and a passion to change the injustices that climate change is causing on humanity. Caroline Lucas’ speech stirred an energetic drive to ‘do something’ in me. She reminded us of the words of Emily Pankhurst ‘to be a militant is to be a privilege’ and something hit home. We are very lucky to not be totally powerless in this situation, as so many people across the world are, and it is possible to make our government listen to us, albeit with a bit of hard work. To find about the next climate rush action click here.
So I’ve dipped my toe into the murky sludge of our current climate. All the facts and figures might not have filtered through into this article but I hope if, like me, you previously thought this issue was for only for really clever people and maybe just a little put off by dreadlocks, you’ve realized that this is something we should all be aware of whether we want to listen to it or not, including our government.
As I left the Climate Safety talk to cycle home, I felt almost grateful for never bothering to learn to drive as perhaps in a small way it might make up for that stomach-sinking feeling of how terribly selfish I had been for only vaguely paying attention to news of melting popsicles and greenhouses.
The truth is I felt safe in the view that the really scary things won’t happen for a very long time, well after I’m buried in the ground and used for compost. Well I was wrong, it’s not our grandkid’s grandkid that’s going to feel the full force of climate change-it’s us.
We’ve searched online for hours to find these wonderful gift ideas for Christmas this year! Including solar powered fairy lights, advice recycled wrapping paper, rx sew-it-yourself dresses, fairtrade teddies and handmade jewellery.
JEWELLERY
Kate Slater First up on our list, and featured in Issue 10 of Amelia’s Magazine, we have wonderfully talented illustrator Kate Slater. She is one of many artists currently selling her work on etsy in the form of these gorgeous little accessories that she has made. Kate‘s illustrations come alive through the use of collage, mixed papers and wire for relief work. Furtive Pheasant Brooch Kate’s collaged pheasant has been remade into this lovely brooch. The original illustration has been printed onto durable shrink plastic and bejeweled with green diamantes. We love the idea of being able to wear Kate’s illustrations! Buy the Furtive Pheasant Brooch here
Butterfly Dress Kit Gossypium is a great place to buy gifts from! All the clothes on their site are high quality, fairtrade and made from biodegradable materials. They’re one of the great sites working with the idea of a zero-impact on the environment, and we’ve love this Butterfly Dress Kit. It is a sew-it-yourself organic cotton kit that comes with a lovely printed fabric and easy instructions to create one of three garments. You can make a blouse, a dress or a smock with or without pockets, and have the option of long or short sleeves; with nine different styles to choose from you are in total control of how your finished product looks! Buy the Butterfly Dress Kit here.
Solar Helicopter This little toy is perfect as a desk ornament, and is loads of fun for kids and grown ups! Working with as little light as from a desk lamp, the solar cells demonstrate how efficient modern eco technology is. Buy the Solar Helicopter here.
Outdoor Solar Powered Christmas Fairy Lights These all-year-round lights are a great way to bring some green sparkle to your home! They’re waterproof and come with 8 different settings including flashing, continuous light patterns! The lights only come on when it’s dark (so about 3:30pm…) and the solar panel uses high grade Kyocera Solar cells that store enough energy to run for 10 hours, even on winter days! These lights are a bargain too at only £19.99! Buy your Solar Powered Fairy Lights here.
These 100% recycled wrapping papers are by Lisa Jones and come in many different styles! They are modernist and brightly coloured using vegetable inks. Get some Recycled Wrapping Paper here.
Cardboard Cutting Table This 100% Icelandic made brilliant cardboard table can be used as a meeting table, a cutting table (it comes with a laminated white surface top), a dinner table and a baby changing table! It’s portable and folds away to save space! (and comes with a handy 18% discount for design students!). Buy the Cardboard Table here.
KIDS
‘Woodsy The Owl’ Bib This adorable bib is by etsy seller ‘cocoandmilkweed‘, consisting of Evan and Lila Maleah- a husband and wife team intent on creating lovely products for little and big people! Woodsy has been handmade in a dark brown eco-felt that has been made from 100% recycled plastic bottles, and sewn onto a soft cotton woodgrain fabric. the entire bib has been backed with organic cotton flannel and lined with organic cotton and bamboo for extra absorption! All this detail has added to its appeal, and it even has a snap closure to make sure its little wearer isn’t able to yank it off! Buy a ‘Woodsy The Owl’ bib here.
Dala Horse Stocking The Christmas tradition of stocking has been brought into the 21st century by Erin ‘sewsewsuckurtoe‘ by using the folk art inspired Dala Horse. It is constructed out of eco-felt which is made from recycled plastic bottles and lined in cotton to make it strong enought to hold as many things as possible! Buy a Dala Horse Stocking here.
Witness are a group, based in New York, that use video and online technologies to expose human rights violations all over the world. By making videos of victim’s personal stories, they direct attention to injustice and promote public engagement and policy change.
Sam’s first up on the video (below), telling us that the images of a school teacher in East Burma hiding out in a forest with her children is one of the images that shows us we need to go further with our actions to help those whose human rights have been severely violated.
A video producer, trainer and human rights advocate, Sam’s videos have been screened at the US Congress, UK Houses of Parliament, The UN and in film festivals worldwide.
The group are also launching an online channel for these videos called The Hub. This is a new multi-lingual online portal dedicated to human rights media and action. It provides the opportunity for individuals, organizations, networks and groups around the world to bring their human rights stories and campaigns to global attention.
To find out more about Witness (www.witness.org) click here.
The non-existent morality faeries that do not sit either side of my head were in a fluster last Thursday. I took them down to a police auction in Bethnal Green, salve and for the entirety of my pedal there, they could not be resolved: surely there is something fundamentally wrong with capitalising on the lost and stolen goods of hapless victims, or worse still, liquidated assets, urgh! But then again, stolen … and retrieved; lost … and found. Where else would these items, long since departed from owners, go? I have nothing to say about liquidated assets, but apparently that’s next time – this week was reserved to lost and stolen goods only, courtesy of the metropolitan police; thanks.
Once we arrived, debates were dispelled and there was nothing to fluster about – it did not seem in the least bit seedy. This fortnightly event, put on by Frank G. Bowen Ltd Auctioneers and Valuers, two men both of whom are very friendly, one of whom looks like Santa Clause, takes place in an old air raid shelter, making for a strangely intimate and cosy affair. Potential bidders arrive early to browse, an advisable precaution seeing as nothing can be returned once purchased. I felt like the passer-by who steps into a regulars-only pub, my obvious excitement an instant give-away; but I tried my best to look like this was routine, and nestled myself in amongst the clutter on Lot 135, 1 wooden kitchen-table chair. Pensive brow in place, I concentrated on my catalogue sheet, my mind now settling to the bewildering list before me …
An initial glance reveals nothing of a surprise: bicycles, phones, cameras, and mp3 players; but it’s not long before you start to wonder … who steals a kitchen chair? A cupboard? An oak mirror overmantle (Lot 379)? The clothing list is the strangest of all: Lot 4: A pair of Ladies sandals, size 40; Lot 58: (non-specific) Ladies Clothing as bagged. One Lot contained a pair of jeans, a jacket, and a pair of trainers – all stolen from a single owner? How did that happen?
Against all inclinations, we ended up describing the place and the experience as a gem. Don’t go expecting to find vintage treasures, but there are amenities at a good price (surely I need a quad bike). And a few pointers: don’t let the excitement of bidding make you go for things for no other rational reason than the pleasure of raising your hand; careful of the man who will out-bid everyone for bikes; and don’t take a lunch break in the middle, thus missing that one item you’d circled in red that you were willing to spend forty quid on, and ended up going for under twenty, pah.
Don’t miss this excellent event tonight:
Cheshire Street Christmas Shopping
Friday 12th December
This Friday, case pop down to Cheshire Street as the whole street will be open to 10pm, cost so you can get your quirky Christmas gifts till late(ish) into the night and enjoy wine and nibbles while you do it. The shops will be offering exclusive discounts also, including 20% off on the night at I Dream of Wires. Amazing.
Frock Me! Vintage Fashion Fair
Sunday 14th December
Frock Me! vintage fashion should not be confused with the questionable television show of the same name hosted by a certain over-exposed designer and TV presenter. It is in fact a fabulous vintage fashion fair, and this Sunday, in the swanky surroundings of the Chelsea Town Hall you can pop down and pick up a genuine vintage garment.
They even have their own tea-room. What more could you want?
Open: 11am – 5.30pm
Admission: £4 (students £2 with ID)
Nearest Tube: Sloane Square / South Kensington
Christmas singles, diagnosis still the preserve of naff novelty acts, pillpop stars in trendy coats and X Factor winners, or newly fertile ground for acts that are unlikely to even get a sniff at the bottom of the charts? As the Top 40 becomes less and less of a barometer for success and following much-loved Christmas releases from the likes of Low and Sufjan Stevens, this year it seems that more and more indie bands are joining in on the act. But are any of them actually any good? And how to stop them seeming like lame commercial cash-ins in the style of the Christmas tunes of yore?
1. One way to quash accusations of rabid commercialism is to give your single away for free as Slow Club (see above) have done, with ‘Christmas TV’ offered as a free download in a spirit of seasonal goodwill to all mankind. A sweet little folk pop tune about travelling home for Christmas and snuggling in front of the Vicar of Dibley or some such, this is good for anyone feeling the pangs of seasonal separation. The boy/girl vocals chime prettily together in a song that has thematic echoes of ‘Driving Home For Christmas’.
2. Stay true to your signature style. If you’re usually a grumpy old misery guts, Christmas is no time to suddenly become cheerful just for the hell of it so why not whack out a truly miserable Christmas EP a la Glasvegas? A Snowflake Fell (And It Felt Like A Kiss) is the one to pull out when your Dad forgot to turn the oven down, your mum’s sobbing into her charred potatoes and your granny’s being cantankerous.
3. Restrict your mentions of the season to atmospherically wintery weather references a la The Leisure Society with their pretty waltz ‘Last of the Melting Snow’. Cinematic strings, romantic lyrics and a slightly more upbeat B-side in the form of ‘A Short Weekend Begins With Longing’. It’s available to download but it would be far more festive to buy one of the limited edition handmade copies in the spirit of wonky gingerbread men and glitter-glued everything.
There’s just one thing we’re a little bit worried about. Where are all the sleighbells???????
Now I know I sound like a purist, medicine but sometimes I wish Photoshop had never been invented. After seeing the ingenuity of the post-war artists featuring in Estorick’s ongoing exhibition, rxCut & Paste: European Photomontage 1920-1945, I longed for the days when you could actually tell something had been done by hand. When skill was quantifiable – based on precision, patience and masterfully cut and mounted shapes; not down to your aptitude with adjustment layers, clipping masks and liquify tools. Of course these arguably require a well-honed set of digital skills within themselves, but Photoshop has cheapened photography to a certain extent. Unimaginably cool things can be done on it by anyone with a shard of creative impulse, so we can’t help but lose the eensiest bit of respect for the end product, no matter how groundbreaking this may be. Don’t you think?
Regardless, this is a little gem of a show. Small – with only around 25 pieces – it looks at the modernist manipulation of photomontage (in which cut-out photographs and fragments of newsprint from illustrated journals were pasted into drawings and paintings) by the Cubists, Futurists and Dadaists. There’s also a healthy dose of angular Russian Constructivism in there, so for such a small exhibition, they have all the seminal art movements of the early 20th Century well and truly covered.
Developed towards the end of the First World War by the Dadaists in Berlin (the word ‘photomontage’ was taken from engineering and film editing practices) it was a way of making art with a new kind of conceptual clarity. And grit. It was powerful and playful – there is one untitled image of Hitler and a devilish-looking Churchill quaintly enjoying a cup of tea together – and mixed mediums in a way which made people stop and look. And they still have that affect today.
All the works are beautifully balanced and composed. Italian Futurist Enrico Prampolini’s Broom (1922) is a punchy little piece with huge red circles and chunky text overlaid on a photo of a massive machine, while Gustav Klucis’ Spartakiada Moscow / All-Union Olympiad (1928) is packed with movement and angles so sharp you could cut your fingers on them.
Curated by Lutz Becker, Cut & Paste showcases work made almost a century ago, but which feels surprisingly fresh and modern. It’ll make you turn off your computer, pick up a pair of scissors and start attacking The Daily Mail like there’s no tomorrow. I think that’s always a good thing.
I’m not a person who wins things; Lady Luck is not my friend. Never has my name been picked from a raffle or hat, discount scratch cards always defeat me, and even when I tried to Derren Brown the ticket man at Walthamstow Dogs, “Look into my eyes, this is the winning ticket”, I still came away empty handed. So when my name was electronically selected for the Time Out Bus Tour, a heavily over-subscribed perk to First Thursdays, I was veritably excited.
I’m not sure what I imagined, a day of musing amalgamated in something entirely inconceivable bearing reference to the Playbus and set firmly beyond the realm of reality. This is the description from which I fabricated: Each month, join leading curators, writers, academics and artists on a guided bus tour visiting a selection of First Thursdays Galleries; and that’s precisely what it was, but I couldn’t help feeling a little disappointed when I saw a very ordinary looking bus waiting outside Whitechapel Gallery, a bit health & safety and sanitised, OAP visit to Hastings anyone?
If you were in fact there for a guided bus tour with leading academics, curators, and artists, and not for a bus of dreams, then you’d probably be satisfied. Four selected galleries, a talk from a curator in each, and the wealth of information that only a guided tour can give, adding much more depth to your engagement with the work. My favourite part was a six-strong bowling team that unofficially tagged along, following the bus in a Transit, and innocuously joining the talks wearing matching blue team shirts, names on the breast. I did feel a pang of jealousy at the scores of people casually strolling between galleries on Vyner Street, drinks in hands, hmmms and ahhhs at the ready. I’ll opt for a home made bicycle tour next time, but that doesn’t mean I don’t recommend this.
If you’re planning on going to any of these events, sale or have something you want to write an article about for the Earth Blog, email us: earth@ameliasmagazine.com!
Now here’s a lovely story: One felt-making coffee morning in South London, three suburban mums discover a shared hoarding habit, a joy in rummaging through rubbish and a desire to make pretty things (with or without the use of felt). Out from the discarded chicken-shop boxes and begrudged lotto tickets emerged, not Oscar the Grouch (think Sesame Street) but The Skip Sisters.
These ladies really know how to make-do-and-mend, rescuing shabby bits and bobs found in skips and attics and revamping them into something truly lovely. 100% eco-friendly.
From now until Christmas Eve the Skip Sisters will be selling all sorts of treasures from the debris at 14 Northcross Road in East Dulwich. (Not open Mondays).
Clocks made out of tins…found in a skip!
Jewelry…found in a skip!
Necklaces made with real human hands…found in a skip!
At 3am on the morning of the 7th of December two mini buses, thumb a 1960s fire engine and just over 50 cold, eager and very excited protesters turned up at a gate near the long stay car park of Stansted airport. Calmly and attentively we piled out of the mini buses and began to swarm around the entry point. A security vehicle happened to be passing just as we arrived, which instilled some nervous butterflies in our stomachs, but there was no stopping us. Once through the fence panel with our wire cutters we marched, as if to a temporary ark of safety (which we were to construct), two by two, carrying the tools and materials we were to need. Our objective was to reach the taxiway and setup a Harris fence enclosure around us to which we would lock-on to for as long as possible. After 6am, which was when the first flight was scheduled for take-off, every minute was to count as extremely important – directly stopping the release of ridiculous amounts of CO2 into the earth’s atmosphere.
We were all so pleased to be doing something so direct; the feeling was one of pride in knowing that we were helping to facilitate discussions, raised levels of awareness, and aid to those directly suffering as a result of raised CO2 emissions in developing countries around the world. It really won’t be long before we are seriously suffering from our selfish actions, we need to look and focus on long-term rewards not short term ones. In reading the press coverage after the action I have been surprised to read a few comments by people who were disrupted – one man was quoted to say “Why couldn’t they have waited a few hours?” if we all adopt that approach where will we be left?
I will go on to strongly encourage non-violent direct action to be taken by as many of you reading this as possible, it feels so great to be there, in the heart of potential change, to be able to say “I have tried my hardest”. It is our future generation who will suffer, and personally I don’t want my children to be struggling as much as they will be if no “green” systematic changes occur.
At The Climate Safety Talk delivered at Friends House, Euston, a few weeks ago I became scared – and directly inspired by that very fear to act, with others feeling the same way, as soon as I could, as this seems to have the most impact. I am newly accessing this level of climate science through living with some of the most inspiring women I have had the pleasure to meet and we discuss this issue of climate change daily, and innovatively focus most of our energy in the direction of raising awareness and creating social change methods and access points. Tamsin Omond lives upstairs and is helping to organize another suffragette style Climate Rush at Heathrow on Jan 12th, which I invite everyone to attend. Beth Stratford, Mel Evans, who spoke to the press after the Stansted protests, and Clemmie James from the Drax 29 also inhabit this eco-warrior house.
This action came as an opportunity for myself and others to not just discuss what is happening, but directly and physically respond, and gain immediate results – we stopped 86 flights from leaving the airport and acted as a catalyst for many many discussions.
Stansted has on average at least one flight leaving its runway every minute during working hours generating a shocking 4.2 tonnes of CO2 every single minute! Aviation is the fastest growing source of emissions and already contributes at least 13 per cent of the UK’s total climate impact. In October controversial plans for an expansion of Stansted Airport were given the go-ahead by the Government. Airport owner BAA wants to increase passenger numbers from 25 million to 35 million a year and flights leaving the airport from 241,000 to 264,000 a year. Objectors say an expansion would damage the environment, but some unions said the proposal could bring new jobs. Do we really need new jobs in this sector, should the Government not be pushing for new green jobs to go along with its emissions reduction target? The target that has been broadly accepted by many bodies including our own Government is that a rise in global average temperature of more than 2C above its preindustrial value must not be allowed. If this airport expansion is really given the go-ahead there will be very little chance of us being able to achieve the targets.
Aviation is the fastest growing cause of climate change and a major threat to the earth and everything living on it. But rather than reining the industry in and trying to reduce demand for flying, the government is promoting it through tax breaks and through its plans for massive expansion at our airports: the equivalent of a new Heathrow every five years!
Plane Stupid demands a fundamental rethink of the government’s 2003 Aviation White Paper which predicts that air travel will treble by 2030: an increase in annual plane journeys from 180 million to 501 million.
We, as Plane Stupid want to see airport expansion plans scrapped, and an end to short haul flights and aviation advertising.
Discussions and presentations are important, as the information and science needs to spread as far and wide, and touch as many people as possible, but we need to follow contact with this information with direct action as nothing else seems to be getting the results we need as soon as we need them. The Government has been making empty promises of reductions in the levels of CO2 emissions, and as nothing has happened yet we want to directly affect this ourselves.
www.planestupid.com
It’s Saturday and everything at the Eco-Design Christmas Fair in the Old Truman Brewery, piluleBrick Lane, is daubed in gloominess. Thanks to the amazing British weather, the Christmas spirit is not in the air as greyness bears down through the skylights and umbrellas drip a murky trail behind each visitor. We all gravitate towards a stall selling mulled wine, but the smell – delicious at first – soon mixes with the sickly sweetness of organic soap and incense.
The fair, now in its fifth year, brings together designers whose work is centered on sustainability and kindness to the environment, the products on sale range from clothing, jewellery, toys and furniture to edible shoe polish.
The best find of the day is Finnish designer Minna Hepburn. Hepburn looks and sounds like she is channelling Claudia Schiffer, and is selling her leftover designs from London Fashion Week’s eco-sustainable show ,estethica. Her clothes, all creamy Scottish lace and organic or fair trade silk embellished with found brooches, buttons, outshine neighbouring designs. (pictured below)
Around the relatively small space, recycled jewellery stalls clamour for attention. Rosie Weisencrantz‘s display is by far the most elegant; some of her work is even framed and mounted on the wall. (pictured below) Weisencrantz was a weaver for 25 years before becoming a jewellery designer, and her pieces hang on intricately woven string. She also likes to root around at markets and on ebay for antique brooches, which she transforms into one-off, textured necklaces.
Using an altogether different approach, Kirsty Kirkpatrick buys enormous bags of old jewellery and spends hours sifting through, detangling chains and picking out gems, before reassembling them into new designs. She uses recycled materials too, making geometric necklaces from wine and biscuit boxes. Kirkpatrick has a quick smile and soft Scottish accent, and is obviously proud of her “anti-landfill” label. (pictured below)
After Minna Hepburn, the rest of the clothing at the fair is a bit of a let down. T-shirts are in abundance, most sporting slogans and stencilled graphics like those by design collective Edge. (Their ethos: “We will make eco-fashion cool if it kills us”). (pictured below)
Overall, there was far more here for the eco-jewellery enthusiast than anyone else.
Written by Kirsty McGregor on Monday December 15th, 2008 12:30 pm
So it started on January 3rd, visit web I was in a bad mood. Well, it’s that whole palaver of taking the (now miserable) tree down, thinking about the enormity of work that needs to be done and the poor, defenseless body. It needs some very tender loving care. This day of January, after bathing in Pukka ‘Cleanse’ tea, going for a brisk walk on the Downs by my house and bemoaning the lack of vitamin D for my eyeballs, I cracked on the Mac. I had recently purchased The Tallest Man On Earth album, Wild Hunt (Dead Oceans). I was in need of something new to form some (wahoo 2011) fresh associations with. Whilst I mused about the flat, now was the time I decided, to dedicate to the giant man. Hopefully this would culminate in reaching up and putting my arms around his shoulders, prancing around the room, rather than immersing myself in 2010 nostalgia. Oh the perils of memory boxes, scrap books and photo archives.
Click and Bob Dylan growls came out. This was all very lovely, I had linked that before though and was waiting to get actually into The Tallest Man on Earth, rather than just wonder about the Dylan. Then Love Is All came on. Oh hello. This is BEAUTIFUL. The Tallest Man On Earth’s heart appeared to be unashamedly open to my grump self. I turned it up and continued to listen. Sometimes painfully honest in his thoughts, loves and admissions, he gently strums next to his musings. Akk, this was so bitingly raw, the crackling voice and simple notes, it was almost uncomfortably perfect.
Despite his Texan American country sounds, Kristian Matsson is from Dalarna, Sweden. And although he is called: The Tallest Man On Earth, Matsson in fact stands below the Swedish male average (nearly five foot eleven), at five foot five. The tallest person in medical history was Robert Pershing Wadlow, from Illonois, USA, who was eight foot and eleven inches tall.
The (slightly smaller than) Tallest Man On Earth plays the guitar, banjo and piano and has released two albums, Shallow Grave (Dead Oceans) and The Wild Hunt. He has also released two EPs, Sometimes The Blues Is Just A Passing Bird and self titled. The latter holds the song; Walk The Line, a foot -tapping, spindly, defiant number “you bring me down…I aint gonna walk the line”. It’s a mixture of nature’s thunderous activities, humans, animals and emotion; “all tomorrows parties will dance before my eyes”.
Matsson is utterly immersed in nature, similes transform him into an eagle, lizard, sparrow and gardener. Whilst his lovers are bluebirds and rivers. Seemingly unlike Britain in a snowfall, he is aware and respects mother nature’s ultimate power over us. He will sit upon the river, dance in the ocean and watch the birds. Honey Won’t You Let Me In; “As I knock your door, from inside once more, how I wish a sudden breeze would let me in, shake my tambourine at your glowing dreams, I said honey won’t you let me in.” The city in contrast, has no distinct sounds for him, and equally his heart leaves him lost, weather beaten and alone at times. Two harsh climes for our protagonist. Tangle In This Trample Wheat; “I get frightened I could never gather birds enough to carry round your heart”. But his soul seems distinctly free, he won’t be found.
Integrated into nature’s attributes is Matsson’s love of dreaming, and love itself. A Lion’s Heart; “he’s coming down the hills for you”. Accompanied by constant gentle guitar and banjo notes, the listener can not help but be thrust into a pure and new perspective. Importantly, he also makes many references to nature never stopping. And perhaps we need to appreciate this a little bit more ourselves. Indeed the traffic, economy and work never really halts, and 2011’s start may be all New Resolutions (blah), but nature never, EVER takes a break or crash diets suddenly because some poppers went off. Remember, outside, the hills, oceans and mountains are far prettier than flouro lighting (even if that flouro lights up the best dress you’ve ever seen). It also changes in considerably more interesting ways than the prices of your average baked beans can. Step outside. The Dreamer; “I’m just a dreamer, but I’m hanging on, though I am nothing big to offer, I watched the birds how they in then gone, it’s like nothing in this world’s ever still.”
So starting with melancholy, I was risen by eloquent exuberance and now I continue to travel along the mighty (and fast) river of 2011 and life. It’s Janurary 7 and I have barely listened to anything other than The Tallest Man On Earth. Both The Wild Hunt and Shallow Grave on the label Dead Oceans are available now.
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, more about what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, but so far the reception has been great,” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
LMB Textile Recycling was set up by Ross and Michelle’s father Lawrence, who also designed the ubiquitous green textile recycling banks that populate the streets of major cities. As youngsters Ross and Michelle were soon involved in the family business. “Other children got taken to the park at the weekend. We got taken to the sorting factory where we amused ourselves by jumping around in mountains of second hand clothing.” Their father’s motto was “where possible don’t pay someone else to do something you could do yourself” and this belief has clearly been taken to its natural conclusion with the creation of 123 Bethnal Green Road….
Read the rest of this interview in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
Gareth A Hopkins 123 SS2011 thb
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, cost what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, viagra approved but so far the reception has been great, no rx ” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
So it started on January 3rd, viagra dosage I was in a bad mood. Well, what is ed it’s that whole palaver of taking the (now miserable) tree down, order thinking about the enormity of work that needs to be done and the poor, defenseless body. It needs some very tender loving care. This day of January, after bathing in Pukka ‘Cleanse’ tea, going for a brisk walk on the Downs by my house and bemoaning the lack of vitamin D for my eyeballs, I cracked on the Mac. I had recently purchased The Tallest Man On Earth album, Wild Hunt (Dead Oceans). I was in need of something new to form some (wahoo 2011) fresh associations with. Whilst I mused about the flat, now was the time I decided, to dedicate to the giant man. Hopefully this would culminate in reaching up and putting my arms around his shoulders, prancing around the room, rather than immersing myself in 2010 nostalgia. Oh the perils of memory boxes, scrap books and photo archives.
Click and Bob Dylan growls came out. This was all very lovely, I had linked that before though and was waiting to get actually into The Tallest Man on Earth, rather than just wonder about the Dylan. Then Love Is All came on. Oh hello. This is BEAUTIFUL. The Tallest Man On Earth’s heart appeared to be unashamedly open to my grump self. I turned it up and continued to listen. Sometimes painfully honest in his thoughts, loves and admissions, he gently strums next to his musings. Akk, this was so bitingly raw, the crackling voice and simple notes, it was almost uncomfortably perfect.
Despite his Texan American country sounds, Kristian Matsson is from Dalarna, Sweden. And although he is called: The Tallest Man On Earth, Matsson in fact stands below the Swedish male average (nearly five foot eleven), at five foot five. The tallest person in medical history was Robert Pershing Wadlow, from Illonois, USA, who was eight foot and eleven inches tall.
The (slightly smaller than) Tallest Man On Earth plays the guitar, banjo and piano and has released two albums, Shallow Grave (Dead Oceans) and The Wild Hunt. He has also released two EPs, Sometimes The Blues Is Just A Passing Bird and self titled. The latter holds the song; Walk The Line, a foot -tapping, spindly, defiant number “you bring me down…I aint gonna walk the line”. It’s a mixture of nature’s thunderous activities, humans, animals and emotion; “all tomorrows parties will dance before my eyes”.
Matsson is utterly immersed in nature, similes transform him into an eagle, lizard, sparrow and gardener. Whilst his lovers are bluebirds and rivers. Seemingly unlike Britain in a snowfall, he is aware and respects mother nature’s ultimate power over us. He will sit upon the river, dance in the ocean and watch the birds. Honey Won’t You Let Me In; “As I knock your door, from inside once more, how I wish a sudden breeze would let me in, shake my tambourine at your glowing dreams, I said honey won’t you let me in.” The city in contrast, has no distinct sounds for him, and equally his heart leaves him lost, weather beaten and alone at times. Two harsh climes for our protagonist. Tangle In This Trample Wheat; “I get frightened I could never gather birds enough to carry round your heart”. But his soul seems distinctly free, he won’t be found.
Integrated into nature’s attributes is Matsson’s love of dreaming, and love itself. A Lion’s Heart; “he’s coming down the hills for you”. Accompanied by constant gentle guitar and banjo notes, the listener can not help but be thrust into a pure and new perspective. Importantly, he also makes many references to nature never stopping. And perhaps we need to appreciate this a little bit more ourselves. Indeed the traffic, economy and work never really halts, and 2011’s start may be all New Resolutions (blah), but nature never, EVER takes a break or crash diets suddenly because some poppers went off. Remember, outside, the hills, oceans and mountains are far prettier than flouro lighting (even if that flouro lights up the best dress you’ve ever seen). It also changes in considerably more interesting ways than the prices of your average baked beans can. Step outside. The Dreamer; “I’m just a dreamer, but I’m hanging on, though I am nothing big to offer, I watched the birds how they in then gone, it’s like nothing in this world’s ever still.”
So starting with melancholy, I was risen by eloquent exuberance and now I continue to travel along the mighty (and fast) river of 2011 and life. It’s Janurary 7 and I have barely listened to anything other than The Tallest Man On Earth. Both The Wild Hunt and Shallow Grave on the label Dead Oceans are available now.
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, ampoule what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, illness but so far the reception has been great, search ” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
So it started on January 3rd, advice I was in a bad mood. Well, medicine it’s that whole palaver of taking the (now miserable) tree down, thinking about the enormity of work that needs to be done and the poor, defenseless body. It needs some very tender loving care. This day of January, after bathing in Pukka ‘Cleanse’ tea, going for a brisk walk on the Downs by my house and bemoaning the lack of vitamin D for my eyeballs, I cracked on the Mac. I had recently purchased The Tallest Man On Earth album, Wild Hunt (Dead Oceans). I was in need of something new to form some (wahoo 2011) fresh associations with. Whilst I mused about the flat, now was the time I decided, to dedicate to the giant man. Hopefully this would culminate in reaching up and putting my arms around his shoulders, prancing around the room, rather than immersing myself in 2010 nostalgia. Oh the perils of memory boxes, scrap books and photo archives.
Click and Bob Dylan growls came out. This was all very lovely, I had linked that before though and was waiting to get actually into The Tallest Man on Earth, rather than just wonder about the Dylan. Then Love Is All came on. Oh hello. This is BEAUTIFUL. The Tallest Man On Earth’s heart appeared to be unashamedly open to my grump self. I turned it up and continued to listen. Sometimes painfully honest in his thoughts, loves and admissions, he gently strums next to his musings. Akk, this was so bitingly raw, the crackling voice and simple notes, it was almost uncomfortably perfect.
Despite his Texan American country sounds, Kristian Matsson is from Dalarna, Sweden. And although he is called: The Tallest Man On Earth, Matsson in fact stands below the Swedish male average (nearly five foot eleven), at five foot five. The tallest person in medical history was Robert Pershing Wadlow, from Illonois, USA, who was eight foot and eleven inches tall.
The (slightly smaller than) Tallest Man On Earth plays the guitar, banjo and piano and has released two albums, Shallow Grave (Dead Oceans) and The Wild Hunt. He has also released two EPs, Sometimes The Blues Is Just A Passing Bird and self titled. The latter holds the song; Walk The Line, a foot -tapping, spindly, defiant number “you bring me down…I aint gonna walk the line”. It’s a mixture of nature’s thunderous activities, humans, animals and emotion; “all tomorrows parties will dance before my eyes”.
Matsson is utterly immersed in nature, similes transform him into an eagle, lizard, sparrow and gardener. Whilst his lovers are bluebirds and rivers. Seemingly unlike Britain in a snowfall, he is aware and respects mother nature’s ultimate power over us. He will sit upon the river, dance in the ocean and watch the birds. Honey Won’t You Let Me In; “As I knock your door, from inside once more, how I wish a sudden breeze would let me in, shake my tambourine at your glowing dreams, I said honey won’t you let me in.” The city in contrast, has no distinct sounds for him, and equally his heart leaves him lost, weather beaten and alone at times. Two harsh climes for our protagonist. Tangle In This Trample Wheat; “I get frightened I could never gather birds enough to carry round your heart”. But his soul seems distinctly free, he won’t be found.
Integrated into nature’s attributes is Matsson’s love of dreaming, and love itself. A Lion’s Heart; “he’s coming down the hills for you”. Accompanied by constant gentle guitar and banjo notes, the listener can not help but be thrust into a pure and new perspective. Importantly, he also makes many references to nature never stopping. And perhaps we need to appreciate this a little bit more ourselves. Indeed the traffic, economy and work never really halts, and 2011’s start may be all New Resolutions (blah), but nature never, EVER takes a break or crash diets suddenly because some poppers went off. Remember, outside, the hills, oceans and mountains are far prettier than flouro lighting (even if that flouro lights up the best dress you’ve ever seen). It also changes in considerably more interesting ways than the prices of your average baked beans can. Step outside. The Dreamer; “I’m just a dreamer, but I’m hanging on, though I am nothing big to offer, I watched the birds how they in then gone, it’s like nothing in this world’s ever still.”
So starting with melancholy, I was risen by eloquent exuberance and now I continue to travel along the mighty (and fast) river of 2011 and life. It’s Janurary 7 and I have barely listened to anything other than The Tallest Man On Earth. Both The Wild Hunt and Shallow Grave on the label Dead Oceans are available now.
So it started on January 3rd, buy I was in a bad mood. Well, tadalafil it’s that whole palaver of taking the (now miserable) tree down, thinking about the enormity of work that needs to be done and the poor, defenseless body. It needs some very tender loving care. This day of January, after bathing in Pukka ‘Cleanse’ tea, going for a brisk walk on the Downs by my house and bemoaning the lack of vitamin D for my eyeballs, I cracked on the Mac. I had recently purchased The Tallest Man On Earth album, Wild Hunt (Dead Oceans). I was in need of something new to form some (wahoo 2011) fresh associations with. Whilst I mused about the flat, now was the time I decided, to dedicate to the giant man. Hopefully this would culminate in reaching up and putting my arms around his shoulders, prancing around the room, rather than immersing myself in 2010 nostalgia. Oh the perils of memory boxes, scrap books and photo archives.
Click and Bob Dylan growls came out. This was all very lovely, I had linked that before though and was waiting to get actually into The Tallest Man on Earth, rather than just wonder about the Dylan. Then Love Is All came on. Oh hello. This is BEAUTIFUL. The Tallest Man On Earth’s heart appeared to be unashamedly open to my grump self. I turned it up and continued to listen. Sometimes painfully honest in his thoughts, loves and admissions, he gently strums next to his musings. Akk, this was so bitingly raw, the crackling voice and simple notes, it was almost uncomfortably perfect.
Despite his Texan American country sounds, Kristian Matsson is from Dalarna, Sweden. And although he is called: The Tallest Man On Earth, Matsson in fact stands below the Swedish male average (nearly five foot eleven), at five foot five. The tallest person in medical history was Robert Pershing Wadlow, from Illonois, USA, who was eight foot and eleven inches tall.
The (slightly smaller than) Tallest Man On Earth plays the guitar, banjo and piano and has released two albums, Shallow Grave (Dead Oceans) and The Wild Hunt. He has also released two EPs, Sometimes The Blues Is Just A Passing Bird and self titled. The latter holds the song; Walk The Line, a foot -tapping, spindly, defiant number “you bring me down…I aint gonna walk the line”. It’s a mixture of nature’s thunderous activities, humans, animals and emotion; “all tomorrows parties will dance before my eyes”.
Matsson is utterly immersed in nature, similes transform him into an eagle, lizard, sparrow and gardener. Whilst his lovers are bluebirds and rivers. Seemingly unlike Britain in a snowfall, he is aware and respects mother nature’s ultimate power over us. He will sit upon the river, dance in the ocean and watch the birds. Honey Won’t You Let Me In; “As I knock your door, from inside once more, how I wish a sudden breeze would let me in, shake my tambourine at your glowing dreams, I said honey won’t you let me in.” The city in contrast, has no distinct sounds for him, and equally his heart leaves him lost, weather beaten and alone at times. Two harsh climes for our protagonist. Tangle In This Trample Wheat; “I get frightened I could never gather birds enough to carry round your heart”. But his soul seems distinctly free, he won’t be found.
Integrated into nature’s attributes is Matsson’s love of dreaming, and love itself. A Lion’s Heart; “he’s coming down the hills for you”. Accompanied by constant gentle guitar and banjo notes, the listener can not help but be thrust into a pure and new perspective. Importantly, he also makes many references to nature never stopping. And perhaps we need to appreciate this a little bit more ourselves. Indeed the traffic, economy and work never really halts, and 2011’s start may be all New Resolutions (blah), but nature never, EVER takes a break or crash diets suddenly because some poppers went off. Remember, outside, the hills, oceans and mountains are far prettier than flouro lighting (even if that flouro lights up the best dress you’ve ever seen). It also changes in considerably more interesting ways than the prices of your average baked beans can. Step outside. The Dreamer; “I’m just a dreamer, but I’m hanging on, though I am nothing big to offer, I watched the birds how they in then gone, it’s like nothing in this world’s ever still.”
So starting with melancholy, I was risen by eloquent exuberance and now I continue to travel along the mighty (and fast) river of 2011 and life. It’s Janurary 7 and I have barely listened to anything other than The Tallest Man On Earth. Both The Wild Hunt and Shallow Grave on the label Dead Oceans are available now. Also see tour dates HERE.
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, sickness what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, but so far the reception has been great,” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
Read the rest of this interview in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy a copy of the book here.
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, check what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, but so far the reception has been great,” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
LMB Textile Recycling was set up by Ross and Michelle’s father Lawrence, who also designed the ubiquitous green textile recycling banks that populate the streets of major cities. As youngsters Ross and Michelle were soon involved in the family business. “Other children got taken to the park at the weekend. We got taken to the sorting factory where we amused ourselves by jumping around in mountains of second hand clothing.” Their father’s motto was “where possible don’t pay someone else to do something you could do yourself” and this belief has clearly been taken to its natural conclusion with the creation of 123 Bethnal Green Road….
Read the rest of this interview in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
Ada Zanditon was inspired to use ethically and environmentally conscious solutions in fashion design after she heard a talk given by Katharine Hamnett. Katharine speaks from a very authentic and informed position that inspired me to question the purpose of design and how it can impact the planet. For both ecological and economic reasons Ada decided to focus on design processes that eliminate waste. In practical terms she creates zero waste patterns and saves any remnants to use in other garments or as stuffing or binding. It’s a matter of innovation and efficient resource management. She is also careful about where she sources her fabrics, finding it more of a help than a hindrance to have ecological constraints over what she can choose.
Her clothes are known for their sculptural qualities, a fact she attributes to her fascination with sculptures, architecture and geometry from an early age. She is particularly attracted to biomimicry in design and is inspired by the work of artist Anish Kapoor. But what I most like is the intimate connection between clothing and the human form. It is the presence of the human figure that brings a design to life…
Read the rest of this interview and see more illustrations of Ada Zanditon‘s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
Written by Amelia Gregory on Friday January 7th, 2011 5:46 pm
The build up for the Amelia’s Compendium of Fashion Illustration launch party was immense. The #ACOFI hashtag on Twitter went mental in the run up, pilule with people planning their outfits and talking about meeting for the first time. The invites had all been sent, find Amelia’s kitchen was impossible to manoeuvre due to boxes piled high with goodies and 123 Bethnal Green Road‘s Scout Hut had been transformed.
Jenny Robins applies her make up surrounded by ACOFI goodie bags…
The day started as I rushed to Amelia’s with 8 potential outfits and a tote bag full of press releases. When I arrived, Amelia looking ever so slightly drained (having had about 4 minutes sleep in the previous week) and after responding to yet more emails asking for an invitation and picking nail varnish (for Amelia, not me) Ross from 123BGR arrived with his van. Contributor Sally turned up laden with her camera equipment, and we loaded everything into the van – box after box of Dr.Hauschka goodies, Moleskine notebooks, Tatty Devine necklaces, postcards, Amelia’s Magazine Issue 10, sh*tloads of ACOFI books and Amelia’s Nina Dolcetti shoes.
The atmosphere at 123 Bethnal Green Road was a a bit of a farce, as we unloaded the van, took everything downstairs and started to unpack it all. It was a bit intense, but I just couldn’t stop giggling. How were we going to make up 200 goodie bags each containing nearly 20 items? Well, with a little help from our friends at Forward PR, we managed it.
Lily Vanilli’s magnificent cake, illustrated by Jo Cheung
As the final Pukka tea sachet went into the last bag and Lily Vanilli arrived with her mindblowing ACOFI-inspired cake, the first few guests arrived including a very prompt Holly from Make Lemonade. I legged it to the top of the 123 building to get changed, and by the time I returned the tea party was in full swing. It was bloody packed, with illustrators creating images of guests and tea being served in gorgeous miss-matched vintage teacups and Felicity from Dr.Hauschka giving hand massages. Those who were lucky enough to enjoy her skillz came away from her table with the appearance of taking mild narcotics and I was desperate to get in there myself but just didn’t get the chance.
In between flirting with journalists and taking photographs I enjoyed a green spiced-chai Pukka tea with cinnamon and star anise and my fair share of Lily Vanilli’s delicious pearlescent scones. Thank God there wasn’t a bloody cupcake in sight. I hate cupcakes at these events; they’re impossible to eat and on more than one occasion I’ve ended up wearing more around my mouth than I’ve actually eaten: not a good luck when schmoozing peers.
Felicity from Dr. Hauschka gives a guest a relaxing massage
It’s Amelia’s parents!
Such a diverse range of guests came through the door, from high-end fashion glossies to Amelia’s parents (not that they’re not high-end, of course, but you know what I mean!)
The daytime bit was over in a flash, and it was a mad dash to throw all the vintage teacups into the sink before heading upstairs, where yet more guests arrived and the cavernous Scout Hut soon became packed wall-to-wall with illustrators, their guests, the fashion press and a host of other creative types.
Amelia’s amazing Nina Dolcetti shoes
The fabulous 6 Day Riot then blew the crowds away with their folky fun, before the Pipettes DJed to much dancing while I took photographs, met even more of the fabulous illustrators who have worked so hard over the last year to make Amelia’s Magazine what it is, and consumed my fair share of Vodka O and Adnams beers. My thanks goes to the Pipettes and later Will from the Mystery Jets (who played us out surrounded by honeys) for playing Single Ladies twice. My only explanation for my ludicrous shape-throwing is that I was so relieved to finally be on the dancefloor that I, y’know, sort of let go a bit. I also blame the sugar rush from Lily Vanilli’s incredible ACOFI-inspired cake.
I could go on, but here are my top ten ACOFI moments (in no particular order)
1. When Amelia’s Joanna Cave earrings turned up at the 11th hour. Stunning!
2. When Amelia acquired tourettes and told me, as I descended the 123 stairs, that I looked ‘dreadful…erm, DREADFUL? I mean amazeballs!’ (Not verbatim, but you get the picture…)
3. When I told Gareth A Hopkins that somebody had come to the daytime do with a toilet seat on their head and he believed me.
4. When fashion photographer Liz Johnson-Artur took a picture of stylist Sabrina Bangladesh and the flash was so bright that her squeals could be heard in Walthamstow.
5. When I threw myself at the wall trying to be Beyoncé for Maggie Angus‘ benefit…
6. The great cover samples disappearance mystery, which later turned up in Amelia’s Nina Dolcetti shoebox. Well, this wasn’t exactly a favourite moment, but I wanted to mention it anyway…
7. Eating the cake.
8. Having my first taste of Vodka O and ginger ale, and then watching Nick from Forward PR (who was my only rival in the dance stakes) giving out ‘New York’ measures (no wonder I could barely stand up and everybody reported dreadful hangovers on Twitter the next day…)
9. When 6 Day Riot asked the crowd to join them on a chorus singing ‘Yadda yadda ya’ and lead singer Tamara said ‘I know we’re in East London, but come on!”
Sally Mumby-Croft filming
10. Suggesting that contributor Sally’s video edit would turn out like that scene in Love Actually where he films the wedding (more of a dream than a suggestion…)
Lovely guests… (from top) Illustrator Aniela Murphy and her boy, Jo Cheung and June Chanpoomidole, fashion designer Lira Leirner and Illustrator Faye West with the foxy red Chanel lips.
Finally, of course – so I guess number 11 – meeting all the wonderful illustrators and fashion types who I’ve got to know so well on Twitter and seeing them in the flesh! Glorious!
Can we do it again, please?
Read Amelia’s review of the launch party here, check out the in-store Eco Pop Up shop at 123 Bethnal Green Road (as part of the ACOFI fun) here, watch the illustrators talk all about the work on our YouTube channel AND buy the book here!
All photography by Matt Bramford
Written by Matt Bramford on Wednesday February 2nd, 2011 6:50 pm
Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), side effectsstore so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, link so of course I was set on running my label as ethically and morally as I could.
When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, stuff when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!
Where do you source your materials from?
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…
Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), abortion so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, so of course I was set on running my label as ethically and morally as I could.
When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!
Where do you source your materials from?
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…
Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), price so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, ailment so of course I was set on running my label as ethically and morally as I could.
When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!
Where do you source your materials from?
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…
Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), viagra approved so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, so of course I was set on running my label as ethically and morally as I could.
When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!
Where do you source your materials from?
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…
Read the rest of this interview and see more illustrations of Nina Dolcetti’s shoes in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
The Pipettes by Emma Block.
My day began with a speedy cycle up to get my hair *done* at Shine on the Green up in Stoke Newington, medications possibly not foreseeing the consequences of cycling back again against a strong wind. In the end my new glossy look held up admirably well, troche and was admired by everyone.
Getting my hair *done* at Shine on the Green.
Matt Bramford and Sally Mumby-Croft then joined me to help lug boxes of goodie bag gifts from my house over to 123 Bethnal Green Road – the delay ensuring the miraculous delivery of my beautiful Joanna Cave earrings which made it just in time from Greece.
Matt carrying boxes.
By this time we were running seriously behind, pharm so goodie bag stuffing took on a somewhat manic quality. Luckily Lucy and Nicholas soon joined us from Forward PR, followed by the lovely Heather and Felicity of Dr.Hauschka. Thank god I didn’t try to stuff the goodie bags at home by myself.
Packing the goodie bags.
Felicity whisked me upstairs to apply my Dr.Hauschka make up in super speedy style (why were make up artists never this fast when I did fashion shoots?!) and I emerged looking super polished and sleek. Perfect. I totally attribute all the compliments I received on the night to the skills of Shine on the Green and Dr.Hauschka. Now if only I could achieve the same effect by myself! The next day my boyfriend commented that I looked like a scarecrow once again. Sigh. Now I know why famous people depend so much on their teams of stylists.
Felicity from Dr.Hauschka applies my makeup.
We finished with minutes to spare and I dashed downstairs to find already in place my crew of eager illustrators, Alexandra with her Pukka tea goodness… and the glorious pearlescent handiwork of Lily Vanilli perfectly arranged in the central archway just as the guests started to turn up. By this stage I realised I hadn’t eaten anything since my 7am breakfast of porridge, on which I blame the development of a strange form of reverse word Tourettes (I think Matt Bramford may mention one classic moment in his blog). It’s a miracle I made any sense in interviews.
A close up of the fabulous Lily Vanilli concoction.
Laurel from i-D was one of the first to arrive and between 3-7pm the cosy Bunker Cafe was a whirlwind of activity.
Everyone admired my lilac Beautiful Soul cape, Joanna Cave earrings and Nina Dolcetti shoes… which were exceedingly comfortable as promised by the designer Elisalex.
Jenny Robins creates a live sketch.
Andrea Peterson producing a live sketch. Photography by Liz Johnson-Artur.
Andrea’s finished illustration of Nyla from Ethical Heaven.
Illustrators Michelle Urvall Nyren and Abby Wright. Photography by Liz Johnson-Artur.
I was thrilled that so many people came – and it was wonderful to chat to so many bloggers that I’ve only met in the online world and then watch them being illustrated in a variety of utterly unique styles.
Guests also received a relaxing hand massage the Dr.Hauschka way thanks to Felicity. The piles of Lily Vanilli mini scones and brownies quickly vanished, washed down with Pukka tea served in vintage teacups courtesy of 123 Bethnal Green Road.
Laurel Harple receives a Dr.Hauschka hand massage.
By 7pm people started to arrive for the evening party and I realised that my wobbling had less to do with my Nina Dolcetti platforms and more to do with my lack of blood sugar. But then Jessica Bumpus from Vogue arrived and the adrenalin must have kicked in because I carried on straight through the evening without food, drink, or even a pee.
Upstairs 6 Day Riot kick started the night’s proceedings with a set of rollicking tunes, singer Tamara easily charming the room and converting a whole new army of fans.
The Pipettes. Photography by Max Petrossi.
Then lovely Pipettes Gwenno and Ani Saunders took to the decks in their inimitable polka dot outfits and got everyone dancing, lubricated by oodles of delicious Adnams beers and Vodka O.
Laura of Forward PR was a star behind the bar.
Our bar was woefully understaffed (my fault entirely) and I thought for a moment that I would have to step in and help out, but in the end Nicholas and Laura of Forward PR managed brilliantly and kept up the energy with lots of dance moves: much admiration and thanks. By the end of the night I hear that even The Pipettes were doing a stint behind the bar. Community effort, now that’s what I like!
Ballad Of and other guests. Photography by Max Petrossi.
Downstairs Forward PR‘s Francesca proved an amazing saleswoman, shifting loads of books in my specially made fabric goodie bags containing a bespoke Moleskine notebook, my special Tatty Devine Cutlass Necklace in a new colourway, Dr.Hauschka goodies aplenty, Pukka teabags, a reclaimed leather heart keyring from 123, a copy of the last ever issue of Amelia’s Magazine in print and a stack of limited edition postcards. Thankyou so much everyone who bought a book – I really really appreciate it.
The huge pile of goodie bags.
I also got to cut the enormous pink flowery centrepiece by Lily Vanilli, which, being double tiered, did indeed look like a totally bonkers wedding cake. Harriet of Tatty Devine then did sterling business cutting it up and handing out the delicious white chocolate fluffy concoction to appreciative guests.
Cutting the cake. Photography by Matt Bramford.
With my ladies Rachael and Louise from Prick Your Finger and Harriet and Rosie of Tatty Devine.
Towards the end of the night my old friend Will of the Mystery Jets arrived and put in a stonking last set, accompanied on the decks by his beautiful female friends. And the Robots in Disguise put in a fashionably late appearance.
Will of the Mystery Jets with his friends.
Robots in Disguise were in my first ever Amelia’s Magazine. They’re ace. Photography by Matt Bramford.
And of course I can’t leave out a big thanks (I’m running out of large adjectives here) to all my guests, especially all of those who bought the book and have written such a wealth of amazing blog posts about the event. I am so sorry I didn’t get to meet everyone, but thankyou thankyou thankyou for supporting my ACOFI adventure xxx
Cleaning up the next day: teacups and limes. Just about sums it up!
If you didn’t get a chance to do so at the launch do remember to get along and check out the Eco Pop Up shop instore at 123 for two weeks from the 28th January. It features many of the fabulous ethical designers from my book. Look out for lots of blogs featuring illustrations from the event… coming up shortly. And you can buy the book online on my website with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Don’t forget to also check out the Skype video interviews with featured illustrators in the book over on my Amelia’s House youtube channel.
Written by Amelia Gregory on Tuesday February 1st, 2011 7:31 pm
Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), side effectsstore so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, link so of course I was set on running my label as ethically and morally as I could.
When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, stuff when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!
Where do you source your materials from?
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…
Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), abortion so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, so of course I was set on running my label as ethically and morally as I could.
When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!
Where do you source your materials from?
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…
Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), price so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, ailment so of course I was set on running my label as ethically and morally as I could.
When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!
Where do you source your materials from?
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…
Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), viagra approved so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, so of course I was set on running my label as ethically and morally as I could.
When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!
Where do you source your materials from?
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…
Read the rest of this interview and see more illustrations of Nina Dolcetti’s shoes in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
The Pipettes by Emma Block.
My day began with a speedy cycle up to get my hair *done* at Shine on the Green up in Stoke Newington, medications possibly not foreseeing the consequences of cycling back again against a strong wind. In the end my new glossy look held up admirably well, troche and was admired by everyone.
Getting my hair *done* at Shine on the Green.
Matt Bramford and Sally Mumby-Croft then joined me to help lug boxes of goodie bag gifts from my house over to 123 Bethnal Green Road – the delay ensuring the miraculous delivery of my beautiful Joanna Cave earrings which made it just in time from Greece.
Matt carrying boxes.
By this time we were running seriously behind, pharm so goodie bag stuffing took on a somewhat manic quality. Luckily Lucy and Nicholas soon joined us from Forward PR, followed by the lovely Heather and Felicity of Dr.Hauschka. Thank god I didn’t try to stuff the goodie bags at home by myself.
Packing the goodie bags.
Felicity whisked me upstairs to apply my Dr.Hauschka make up in super speedy style (why were make up artists never this fast when I did fashion shoots?!) and I emerged looking super polished and sleek. Perfect. I totally attribute all the compliments I received on the night to the skills of Shine on the Green and Dr.Hauschka. Now if only I could achieve the same effect by myself! The next day my boyfriend commented that I looked like a scarecrow once again. Sigh. Now I know why famous people depend so much on their teams of stylists.
Felicity from Dr.Hauschka applies my makeup.
We finished with minutes to spare and I dashed downstairs to find already in place my crew of eager illustrators, Alexandra with her Pukka tea goodness… and the glorious pearlescent handiwork of Lily Vanilli perfectly arranged in the central archway just as the guests started to turn up. By this stage I realised I hadn’t eaten anything since my 7am breakfast of porridge, on which I blame the development of a strange form of reverse word Tourettes (I think Matt Bramford may mention one classic moment in his blog). It’s a miracle I made any sense in interviews.
A close up of the fabulous Lily Vanilli concoction.
Laurel from i-D was one of the first to arrive and between 3-7pm the cosy Bunker Cafe was a whirlwind of activity.
Everyone admired my lilac Beautiful Soul cape, Joanna Cave earrings and Nina Dolcetti shoes… which were exceedingly comfortable as promised by the designer Elisalex.
Jenny Robins creates a live sketch.
Andrea Peterson producing a live sketch. Photography by Liz Johnson-Artur.
Andrea’s finished illustration of Nyla from Ethical Heaven.
Illustrators Michelle Urvall Nyren and Abby Wright. Photography by Liz Johnson-Artur.
I was thrilled that so many people came – and it was wonderful to chat to so many bloggers that I’ve only met in the online world and then watch them being illustrated in a variety of utterly unique styles.
Guests also received a relaxing hand massage the Dr.Hauschka way thanks to Felicity. The piles of Lily Vanilli mini scones and brownies quickly vanished, washed down with Pukka tea served in vintage teacups courtesy of 123 Bethnal Green Road.
Laurel Harple receives a Dr.Hauschka hand massage.
By 7pm people started to arrive for the evening party and I realised that my wobbling had less to do with my Nina Dolcetti platforms and more to do with my lack of blood sugar. But then Jessica Bumpus from Vogue arrived and the adrenalin must have kicked in because I carried on straight through the evening without food, drink, or even a pee.
Upstairs 6 Day Riot kick started the night’s proceedings with a set of rollicking tunes, singer Tamara easily charming the room and converting a whole new army of fans.
The Pipettes. Photography by Max Petrossi.
Then lovely Pipettes Gwenno and Ani Saunders took to the decks in their inimitable polka dot outfits and got everyone dancing, lubricated by oodles of delicious Adnams beers and Vodka O.
Laura of Forward PR was a star behind the bar.
Our bar was woefully understaffed (my fault entirely) and I thought for a moment that I would have to step in and help out, but in the end Nicholas and Laura of Forward PR managed brilliantly and kept up the energy with lots of dance moves: much admiration and thanks. By the end of the night I hear that even The Pipettes were doing a stint behind the bar. Community effort, now that’s what I like!
Ballad Of and other guests. Photography by Max Petrossi.
Downstairs Forward PR‘s Francesca proved an amazing saleswoman, shifting loads of books in my specially made fabric goodie bags containing a bespoke Moleskine notebook, my special Tatty Devine Cutlass Necklace in a new colourway, Dr.Hauschka goodies aplenty, Pukka teabags, a reclaimed leather heart keyring from 123, a copy of the last ever issue of Amelia’s Magazine in print and a stack of limited edition postcards. Thankyou so much everyone who bought a book – I really really appreciate it.
The huge pile of goodie bags.
I also got to cut the enormous pink flowery centrepiece by Lily Vanilli, which, being double tiered, did indeed look like a totally bonkers wedding cake. Harriet of Tatty Devine then did sterling business cutting it up and handing out the delicious white chocolate fluffy concoction to appreciative guests.
Cutting the cake. Photography by Matt Bramford.
With my ladies Rachael and Louise from Prick Your Finger and Harriet and Rosie of Tatty Devine.
Towards the end of the night my old friend Will of the Mystery Jets arrived and put in a stonking last set, accompanied on the decks by his beautiful female friends. And the Robots in Disguise put in a fashionably late appearance.
Will of the Mystery Jets with his friends.
Robots in Disguise were in my first ever Amelia’s Magazine. They’re ace. Photography by Matt Bramford.
And of course I can’t leave out a big thanks (I’m running out of large adjectives here) to all my guests, especially all of those who bought the book and have written such a wealth of amazing blog posts about the event. I am so sorry I didn’t get to meet everyone, but thankyou thankyou thankyou for supporting my ACOFI adventure xxx
Cleaning up the next day: teacups and limes. Just about sums it up!
If you didn’t get a chance to do so at the launch do remember to get along and check out the Eco Pop Up shop instore at 123 for two weeks from the 28th January. It features many of the fabulous ethical designers from my book. Look out for lots of blogs featuring illustrations from the event… coming up shortly. And you can buy the book online on my website with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Don’t forget to also check out the Skype video interviews with featured illustrators in the book over on my Amelia’s House youtube channel.
Written by Amelia Gregory on Tuesday February 1st, 2011 7:31 pm
