Amelia’s Magazine | London Fashion Week Emerging Talent A/W 2011: A Preview

Charlotte Ford & Geoff Sobelle
Flesh and Blood by Stacie Swift
Flesh and Blood by Stacie Swift.

Flesh and Blood & Fish and Fowl was inspired by photographs of the Ukrainian town of Pripyat near Chernobyl, treat taken many years after the city was abandoned to radiation. They show the buildings and streets overtaken with plants and animals, view which have happily returned to build homes amongst the human detritus.

The impressively depressing (yet realistic) stage set features the interior of an office for Convenience Foods: dead plants and old mugs litter the desks and the walls sprout crumpled charts and post it notes. It is into this nightmarish world that Jerry, viagra order played by Geoff Sobelle, emerges, rolling gracelessly out of a dumpster inside which he has presumably spent the night, and hobbling a few steps to his desk.

Office Deer by Sarah Matthews
Office Deer by Sarah Matthews.

The lengthy intro features a zany fight with a buzzing fly that refuses to die, before we’re introduced to his office colleague Rhoda, played with relish by Charlotte Ford. Despite their dysfunctional relationship she’s clearly interested in developing a more intimate arrangement with her middle management foe, artlessly arching her bottom in his direction as she microwaves her lunch repeatedly. The only time they communicate with words is in cringeworthy office jargon against the backdrop of a wonky Leadership poster featuring a lion’s head superimposed over a mountain. It’s all too easily recognisable as the kind of office that litters the business estates of the UK, which is interesting because Flesh and Blood & Fish and Fowl is performed by Americans.

Office-Bear-by-Sarah Matthews
Office Bear by Sarah Matthews.

Both Geoff Sobelle and Charlotte Ford are trained clowns, adept at using exaggerated body movement and facial expressions to convey repressed feelings that eventually rise to the surface as the theatre set is taken over by a series of stuffed animals and plastic undergrowth.

Mime Festival Rhoda by Sarah Alfarhan
Rhoda by Sarah Alfarhan.

Before long they are mating loudly in the dumpster, from which Jerry emerges disgusted that his animal instincts have at last taken over, immediately spraying his body with disinfectant. As the animals continue to stake their claim over the environment Jerry desperately clings to obsessive compulsive means of control, all of which eventually fail.

Office Squirrel by Sarah Matthews
Office Squirrel by Sarah Matthews.

The programme says very little about the meaning of Flesh and Blood & Fish and Fowl, preferring instead – in the great manner of mime – to leave the story to unfold through the telling. But it seems clear that this is a tale of human folly, and how, ultimately, our environment will have the last laugh of all. It’s a testament to the performers’ clowning expertise that what could so easily have come across as uncompromisingly depressing is instead one of the funniest shows I’ve ever seen.

Flesh and Blood And Fish and Fowl by Mira Tazkia
Flesh and Blood & Fish and Fowl by Mira Tazkia.

Flesh and Blood & Fish and Fowl is showing at The Pit in the Barbican as part of the London International Mime Festival for the rest of this week and I urge you to grab a ticket now. The Mime Festival is London’s longest running annual theatre event, encompassing visual theatre of all kinds. It runs from 15th-30th January and features a huge range of performances. Why not check out their calendar of events here?

Flesh and Blood by Stacie Swift
Flesh and Blood by Stacie Swift.

Flesh and Blood & Fish and Fowl was inspired by photographs of the Ukrainian town of Pripyat near Chernobyl, symptoms taken many years after the city was abandoned to radiation. They show the buildings and streets overtaken with plants and animals, which have happily returned to build homes amongst the human detritus.

Flesh and Blood office

The impressively depressing (yet realistic) stage set features the interior of an office for Convenience Foods: dead plants and old mugs litter the desks and the walls sprout crumpled charts and post it notes. It is into this nightmarish world that Jerry, played by Geoff Sobelle, emerges, rolling gracelessly out of a dumpster inside which he has presumably spent the night, and hobbling a few steps to his desk.

Office Deer by Sarah Matthews
Office Deer by Sarah Matthews.

The lengthy intro features a zany fight with a buzzing fly that refuses to die, before we’re introduced to his office colleague Rhoda, played with relish by Charlotte Ford. Despite their dysfunctional relationship she’s clearly interested in developing a more intimate arrangement with her middle management foe, artlessly arching her bottom in his direction as she microwaves her lunch repeatedly. The only time they communicate with words is in cringeworthy office jargon against the backdrop of a wonky Leadership poster featuring a lion’s head superimposed over a mountain. It’s all too easily recognisable as the kind of office that litters the business estates of the UK, which is interesting because Flesh and Blood & Fish and Fowl is performed by Americans.

Office-Bear-by-Sarah Matthews
Office Bear by Sarah Matthews.

Both Geoff Sobelle and Charlotte Ford are trained clowns, adept at using exaggerated body movement and facial expressions to convey repressed feelings that eventually rise to the surface as the theatre set is taken over by a series of stuffed animals and plastic undergrowth.

Mime Festival Rhoda by Sarah Alfarhan
Rhoda by Sarah Alfarhan.

Before long they are mating loudly in the dumpster, from which Jerry emerges disgusted that his animal instincts have at last taken over, immediately spraying his body with disinfectant. As the animals continue to stake their claim over the environment Jerry desperately clings to obsessive compulsive means of control, all of which eventually fail.

Office Squirrel by Sarah Matthews
Office Squirrel by Sarah Matthews.

The programme says very little about the meaning of Flesh and Blood & Fish and Fowl, preferring instead – in the great manner of mime – to leave the story to unfold through the telling. But it seems clear that this is a tale of human folly, and how, ultimately, our environment will have the last laugh of all. It’s a testament to the performers’ clowning expertise that what could so easily have come across as uncompromisingly depressing is instead one of the funniest shows I’ve ever seen.

Flesh and Blood And Fish and Fowl by Mira Tazkia
Flesh and Blood & Fish and Fowl by Mira Tazkia.

Flesh and Blood & Fish and Fowl is showing at The Pit in the Barbican as part of the London International Mime Festival for the rest of this week and I urge you to grab a ticket now. The Mime Festival is London’s longest running annual theatre event, encompassing visual theatre of all kinds. It runs from 15th-30th January and features a huge range of performances. Why not check out their calendar of events here?

Charlotte Ford & Geoff Sobelle
Flesh and Blood by Stacie Swift
Flesh and Blood by Stacie Swift.

Flesh and Blood & Fish and Fowl was inspired by photographs of the Ukrainian town of Pripyat near Chernobyl, seek taken many years after the city was abandoned to radiation. They show the buildings and streets overtaken with plants and animals, no rx which have happily returned to build homes amongst the human detritus.

Flesh and Blood office

The impressively depressing (yet realistic) stage set features the interior of an office for Convenience Foods: dead plants and old mugs litter the desks and the walls sprout crumpled charts and post it notes. It is into this nightmarish world that Jerry, recipe played by Geoff Sobelle, emerges, rolling gracelessly out of a dumpster inside which he has presumably spent the night, and hobbling a few steps to his desk.

Office Deer by Sarah Matthews
Office Deer by Sarah Matthews.

The lengthy intro features a zany fight with a buzzing fly that refuses to die, before we’re introduced to his office colleague Rhoda, played with relish by Charlotte Ford. Despite their dysfunctional relationship she’s clearly interested in developing a more intimate arrangement with her middle management foe, artlessly arching her bottom in his direction as she microwaves her lunch repeatedly. The only time they communicate with words is in cringeworthy office jargon against the backdrop of a wonky Leadership poster featuring a lion’s head superimposed over a mountain. It’s all too easily recognisable as the kind of office that litters the business estates of the UK, which is interesting because Flesh and Blood & Fish and Fowl is performed by Americans.

Office-Bear-by-Sarah Matthews
Office Bear by Sarah Matthews.

Both Geoff Sobelle and Charlotte Ford are trained clowns, adept at using exaggerated body movement and facial expressions to convey repressed feelings that eventually rise to the surface as the theatre set is taken over by a series of stuffed animals and plastic undergrowth.

Mime Festival Rhoda by Sarah Alfarhan
Rhoda by Sarah Alfarhan.

Before long they are mating loudly in the dumpster, from which Jerry emerges disgusted that his animal instincts have at last taken over, immediately spraying his body with disinfectant. As the animals continue to stake their claim over the environment Jerry desperately clings to obsessive compulsive means of control, all of which eventually fail.

Office Squirrel by Sarah Matthews
Office Squirrel by Sarah Matthews.

The programme says very little about the meaning of Flesh and Blood & Fish and Fowl, preferring instead – in the great manner of mime – to leave the story to unfold through the telling. But it seems clear that this is a tale of human folly, and how, ultimately, our environment will have the last laugh of all. It’s a testament to the performers’ clowning expertise that what could so easily have come across as uncompromisingly depressing is instead one of the funniest shows I’ve ever seen.

Flesh and Blood And Fish and Fowl by Mira Tazkia
Flesh and Blood & Fish and Fowl by Mira Tazkia.

Flesh and Blood & Fish and Fowl is showing at The Pit in the Barbican as part of the London International Mime Festival for the rest of this week. Surreal, funny, disturbing and thought provoking, as twittered on the night of the performance, this was a brilliant piece of mime and I urge you to grab a ticket now. The Mime Festival is London’s longest running annual theatre event, encompassing visual theatre of all kinds. It runs from 15th-30th January and features a huge range of performances. Why not check out their calendar of events here?

Charlotte Ford & Geoff Sobelle
Flesh and Blood by Stacie Swift
Flesh and Blood by Stacie Swift.

Flesh and Blood & Fish and Fowl was inspired by photographs of the Ukrainian town of Pripyat near Chernobyl, decease taken many years after the city was abandoned to radiation. They show the buildings and streets overtaken with plants and animals, viagra dosage which have happily returned to build homes amongst the human detritus.

Flesh and Blood office

The impressively depressing (yet realistic) stage set features the interior of an office for Convenience Foods: dead plants and old mugs litter the desks and the walls sprout crumpled charts and post it notes. It is into this nightmarish world that Jerry, buy information pills played by Geoff Sobelle, emerges, rolling gracelessly out of a dumpster inside which he has presumably spent the night, and hobbling a few steps to his desk.

Office Deer by Sarah Matthews
Office Deer by Sarah Matthews.

The lengthy intro features a zany fight with a buzzing fly that refuses to die, before we’re introduced to his office colleague Rhoda, played with relish by Charlotte Ford. Despite their dysfunctional relationship she’s clearly interested in developing a more intimate arrangement with her middle management foe, artlessly arching her bottom in his direction as she microwaves her lunch repeatedly.

Office Squirrel by Sarah Matthews
Office Squirrel by Sarah Matthews.

The only time they communicate with words is in cringeworthy office jargon against the backdrop of a wonky Leadership poster featuring a lion’s head superimposed over a mountain. It’s all too easily recognisable as the kind of office that litters the business estates of the UK, which is interesting because Flesh and Blood & Fish and Fowl is performed by Americans.

Office-Bear-by-Sarah Matthews
Office Bear by Sarah Matthews.

Both Geoff Sobelle and Charlotte Ford are trained clowns, adept at using exaggerated body movement and facial expressions to convey repressed feelings that eventually rise to the surface as the theatre set is taken over by a series of stuffed animals and plastic undergrowth.

Mime Festival Rhoda by Sarah Alfarhan
Rhoda by Sarah Alfarhan.

Before long they are mating loudly in the dumpster, from which Jerry emerges disgusted that his animal instincts have at last taken over, immediately spraying his body with disinfectant. As the animals continue to stake their claim over the environment Jerry desperately clings to obsessive compulsive means of control, all of which eventually fail.

Flesh and Blood And Fish and Fowl by Mira Tazkia
Flesh and Blood & Fish and Fowl by Mira Tazkia.

The programme says very little about the meaning of Flesh and Blood & Fish and Fowl, preferring instead – in the great manner of mime – to leave the story to unfold through the telling. But it seems clear that this is a tale of human folly, and how, ultimately, our environment will have the last laugh of all. It’s a testament to the performers’ clowning expertise that what could so easily have come across as uncompromisingly depressing is instead one of the funniest shows I’ve ever seen.

Charlotte Ford & Geoff Sobelle

Flesh and Blood & Fish and Fowl is showing at The Pit in the Barbican as part of the London International Mime Festival for the rest of this week. Surreal, funny, disturbing and thought provoking, as twittered on the night of the performance, this was a brilliant piece of mime and I urge you to grab a ticket now. The Mime Festival is London’s longest running annual theatre event, encompassing visual theatre of all kinds. It runs from 15th-30th January and features a huge range of performances. Why not check out their calendar of events here?

Flesh and Blood by Stacie Swift
Flesh and Blood by Stacie Swift.

Flesh and Blood & Fish and Fowl was inspired by photographs of the Ukrainian town of Pripyat near Chernobyl, information pills taken many years after the city was abandoned to radiation. They show the buildings and streets overtaken with plants and animals, which have happily returned to build homes amongst the human detritus.

Flesh and Blood office

The impressively depressing (yet realistic) stage set features the interior of an office for Convenience Foods: dead plants and old mugs litter the desks and the walls sprout crumpled charts and post it notes. It is into this nightmarish world that Jerry, played by Geoff Sobelle, emerges, rolling gracelessly out of a dumpster inside which he has presumably spent the night, and hobbling a few steps to his desk.

Office Deer by Sarah Matthews
Office Deer by Sarah Matthews.

The lengthy intro features a zany fight with a buzzing fly that refuses to die, before we’re introduced to his office colleague Rhoda, played with relish by Charlotte Ford. Despite their dysfunctional relationship she’s clearly interested in developing a more intimate arrangement with her middle management foe, artlessly arching her bottom in his direction as she microwaves her lunch repeatedly.

Office Squirrel by Sarah Matthews
Office Squirrel by Sarah Matthews.

The only time they communicate with words is in cringeworthy office jargon against the backdrop of a wonky Leadership poster featuring a lion’s head superimposed over a mountain. It’s all too easily recognisable as the kind of office that litters the business estates of the UK, which is interesting because Flesh and Blood & Fish and Fowl is performed by Americans.

Office-Bear-by-Sarah Matthews
Office Bear by Sarah Matthews.

Both Geoff Sobelle and Charlotte Ford are trained clowns, adept at using exaggerated body movement and facial expressions to convey repressed feelings that eventually rise to the surface as the theatre set is taken over by a series of stuffed animals and plastic undergrowth.

Mime Festival Rhoda by Sarah Alfarhan
Rhoda by Sarah Alfarhan.

Before long they are mating loudly in the dumpster, from which Jerry emerges disgusted that his animal instincts have at last taken over, immediately spraying his body with disinfectant. As the animals continue to stake their claim over the environment Jerry desperately clings to obsessive compulsive means of control, all of which eventually fail.

Flesh and Blood And Fish and Fowl by Mira Tazkia
Flesh and Blood & Fish and Fowl by Mira Tazkia.

The programme says very little about the meaning of Flesh and Blood & Fish and Fowl, preferring instead – in the great manner of mime – to leave the story to unfold through the telling. But it seems clear that this is a tale of human folly, and how, ultimately, our environment will have the last laugh of all. It’s a testament to the performers’ clowning expertise that what could so easily have come across as uncompromisingly depressing is instead one of the funniest shows I’ve ever seen.

Charlotte Ford & Geoff Sobelle

Flesh and Blood & Fish and Fowl is showing at The Pit in the Barbican as part of the London International Mime Festival for the rest of this week. Surreal, funny, disturbing and thought provoking, as I twittered on the night of the performance, this was a brilliant piece of mime: I urge you to grab a ticket now. The Mime Festival is London’s longest running annual theatre event, encompassing visual theatre of all kinds. It runs from 15th-30th January and features a huge range of performances. Why not check out their calendar of events here?


Sarah Baardarani, sickness illustrated by Naomi Law

With Fashion Scout releasing their Ones to Watch for the coming season last week, find it was only going to be a matter of fashion minutes before the British Fashion Council announced who was going to feature on the stands this A/W 2011 fashion week. And here they are!

I like the exhibitions a lot. You get to really get a feel for the collections – you can see them up close and touch them – hell, viagra 40mg you can even smell them if that’s your bag. While a big-budget catwalk show has the atmosphere to accompany the clothes, I often miss many of the design quirks and fabric features because I’m just too damn busy photographing, tweeting and scribbling what will later become illegible notes. With the stands, you can see the colossal effort that a designer has put into their collection and often they’re hanging around, so you can EVEN chat to them too.

It’s also a great place to find up-an-coming design talent: fresh ideas and new ways of doing things. Sod the oldies on the catwalks. This year looks like it won’t disappoint. Here’s a round of the ‘Emerging Designers’ that the BFC has added to its roster:

Teatum Jones

Illustration by Alexandra Rolfe
Catherine Teatum and Rob Jones have done what no other designer duo have done before by cleverly combining their surnames to form new fashion label Teatum Jones. I mock, but this is a label to most certainly watch. Luxurious fabrics drape on models in their sleek look-book, with intriguing, organic prints and deep colours. Diagonal shapes keep this rich collection fresh, with fabrics like crepe and spandex. It will be interesting to see where all this drapery and elegant fabric usage takes the twosome this season.

Ongwat

Illustration by Abby Wright
Ongwat, surname of its founder Paranee, offers understated contemporary jewellery with architectural references; infinitely wearable but bold enough to stand out. Previous pieces include geometric ‘Scaffold’ rings, braceletss like bike gear rings and cuffs that a Gladiator might wear, should he be in London in 2011 on a mission to modernise his look.

Draw in Light

Illustration by Paolo Caravello
Harriet Barford and Polly Wilkinson, aka Draw in Light, studied at the University of Brighton in 2008. Since then, they’ve notched up awards, including Liberty’s Best of British this time last year. Their aesthetic is “elegant, minimal jersey shapes” with hand silk-screen techniques. Their beautiful, ethereal garments air on the body-con cious side, with mystical, loose patterns. Really looking forward to seeing what they come up with for A/W 2011…

Shao-Yen Chen

Illustration by Rukmunal Hakim
A Central Saint Martins graduate (oh, here we go again…), Shao Yen Chen is currently curating a window at Selfridges alongside assembling the A/W 2011 collection. He must be knackered. It seems like this will be the season for sculptural ready-to-wear and innovative accessories (well, I seem to be writing about them a lot at the moment…) Shao-Yen’s work has a sleek Japanese aesthetic but also combines elements of architecture and is full of surprises. In the past he’s knocked up voluminous frocks that defy gravity and his graduate collection from CSM was instantly snapped up by the people at the BFC. A showman in the making, I imagine he’ll progress to catwalk next season, or at least I hope he does.

Wing

Illustration by Holly Trill
Another jewellery designer, another bunch of geometric shapes. Wing Paris’ differ though – they’re discrete, slim-line and sophisticated. Designed by Jenny Wing Chan, a graduate from Studio Bercot in Paris, these pieces combine metallic colours with black and bright purple. Jenny hopes to create “timeless, statement jewellery” which oozes femininity. I think she’s on it already, and with her A/W 2011 collection inspired by “black metal”, I can’t wait to see what she’ll come up with next.

Tze Goh

Illustration by Joana Faria
My prediction is that Tze Goh will be this season’s hot tip. He’s everywhere. First, Vauxhall Fashion Scout announced him as part of their ‘Ones to Watch’ show, and now he’s on this fashionable list. I saw a special collection exclusive to LN-CC (more about them soon) and it is just mind-blowing. Come February, he’ll be everywhere. Promise.

Joanne Stoker

Illustration by Gareth A Hopkins
Nicholas Kirkwood better watch his derriere, as I think Joanne Stoker might be in the running for his fashion crown. Joanne has a background in, well, all sorts – architecture, model making, engineering and, of course, shoe design. Her Art Deco-inspired S/S 2011 collection featured geometric shapes, transparent neons and patent leathers in all sorts of dreamy colours. The bold, statement shoes are for the fashion-forward only. Despite the zany colours and unusual shapes, there’s a real decadent period feel to them. Hopefully A/W 2011 will bring lots more colour and decadence from this First into Fashion winner.

Sarah Angold

Illustration by Karolina Burdon
Sarah Angold’s jewellery is pretty unique. Bold, geometric shapes create enormous statement pieces, and looking at her previous collections, it’s no surprise that her previous employers include Swarovski and Hussein Chalayan. Her work has both an industrial and futuristic aesthetic, and it’s “mathematical graduation” that’s inspiring her for this coming season. I can’t wait to see this stuff in the flesh.

Sarah Baardarani

Illustration by Naomi Law
Sarah Baardarani‘s graduate collection in 2009 was one of the highlights of all the graduate shows. Powerfully elegant, her collection featured luxurious fabrics that twisted and turned around models in an incredibly arcane fashion, as if by magic. The showpiece, adorned in beading, was breathtaking. She’s set to continue her delightful drapery over the coming season, and is inspired by “the fusion of contrasting textures and shapes.”

Keep an eye out in the run up to Fashion Week for lots more previews, interviews and coverage!

Categories ,A/W 2011, ,Abby Wright, ,Alexandra Rolfe, ,Central Saint Martins, ,Draw in Light, ,fashion, ,Gareth A Hopkins, ,Holly Trill, ,Joana Faria, ,Joanne Stoker, ,Karolina Burdon, ,London Fashion Week, ,Naomi Law, ,Ongwat, ,Paolo Caravello, ,preview, ,Rukmunal Hakim, ,Sarah Angold, ,Sarah Baadarani, ,Shao Yen Chen, ,Teatum Jones, ,Tze Goh, ,Wing

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: bStore


Illustrations by Alexandra Rolfe

It was a mighty long trek from the main fashion activity at Somerset House to 33 Portland Place for my first show of the A/W 2011 season. As it was bStore, and as 33 Portland Place is stunning (the location for much of the recent filming of The King’s Speech), I thought it much worth the effort. Amazingly, arriving at 6:23 for a 6:30 show I still managed to be first in the queue. Which luckily meant I was first to get a cocktail when the doors finally opened.

bStore were obviously out to put on an intimate and relaxed show for ‘friends’. The cocktails were stunning (well done – best Mojito I have had in ages) and the drawing room we were all ushered into to settle into the evening definitely set the tone. As the room filled it also became obvious that the gathered audience were bang right-on bStore target; urban gentlemen and ladies in the up-to-date yet classically English look that bStore helps to promote. I especially favoured the lovely American woman who had had a little too much to drink, tottered on me and my bags and then had to prop herself against the wall as her ‘heels were far too high’ (if you are reading this, you know who you are!).

Cocktail downed and people watching over, we made our way into the show area. Tightly packed and with live band playing (as with the cocktails, very good) we all took places throughout the two rooms that made the runway circuit. bStore got this location just right, the slightly disused English club room feel suited the brand to a T.

Unfortunately, this is about where the amazing parts of the show came to an end. In dim lighting the first model came out, but he was halfway around the circuit before most of the audience realised the show had actually started. I believe there were two reasons for this: (1) as the lighting was so dim, the model was literally walking in shadows, and (2) the model didn’t look any different to the assembled crowd, it was hard to tell audience and model apart. The parade of models followed as we squinted in the dark to see what was on offer. Muted ochres, burgundies and black on clothes kept to the signature bStore look. Slightly tailored English, slightly American grungy, with the same proportions bStore has been following for a number of seasons now. Don’t get me wrong, I’m usually a big bStore fan and there was nothing here that was awful. Most of it was immensely wearable and if it was my first bStore encounter I would have been more ecstatic (but still squinting, why were there no lights? It’s a fundamental part of this process, surely?). But knowing what bStore offers, this show didn’t really bring anything new to the brand and left me feeling a bit meh. Competent? Yes. Enjoyable? Yes. Groundbreaking? Nope.

Categories ,33 Portland Place, ,A/W 2011, ,Alexandra Rolfe, ,bstore, ,Cocktails, ,Eccentric, ,English, ,fashion, ,London Fashion Week, ,menswear, ,Mojitos, ,Womenswear

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Osman (by Naomi)


Illustration by Jenny Robins

I remember blogging about Eun Jeong eons ago, order enticed by her pretty minimalism with a crisp all-white palette one season. For me, sickness she most certainly stood out amongst even the top hot-ticketers of London Fashion Week and I had an inkling she wouldn’t be a one-seasoner. I was therefore thrilled and curious upon bagging an invitation to one of her two fashion shows in Covent Garden during fashion week.??

I sat next to a lovely blogger named Hannah Newton of London Town’s a go go in another clever catwalk invention of a loop around the room, with audience-members sitting on rows inside and outside of the square. We both shamelessly ruffled through our large goody bags with tiny goodies – cosmetics and a little heart-shaped purse by Kipling. And we didn’t bother with ‘acting the part of a fashionista’ all nonchalant and ‘oh! I get free overpriced make-up on a daily basis, sweetheart. It’s no biggie.’  We’re students and we were blooming happy with our freebies.??

We just knew that the intimate set-up would result in bagging some great up-close shots of the clothes and getting a good look at the detail and fabric. Then, after a long wait sitting by the runway (as is always the way with fashion shows), 1930s music was suddenly bouncing off the walls and the models took to the oddly-shaped catwalk.

It looked to me as if the collection had been inspired by Britain in war-time. Every model wore bronzed make-up with bronzed skin all over their body and the clothes themselves were British in many respects – pleats and wool and ruffles with lady-like cuts all over the joint. There were elegant camel-coloured coats and full-skirts that began at the waist and dropped to the floor in pressed pleats.

Bows and lace were everywhere. They both seem to be a common theme this season. Delicate bows were placed on skinny leather waist-belts and thick white lace acted as beautiful underskirts.

It wasn’t all classic tea-party tailoring, however. There were a fair few twists and turns along the way. Pleated skirts bore asymmetric ruffles and tails down one side and a certain set of dresses definitely seemed to stand-out amongst the thick fabrics and classic lady-wear – bright yellow numbers that screamed out an utterly architectural print, resembling the San Francisco Bridge.

Jeong’s seemingly favourite design ethos of white white white reappeared this season with a fair few outfits almost entirely in creams and white that flowed down in thick luscious fabric – a pure and almost evangelical look that passed off beautifully.

I now know why I was taken with Eun Jeong right from her Fashion Fringe debut. Her clothes are beautiful, classic, unique and, most of all, wearable. I could, for example, most definitely see an strong office woman walking into work every day and turning heads in Eun Jeong’s statement-take on both the classical and the quintessentially British. I loved it.

Illustration by Jenny Robins

I remember blogging about Eun Jeong eons ago, find enticed by her pretty minimalism with a crisp all-white palette one season. For me, she most certainly stood out amongst even the top hot-ticketers of London Fashion Week and I had an inkling she wouldn’t be a one-seasoner. I was therefore thrilled and curious upon bagging an invitation to one of her two fashion shows in Covent Garden during fashion week.??


All photography by Georgia Takacs

I sat next to a lovely blogger named Hannah Newton of London Town’s a go go in another clever catwalk invention of a loop around the room, with audience-members sitting on rows inside and outside of the square. We both shamelessly ruffled through our large goody bags with tiny goodies – cosmetics and a little heart-shaped purse by Kipling. And we didn’t bother with ‘acting the part of a fashionista’ all nonchalant and ‘oh! I get free overpriced make-up on a daily basis, sweetheart. It’s no biggie.’  We’re students and we were blooming happy with our freebies.??


Illustration by Kerri-Ann Hulme

We just knew that the intimate set-up would result in bagging some great up-close shots of the clothes and getting a good look at the detail and fabric. Then, after a long wait sitting by the runway (as is always the way with fashion shows), 1930s music was suddenly bouncing off the walls and the models took to the oddly-shaped catwalk.

It looked to me as if the collection had been inspired by Britain in war-time. Every model wore bronzed make-up with bronzed skin all over their body and the clothes themselves were British in many respects – pleats and wool and ruffles with lady-like cuts all over the joint. There were elegant camel-coloured coats and full-skirts that began at the waist and dropped to the floor in pressed pleats.


Illustration by Madi Illustrates

Bows and lace were everywhere. They both seem to be a common theme this season. Delicate bows were placed on skinny leather waist-belts and thick white lace acted as beautiful underskirts.

It wasn’t all classic tea-party tailoring, however. There were a fair few twists and turns along the way. Pleated skirts bore asymmetric ruffles and tails down one side and a certain set of dresses definitely seemed to stand-out amongst the thick fabrics and classic lady-wear – bright yellow numbers that screamed out an utterly architectural print, resembling the San Francisco Bridge.

Jeong’s seemingly favourite design ethos of white white white reappeared this season with a fair few outfits almost entirely in creams and white that flowed down in thick luscious fabric – a pure and almost evangelical look that passed off beautifully.

I now know why I was taken with Eun Jeong right from her Fashion Fringe debut. Her clothes are beautiful, classic, unique and, most of all, wearable. I could, for example, most definitely see an strong office woman walking into work every day and turning heads in Eun Jeong’s statement-take on both the classical and the quintessentially British. I loved it.

See more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Jenny Robins

I remember blogging about Eun Jeong eons ago, sildenafil enticed by her pretty minimalism with a crisp all-white palette one season. For me, cost she most certainly stood out amongst even the top hot-ticketers of London Fashion Week and I had an inkling she wouldn’t be a one-seasoner. I was therefore thrilled and curious upon bagging an invitation to one of her two fashion shows in Covent Garden during fashion week.??


All photography by Georgia Takacs

I sat next to a lovely blogger named Hannah Newton of London Town’s a go go in another clever catwalk invention of a loop around the room, more about with audience-members sitting on rows inside and outside of the square. We both shamelessly ruffled through our large goody bags with tiny goodies – cosmetics and a little heart-shaped purse by Kipling. And we didn’t bother with ‘acting the part of a fashionista’ all nonchalant and ‘oh! I get free overpriced make-up on a daily basis, sweetheart. It’s no biggie.’  We’re students and we were blooming happy with our freebies.??


Illustration by Kerri-Ann Hulme

We just knew that the intimate set-up would result in bagging some great up-close shots of the clothes and getting a good look at the detail and fabric. Then, after a long wait sitting by the runway (as is always the way with fashion shows), 1930s music was suddenly bouncing off the walls and the models took to the oddly-shaped catwalk.

It looked to me as if the collection had been inspired by Britain in war-time. Every model wore bronzed make-up with bronzed skin all over their body and the clothes themselves were British in many respects – pleats and wool and ruffles with lady-like cuts all over the joint. There were elegant camel-coloured coats and full-skirts that began at the waist and dropped to the floor in pressed pleats.


Illustration by Madi Illustrates

Bows and lace were everywhere. They both seem to be a common theme this season. Delicate bows were placed on skinny leather waist-belts and thick white lace acted as beautiful underskirts.

It wasn’t all classic tea-party tailoring, however. There were a fair few twists and turns along the way. Pleated skirts bore asymmetric ruffles and tails down one side and a certain set of dresses definitely seemed to stand-out amongst the thick fabrics and classic lady-wear – bright yellow numbers that screamed out an utterly architectural print, resembling the Golden Gate Bridge.

Jeong’s seemingly favourite design ethos of white white white reappeared this season with a fair few outfits almost entirely in creams and white that flowed down in thick luscious fabric – a pure and almost evangelical look that passed off beautifully.

I now know why I was taken with Eun Jeong right from her Fashion Fringe debut. Her clothes are beautiful, classic, unique and, most of all, wearable. I could, for example, most definitely see an strong office woman walking into work every day and turning heads in Eun Jeong’s statement-take on both the classical and the quintessentially British. I loved it.

See more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Antonia Parker

Over at Osman, clinic sleek silhouettes glided gracefully down the beautiful blue ink-blotched catwalk on models sporting blunt Cleopatra bobs with eyelash-skimming fringes.


Illustrations by Alexandra Rolfe

Osman Yousefzada showed a sophisticated palette featuring lot of ivory and charcoal in sharp yet flowing shapes. Colour flooded in, and taking the form of feature linings and leather trims in rust, store scarlet, pale aqua, neon pink and lime. The show opened with a beautiful ivory dress, featuring a v-shaped accent to the bodice in bright cobalt, echoing the beauiful inky stripe printed on the catwalk itself.


Illustrations by Donya Todd

The chic and sharply flared wide leg trousers were particularly prominent, billowing around the models’ legs as they sashayed their way towards the photographers’ pit. I was sitting way back in the sixth row but semi-successfully found a gap in the rows of heads to capture some of the looks. Key pieces seemed to keep on coming; dresses with contrast-lined capelets, black leather with hot pink horizontal stripes, a Morticia-length charcoal wool dress, a leather-fronted blouse with bright orange floor-length tied tails to the back, the list goes on.


Illustration by Madi Illustrates


Illustrations by Kerri-Ann Hulme


Photography by Naomi Law

There was a hint of the 1960s with a-line shapes and geometric capped sleeves, but pattern or ornamentation was minimal, save for one striking orange chiffon dress with chocolate brown embroidery. The collection managed to make crayon brights into something more sophisticated – the careful balance of colour and monotone combined with expert tailoring in subtly varyied textures was sharp, modern and crisp.


Illustrations by Rachel Lewis

There were two show-stopping floor-length black dresses with dramatic fluffy sleeves so huge I assumed they must be fake fur (hence asking two of our illustrators to work from these designs). I was disgusted to discover later that Osman has made the vile decision to use real fur in his collections. It’s nasty enough that anyone would choose to use animal fur in the first place, but even harder to understand when they’re going to end up dyeing it a completely unnatural colour anyway. Unfortunately this took the shine off the collection, none of this next season thank you!


Illustration by Antonia Parker

See more of Antonia Parker’s illustrations in Amelia’s Compendium of Fashion Illustration!

Categories ,1960s, ,A/W 2011, ,Alexandra Rolfe, ,Antonia Parker, ,BFC, ,Brights, ,Catwalk review, ,Chic, ,Cleopatra, ,Cobalt, ,Donya Todd, ,fashion, ,Fur, ,Hot Pink, ,Kerri-Ann Hulme, ,London Fashion Week, ,Naomi Law, ,Osman Yousefzada, ,Rachel Lewis, ,Somerset House, ,Womenswear

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Amelia’s Magazine | Welcome to Camellia’s Teahouse…

Book Jacket for Eradicating Ecocide, information pills information pills

What is Ecocide?
Has the formation of laws and legislation had unforeseen and possibly disastrous consequences?
Has the protection of the environment been abandoned by the law?
What can we do?

These are the questions Eradicating Ecocide, generic a new book by Polly Higgins sets out to answer.

Polly Higgins is a Barrister, viagra a Human Right’s Lawyer and author of Eradicating Ecocide. On her blog The Lazy Environmentalist Higgins defines Ecocide as the “damage, destruction to or loss of ecosystems, whether by human agency or by other causes, to such an extent that peaceful enjoyment by the inhabitants of that territory has been severely diminished.

Published in 2010 by Shepeard-Walwyn, Eradicating Ecocide, is a carefully considered polemic on the consequences of leaving environmental concerns at the sidelines, (the destruction of the rainforest, tar sands, deep sea drilling, Global Warming) in favour of infinite growth and unregulated capitalism. Higgins believes that the “law as it currently stands is not fit for purpose. It rarely protects the wider earth community interests of both people and planet. Instead, all too often it is the interests of the very the few that are protected, of those with ownership. This causes great injustice at both micro and macro level.” In short, Eradicating Ecocide is a call to arms, an appeal to the protection of the environment in the face of wanton and needless destruction.

Humanity is at a Crossroads by Abi Daker

Eradicating Ecocide opens with a contemporary reminder about the consequences of runaway ecocide and unregulated industry; the 2010 BP Oil Spill in the Mexican Gulf. Higgins’ arguement implies that as it stands both law making and the planet are being held to ransom by profit-driven corporations.

For Higgins the environment is all too often neglected in favour of short term profit, pointing out that part of the problem lies with “Governments, driven by the obsessive pursuit of economic gain, often undervalue subsequent ecological losses that can arise out of profit making activity… Myopic financial policy takes preeminence over longer term damage and destruction, by keeping the focus firmly on the short-term, problems mouth for others to address at some indeterminate later date.” Not only do we need to fight big business, we need to take the challenge to our own blindfolded Governments.

In her calm and through exploration of the unforeseen consequences of law making,? Eradicating Ecocide takes us through the convoluted changes in law and the pivotal court cases that lead to the development (in law) of corporations being held to account for damages made to the environment as “fictional persons” The example Higgins cites is the Santa Clara County v. Southern Pacific Railroad trial of 1886, where for “the first time that the word ‘person’ in the fourteenth Amendment was presumed to include corporations.” See Eradicating Ecocide for further details on the outcome of this pre-trial statement.

Illustration by Gabriel Ayala

Eradicating Ecocide also focuses on the development of ‘compromise laws’ by big business and the law courts in order to pacify pollution concerns. The subsequently formed ‘compromise legislation’ merely side steps environmental responsibility whilst failing to provide any real deterrence against the destruction of the planet. The biggest failure in compromise recently was at Cop 15 in Copenhagen. Desperate to end the conference with some form of good news, politicians’ delivered the “The Copenhagen Accord“. As this document is not legally binding, nothing within this treaty has yet to be implemented in local or worldwide politics, as of yet there is no binding successor to equally compromised Kyoto Protocol.

For myself, em>Eradicating Ecocide highlights that the problem with placing profit over all else is that monetary worth becomes the barometer against which all ‘worth’ is measured. Subsequently the earth and its ‘resources’ become a mere asset. Once the earth is seen as an asset, it ceases to be alive and once it ‘dies’ it becomes easier for the bio habitat to be seen as singular commodities (a trend which began with the Industrial Revolution). Subsequently we, the citizens of the planet, must fight to save the planet as a living organisim in its entirety, not solely the sections we personally inhabit.

The Destruction of the Tar Sands by Gareth A Hopkins

A brave book, Eradicating Ecocide takes the stance that by allowing the “commercial exploration and destruction of resources” to take “precedence over the obligation of the sacred trust”, corporations have become the colonisers of the 21st Century. Within the UN framework, the concept behind the sacred trust is to ask for “community interests to be placed over private and corporate decisions.” (p.57)

Eradicating Ecocide is an inspiring, informative read and an incredible history lesson on the role of law (so often seemingly abstract from our lives) in shaping our society, our business and the way we view the earth. Personally, the book is incredible for its demand that we use that which is already present within the UN – The development of International Criminal Law in the wake of World War Two and the concept of Trusteeship- to implement these necessary changes. Because the framework for Crimes against Peace already exists, Ecocide could be included without the need to create any new organisations.

The book’s brilliance is that it functions as a template for what both citizen and state can do to protect the environment. Eradicating Ecocide contains useful advice on how we, citizens of the world can implement change. For example, by joining existing climate change networks or starting your own, we can apply pressure on Governments to recognizing Ecocide as a breach against peace. We have the power of the multiple and the power of the streets on our side. With an ever-increasing population, we need to accept the earths resources’ are finite and move away from a market driven economy.

Illustration by Gabriel Ayala

For an update on the Climate Change debate in the wake of Cop 15, I recommend reading Higgins’ account of Cancun (Cop 16) and her summery of the RED++ deal; “The commercialisation of forests into the hands of the corporate sector to make money out of supposedly saving forests.”

A brilliant book and one that needs to be read, especially in the light of the recent news that oil companies plan to resume deep sea drilling.

If middle England can stand up against the Coalition’s plans to sell 15% of British Forests, we can ALL stand up against a destruction on a far wider scale -the loss of “the Earth’s lungs”- too.

For further information please visit the book’s website: This is Ecocide’s.

Book Jacket for Eradicating Ecocide, sale

What is Ecocide?
Has the formation of laws and legislation had unforeseen and possibly disastrous consequences?
Has the protection of the environment been abandoned by the law?
What can we do?

These are the questions Eradicating Ecocide, illness a new book by Polly Higgins sets out to answer.

Polly Higgins is a Barrister, shop a Human Right’s Lawyer and author of Eradicating Ecocide. On her blog The Lazy Environmentalist Higgins defines Ecocide as the “damage, destruction to or loss of ecosystems, whether by human agency or by other causes, to such an extent that peaceful enjoyment by the inhabitants of that territory has been severely diminished.

Published in 2010 by Shepeard-Walwyn, Eradicating Ecocide, is a carefully considered polemic on the consequences of leaving environmental concerns at the sidelines, (the destruction of the rainforest, tar sands, Oil, Global Warming) in favour of infinite growth and unregulated capitalism. Higgins believes that the “law as it currently stands is not fit for purpose. It rarely protects the wider earth community interests of both people and planet. Instead, all too often it is the interests of the very the few that are protected, of those with ownership. This causes great injustice at both micro and macro level.” In short, Eradicating Ecocide is a call to arms, an appeal to the protection of the environment in the face of wanton and needless destruction.

Humanity is at a Crossroads by Abi Daker

Eradicating Ecocide opens with a contemporary reminder about the consequences of runaway ecocide and unregulated industry; the 2010 BP Oil Spill in the Mexican Gulf. Higgins’ arguement implies that as it stands both law making and the planet are being held to ransom by profit-driven corporations.

For Higgins the environment is all too often neglected in favour of short term profit, pointing out that part of the problem lies with “Governments, driven by the obsessive pursuit of economic gain, often undervalue subsequent ecological losses that can arise out of profit making activity… Myopic financial policy takes preeminence over longer term damage and destruction, by keeping the focus firmly on the short-term, problems mouth for others to address at some indeterminate later date.” Not only do we need to fight big business, we need to take the challenge to our own blindfolded Governments.

In her calm and through exploration of the unforeseen consequences of law making,? Eradicating Ecocide takes us through the convoluted changes in law and the pivotal court cases that lead to the development (in law) of corporations being held to account for damages made to the environment as “fictional persons” The example Higgins cites is the Santa Clara County v. Southern Pacific Railroad trial of 1886, where for “the first time that the word ‘person’ in the fourteenth Amendment was presumed to include corporations.” See Eradicating Ecocide for further details on the outcome of this pre-trial statement.

Illustration by Gabriel Ayala

Eradicating Ecocide also focuses on the development of ‘compromise laws’ by big business and the law courts in order to pacify pollution concerns. The subsequently formed ‘compromise legislation’ merely side steps environmental responsibility whilst failing to provide any real deterrence against the destruction of the planet. The biggest failure in compromise recently was at Cop 15 in Copenhagen. Desperate to end the conference with some form of good news, politicians’ delivered the “The Copenhagen Accord“. As this document is not legally binding, nothing within this treaty has yet to be implemented in local or worldwide politics, as of yet there is no binding successor to equally compromised Kyoto Protocol.

For myself, em>Eradicating Ecocide highlights that the problem with placing profit over all else is that monetary worth becomes the barometer against which all ‘worth’ is measured. Subsequently the earth and its ‘resources’ become a mere asset. Once the earth is seen as an asset, it ceases to be alive and once it ‘dies’ it becomes easier for the bio habitat to be seen as singular commodities (a trend which began with the Industrial Revolution). Subsequently we, the citizens of the planet, must fight to save the planet as a living organisim in its entirety, not solely the sections we personally inhabit.

The Destruction of the Tar Sands by Gareth A Hopkins

A brave book, Eradicating Ecocide takes the stance that by allowing the “commercial exploration and destruction of resources” to take “precedence over the obligation of the sacred trust”, corporations have become the colonisers of the 21st Century. Within the UN framework, the concept behind the sacred trust is to ask for “community interests to be placed over private and corporate decisions.” (p.57)

Eradicating Ecocide is an inspiring, informative read and an incredible history lesson on the role of law (so often seemingly abstract from our lives) in shaping our society, our business and the way we view the earth. Personally, the book is incredible for its demand that we use that which is already present within the UN – The development of International Criminal Law in the wake of World War Two and the concept of Trusteeship- to implement these necessary changes. Because the framework for Crimes against Peace already exists, Ecocide could be included without the need to create any new organisations.

The book’s brilliance is that it functions as a template for what both citizen and state can do to protect the environment. Eradicating Ecocide contains useful advice on how we, citizens of the world can implement change. For example, by joining existing climate change networks or starting your own, we can apply pressure on Governments to recognizing Ecocide as a breach against peace. We have the power of the multiple and the power of the streets on our side. With an ever-increasing population, we need to accept the earths resources’ are finite and move away from a market driven economy.

Illustration by Gabriel Ayala

For an update on the Climate Change debate in the wake of Cop 15, I recommend reading Higgins’ account of Cancun (Cop 16) and her summery of the RED++ deal; “The commercialisation of forests into the hands of the corporate sector to make money out of supposedly saving forests.”

A brilliant book and one that needs to be read, especially in the light of the recent news that oil companies plan to resume deep sea drilling.

If middle England can stand up against the Coalition’s plans to sell 15% of British Forests, we can ALL stand up against a destruction on a far wider scale -the loss of “the Earth’s lungs”- too.

For further information please visit the book’s website: This is Ecocide’s.

Book Jacket for Eradicating Ecocide, treat

What is Ecocide?
Has the formation of laws and legislation had unforeseen and possibly disastrous consequences?
Has the protection of the environment been abandoned by the law?
What can we do?

These are the questions Eradicating Ecocide, remedy a new book by Polly Higgins sets out to answer.

Polly Higgins is a Barrister, link a Human Right’s Lawyer and author of Eradicating Ecocide. On her blog The Lazy Environmentalist Higgins defines Ecocide as the “damage, destruction to or loss of ecosystems, whether by human agency or by other causes, to such an extent that peaceful enjoyment by the inhabitants of that territory has been severely diminished.

Published in 2010 by Shepeard-Walwyn, Eradicating Ecocide, is a carefully considered polemic on the consequences of leaving environmental concerns at the sidelines, (the destruction of the rainforest, tar sands, Oil, Global Warming) in favour of infinite growth and unregulated capitalism. Higgins believes that the “law as it currently stands is not fit for purpose. It rarely protects the wider earth community interests of both people and planet. Instead, all too often it is the interests of the very the few that are protected, of those with ownership. This causes great injustice at both micro and macro level.” In short, Eradicating Ecocide is a call to arms, an appeal to the protection of the environment in the face of wanton and needless destruction.

Humanity is at a Crossroads by Abi Daker

Eradicating Ecocide opens with a contemporary reminder about the consequences of runaway ecocide and unregulated industry; the 2010 BP Oil Spill in the Mexican Gulf. Higgins’ arguement implies that as it stands both law making and the planet are being held to ransom by profit-driven corporations.

For Higgins the environment is all too often neglected in favour of short term profit, pointing out that part of the problem lies with “Governments, driven by the obsessive pursuit of economic gain, often undervalue subsequent ecological losses that can arise out of profit making activity… Myopic financial policy takes preeminence over longer term damage and destruction, by keeping the focus firmly on the short-term, problems mouth for others to address at some indeterminate later date.” Not only do we need to fight big business, we need to take the challenge to our own blindfolded Governments.

In her calm and through exploration of the unforeseen consequences of law making,? Eradicating Ecocide takes us through the convoluted changes in law and the pivotal court cases that lead to the development (in law) of corporations being held to account for damages made to the environment as “fictional persons” The example Higgins cites is the Santa Clara County v. Southern Pacific Railroad trial of 1886, where for “the first time that the word ‘person’ in the fourteenth Amendment was presumed to include corporations.” See Eradicating Ecocide for further details on the outcome of this pre-trial statement.

Illustration by Gabriel Ayala

Eradicating Ecocide also focuses on the development of ‘compromise laws’ by big business and the law courts in order to pacify pollution concerns. The subsequently formed ‘compromise legislation’ merely side steps environmental responsibility whilst failing to provide any real deterrence against the destruction of the planet. The biggest failure in compromise recently was at Cop 15 in Copenhagen. Desperate to end the conference with some form of good news, politicians’ delivered the “The Copenhagen Accord“. As this document is not legally binding, nothing within this treaty has yet to be implemented in local or worldwide politics, as of yet there is no binding successor to equally compromised Kyoto Protocol.

For myself, em>Eradicating Ecocide highlights that the problem with placing profit over all else is that monetary worth becomes the barometer against which all ‘worth’ is measured. Subsequently the earth and its ‘resources’ become a mere asset. Once the earth is seen as an asset, it ceases to be alive and once it ‘dies’ it becomes easier for the bio habitat to be seen as singular commodities (a trend which began with the Industrial Revolution). Subsequently we, the citizens of the planet, must fight to save the planet as a living organisim in its entirety, not solely the sections we personally inhabit.

The Destruction of the Tar Sands by Gareth A Hopkins

A brave book, Eradicating Ecocide takes the stance that by allowing the “commercial exploration and destruction of resources” to take “precedence over the obligation of the sacred trust”, corporations have become the colonisers of the 21st Century. Within the UN framework, the concept behind the sacred trust is to ask for “community interests to be placed over private and corporate decisions.” (p.57)

Eradicating Ecocide is an inspiring, informative read and an incredible history lesson on the role of law (so often seemingly abstract from our lives) in shaping our society, our business and the way we view the earth. Personally, the book is incredible for its demand that we use that which is already present within the UN – The development of International Criminal Law in the wake of World War Two and the concept of Trusteeship– to implement these necessary changes. Because the framework for Crimes against Peace already exists, Ecocide could be included without the need to create any new organisations.

The book’s brilliance is that it functions as a template for what both citizen and state can do to protect the environment. Eradicating Ecocide contains useful advice on how we, citizens of the world can implement change. For example, by joining existing climate change networks or starting your own, we can apply pressure on Governments to recognizing Ecocide as a breach against peace. We have the power of the multiple and the power of the streets on our side. With an ever-increasing population, we need to accept the earths resources’ are finite and move away from a market driven economy.

Illustration by Gabriel Ayala

For an update on the Climate Change debate in the wake of Cop 15, I recommend reading Higgins’ account of Cancun (Cop 16) and her summery of the RED++ deal; “The commercialisation of forests into the hands of the corporate sector to make money out of supposedly saving forests.”

A brilliant book and one that needs to be read, especially in the light of the recent news that oil companies plan to resume deep sea drilling.

If middle England can stand up against the Coalition’s plans to sell 15% of British Forests, we can ALL stand up against a destruction on a far wider scale -the loss of “the Earth’s lungs”- too.

For further information please visit the book’s website: This is Ecocide’s.

Book Jacket for Eradicating Ecocide, ampoule

What is Ecocide?
Has the formation of laws and legislation had unforeseen and possibly disastrous consequences?
Has the protection of the environment been abandoned by the law?
What can we do?

These are the questions Eradicating Ecocide, order a new book by Polly Higgins sets out to answer.

Polly Higgins is a Barrister, a Human Right’s Lawyer and author of Eradicating Ecocide. On her blog The Lazy Environmentalist Higgins defines Ecocide as the “damage, destruction to or loss of ecosystems, whether by human agency or by other causes, to such an extent that peaceful enjoyment by the inhabitants of that territory has been severely diminished.

Published in 2010 by Shepeard-Walwyn, Eradicating Ecocide, is a carefully considered polemic on the consequences of leaving environmental concerns at the sidelines, (the destruction of the rainforest, tar sands, Oil, Global Warming) in favour of infinite growth and unregulated capitalism. Higgins believes that the “law as it currently stands is not fit for purpose. It rarely protects the wider earth community interests of both people and planet. Instead, all too often it is the interests of the very the few that are protected, of those with ownership. This causes great injustice at both micro and macro level.” In short, Eradicating Ecocide is a call to arms, an appeal to the protection of the environment in the face of wanton and needless destruction.

Humanity is at a Crossroads by Abi Daker

Eradicating Ecocide opens with a contemporary reminder about the consequences of runaway ecocide and unregulated industry; the 2010 BP Oil Spill in the Mexican Gulf. Higgins’ arguement implies that as it stands both law making and the planet are being held to ransom by profit-driven corporations.

For Higgins the environment is all too often neglected in favour of short term profit, pointing out that part of the problem lies with “Governments, driven by the obsessive pursuit of economic gain, often undervalue subsequent ecological losses that can arise out of profit making activity… Myopic financial policy takes preeminence over longer term damage and destruction, by keeping the focus firmly on the short-term, problems mouth for others to address at some indeterminate later date.” Not only do we need to fight big business, we need to take the challenge to our own blindfolded Governments.

In her calm and through exploration of the unforeseen consequences of law making,? Eradicating Ecocide takes us through the convoluted changes in law and the pivotal court cases that lead to the development (in law) of corporations being held to account for damages made to the environment as “fictional persons” The example Higgins cites is the Santa Clara County v. Southern Pacific Railroad trial of 1886, where for “the first time that the word ‘person’ in the fourteenth Amendment was presumed to include corporations.” See Eradicating Ecocide for further details on the outcome of this pre-trial statement.

Illustration by Gabriel Ayala

Eradicating Ecocide also focuses on the development of ‘compromise laws’ by big business and the law courts in order to pacify pollution concerns. The subsequently formed ‘compromise legislation’ merely side steps environmental responsibility whilst failing to provide any real deterrence against the destruction of the planet. The biggest failure in compromise recently was at Cop 15 in Copenhagen. Desperate to end the conference with some form of good news, politicians’ delivered the “The Copenhagen Accord“. As this document is not legally binding, nothing within this treaty has yet to be implemented in local or worldwide politics, as of yet there is no binding successor to equally compromised Kyoto Protocol.

For myself, Eradicating Ecocide highlights that the problem with placing profit over all else is that monetary worth becomes the barometer against which all ‘worth’ is measured. Subsequently the earth and its ‘resources’ become a mere asset. Once the earth is seen as an asset, it ceases to be alive and once it ‘dies’ it becomes easier for the bio habitat to be seen as singular commodities (a trend which began with the Industrial Revolution). Subsequently we, the citizens of the planet, must fight to save the planet as a living organisim in its entirety, not solely the sections we personally inhabit.

The Destruction of the Tar Sands by Gareth A Hopkins

A brave book, Eradicating Ecocide takes the stance that by allowing the “commercial exploration and destruction of resources” to take “precedence over the obligation of the sacred trust”, corporations have become the colonisers of the 21st Century. Within the UN framework, the concept behind the sacred trust is to ask for “community interests to be placed over private and corporate decisions.” (p.57)

Eradicating Ecocide is an inspiring, informative read and an incredible history lesson on the role of law (so often seemingly abstract from our lives) in shaping our society, our business and the way we view the earth. Personally, the book is incredible for its demand that we use that which is already present within the UN – The development of International Criminal Law in the wake of World War Two and the concept of Trusteeship– to implement these necessary changes. Because the framework for Crimes against Peace already exists, Ecocide could be included without the need to create any new organisations.

The book’s brilliance is that it functions as a template for what both citizen and state can do to protect the environment. Eradicating Ecocide contains useful advice on how we, citizens of the world can implement change. For example, by joining existing climate change networks or starting your own, we can apply pressure on Governments to recognizing Ecocide as a breach against peace. We have the power of the multiple and the power of the streets on our side. With an ever-increasing population, we need to accept the earths resources’ are finite and move away from a market driven economy.

Illustration by Gabriel Ayala

For an update on the Climate Change debate in the wake of Cop 15, I recommend reading Higgins’ account of Cancun (Cop 16) and her summery of the RED++ deal; “The commercialisation of forests into the hands of the corporate sector to make money out of supposedly saving forests.”

A brilliant book and one that needs to be read, especially in the light of the recent news that oil companies plan to resume deep sea drilling.

If middle England can stand up against the Coalition’s plans to sell 15% of British Forests, we can ALL stand up against a destruction on a far wider scale -the loss of “the Earth’s lungs”- too.

For further information please visit the book’s website: This is Ecocide’s.

Lubna Madan by Alexandra Rolfe
Lubna Madan by Alexandra Rolfe

It was three minutes past ten, dosage meaning I was three minutes late (as ever…) for my meeting at Camellia’s Teahouse in Soho. As the bus crawled another inch up the Strand, troche I began to wonder if I would ever get there in respectable time (and also if the lady sitting in front of me was wearing a toupee – yes, viagra 60mg people, a toupee – but that’s entirely beside the point).

I hopped off the 23 on Regent Street, sauntered down the ever-charming Carnaby Street and after a few minutes of genuine confusion and cursing myself for not planning ahead better – my general view before visiting somewhere new is ‘hey, I don’t need to look at a map: I know the area, how hard can it be?’ – I finally found Camellia’s, nestled on the top floor of an outdoors shopping precinct.

KatieByrne
Photography by Ajit Madan

Before Lubna Madan bought the premises with her brother Ajit in 2007, the shop was a vintage clothing store, and the likes of Amy Winehouse used to pop in to browse. Indeed, Amy came into Camellia’s on the shop’s first day of opening (‘She didn’t buy anything,’ Lubna tells me quickly.) Other famous visitors include actor Jonathan Rhys Meyer and Shizuyo Yamasaki and Chinatsu Wakatsin, two of Japan’s biggest stars who loved it so much that Camellia’s is now featured in Japanese guidebooks of London. Situated near a stone’s throw from the raucous crowds of Regent and Oxford Street, Camellia’s is to the thirsty shopper, I imagine, rather like a waterhole to a lost explorer in the desert. Except cleaner, and with friendly staff and chairs.

If, like me, you are a bit of a tea addict, chances are you will be stunned into silence when you first step into Camellia’s. The bookcases containing around 120 different jars of tea were so impressive that they put me in mind of the library in Beauty and the Beast, and each caddy was neatly labelled, listing the benefits of the tea enclosed.

Tea by Ashley Fauguel
Illustration by Ashley Fauguel.

Alas, I didn’t have the chance to be stunned into silence – although I’m pretty sure there were at least three seconds when I stood motionless with my mouth hanging open – as I was instantly meeted and greeted (well, it sounds better than ‘met and gret’) by Lubna, Ajit and their P.R. chap Ian. Ian left shortly afterwards, and I began to quiz the Madans about their business, starting with the most difficult question first.

‘What’s your favourite tea?’ I asked, with a challenging raise of the eyebrow. Paxman, eat your heart out.

Surprisingly enough, they were both able to answer; Ajit plumped for White Apricot (which I tasted a cup of – trust me, it’s delicious) and Lubna opted for Beautiful Skin tea, a tasty blend of rosebuds, elderflower and a host of other yummy goodies. Lubna and Ajit talked me through some of their most popular teas, some of which are believed to help medical ailments such as stress (Bobby Marley blend), acne (the afore-mentioned Beautiful Skin tea) and a huge range of other problems.

AjitMadan
Photography by Katie Byrne

All of the teas are blended by Lubna herself, who, with a background in homeopathy, has an extremely vast knowledge of the health benefits of everything she puts into her teas. ‘All the recipes are my own,’ she tells me. ‘Tea excites me – it’s my passion. Sometimes, I wake up in the middle of the night shaking, as I’ll have just dreamt up a new recipe.’

There are also slabs of cake, slices of pie and quiche, sandwiches and other teatimes favourites available – some of which are made with tea (e.g. green tea muffins). Alas, my steely Lent resolution meant that I restrained myself, but if you visit then please do have some cake on my behalf.

Tea House by Madi
Tea House by Madi

Ajit and Lubna then asked me if I’d like to try making my own blend. I began nodding so enthusiastically that I must have looked like one of those toy dogs that sit in the back of cars.

Armed with a spatula and a dozen or so different teas, I began to concoct my ‘Kay-tea’. A bit of lavender…a scoop of ‘Very Berry’…some lemon peel…a pinch of star anise…a bit of liquorice…a touch of rosehip… Basically I got a little carried away and used a bit of everything. Once I had finished – i.e. there was nothing left for me to use – Ajit took the blend away to brew it. Three minutes later, he returned.

Tea
Photography by Ajit Madan

I was a little nervous. What if it tasted awful? Then I could mark tea-making as yet another career that I would never be able to pursue (I am still a little tender after my GCSE Chemistry teacher told me that my ‘dream’ of being a dentist was impossible owing to my scientific ineptitude. And I’ll never forget the time I got rejected following a job interview at Woolworths). Ajit poured us each a cupful and I tentatively took a sip.

I was very pleasantly surprised – it was lovely; or, to use my original verdict of it, ‘Ribena-y’. It was indeed fruity, but I could pick up the other flavours too meaning that it was a real taste-sensation. The cherry on top was that Ajit and Lubna liked it too!

I have to be perfectly honest. I loved the shop, and if I lived closer I would probably become an irritatingly frequent customer. I am 100% behind any company that is brave enough to stick to its own guns and refuse to conform to what the masses dictate (such as The People’s Supermarket), and I think Camellia’s really does make a refreshing change: expertise, personality and affordability, all under one roof.

Whereas I am normally more than happy to swing by Starbucks for a green tea (although Starbucks green tea never really tastes that green…) I really relish the idea of tea being an event rather than just something that comes with a paper cup and a little wooden stick. Camellia’s, with its vintage china, acres of choice and emphasis on health and well-being, is a million miles away from the current chain-coffeehouses. You should definitely visit – I think it would be just your cup of tea.

Camellia’s Teahouse can be found on the Top Floor, 2.12 Kingly Court, Carnaby Street, London ?W1B 5PW

Categories ,Ajit Madan, ,Alexandra Rolfe, ,Ashley Fauguel, ,Camellia’s Teahouse, ,Carnaby A, ,Chinatsu Wakatsin, ,Jonathan Rhys Meyer, ,Kingly Court, ,Lubna Madan, ,Madi, ,Madi Illustrates, ,Oxford Street, ,Regent Street, ,Shizuyo Yamasaki, ,Starbucks, ,tea, ,The People’s Supermarket

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Amelia’s Magazine | Book launch: ‘Your voice in my head’ by Emma Forrest

Cockroach Amelia Gregory
Cockroach-tour-Science-Museum-by-Mina-Bach
Cockroach tour by Mina Bach.

A couple of months ago I was invited to visit the Science Museum to dress up as a Cockroach. How on earth could I resist such an invitation? So it was that with trepidation myself and boyfriend strolled up Exhibition Road on a Saturday afternoon. Who would be our fellow Cockroaches? Children? Families? Other slightly bewildered online journos and bloggers?

Cockroach-couple-by-Sarah-Matthews
Cockroach couple by Sarah Matthews

We arrived at the tail end of nibbles in the lecture theatre, recipe and were hastily whisked off to the Cockroach dressing room – right at the front of the museum so that interested passers by (and slightly petrified children) could watch as we donned our Cockroach regalia.

Cockroach Amelia
That’s me, medications dressed as a cockroach. Photo by Tim Adey.

Cockroach by Jessica Holt
Cockroach by Jessica Holt.

The purpose of all this Cockroach fun? Well you might ask… the Science Museum has just opened a swanky new Climate Change Science gallery, all swelling colours and interactive screens that change the digital atmosphere. (Immediate thought: what the hell is powering all this technical gadgetry? I was assured it was green energy).

cockroach tour maria papadimitriou
Cockroach tour by Maria Papadimitriou.

The Cockroach Tour is an art installation commissioned from Danish art collective Superflex – wherein my definition of art is VERY stretched – and takes groups of Cockroaches on a tour of the museum that ends up in the high reaches of the Climate Change Science gallery. The aim being to introduce people to the concept of human idiocy, as viewed through the eyes of a Cockroach, one of the oldest and most resilient life forms on the planet.

Cockroach-boy-by-Sarah-Matthews
Cockroach boy by Sarah Matthews.

For this tour we were led by a rapidly overheating actor. Ah yes, the Cockroach costumes. These are made of fibre glass and that rubbery stuff that you find in lots of kid’s toys these days. Hardly sustainably sound in itself, but very fun, even if my shell did bang rather hard against the back of my knees as I scuttled around the exhibits.

Cockroach tour car
Cockroach tour leader

Sample Cockroach talk: “Why do humans eat pizza when the box is so much more preferable?” I must confess that I really wasn’t listening very hard: it was just too damn distracting to gaze upon Cockroach Boyfriend, knowing that I looked equally ridiculous. The tour was indeed funny, but our leader could have been talking total mumbo jumbo and I would still have been chuckling like a mad woman at the looks on people’s faces. Oh how I love to dress up – we spent most of our time trying to out silly each other’s photos. Did we feel like overgrown children? Hell yes, but that’s no bad thing every once in awhile. After a few wrong turnings we arrived at our final destination, with all it’s interactive Climate Change wizardry, where we finally de-Cockroached.

Cockroach man by Sarah Matthews
Cockroach man by Sarah Matthews.

I’d like to turn a totally blind eye to the principal gallery sponsor (Shell, cough, greenwash, cough) but there has clearly been a large amount of money thrown at the Climate Change projectit was renamed the Climate Science Gallery in the wake of the Climate Scepticism controversy last year (boo, hiss) – so why not get along and enjoy it?

Amelia Cockroach from behind
That’s me showing off my shiny cockroach ass in the Climate Science Gallery.

I personally feel I know enough Climate Change Science to last a lifetime, but for somebody who hasn’t got a wide knowledge this would be a really fun way to get up to the top floor, especially if you have lots of kids in tow, and even just this brief visit reminded me just how much there is to see in the Science Museum, which I haven’t really visited since I was a child. And if you don’t believe me why not watch their very fancy video.

YouTube Preview Image

Cockroach tours are being held every weekend until December 2011, and you can find out more about them and book online here. To celebrate the launch of the tours the Science Museum is offering one lucky winner four places on a tour of the weekend 12-13 February – they will be given a hand held camera and their video will be slicky edited into a film for the winner to keep. Oo-er. More information on this link.

I’m quite tempted to go back and visit their Trash Fashion exhibition myself.

CUCARACHA  COSMOPOLITA by Geiko Louve
CUCARACHA COSMOPOLITA by Karla Pérez Manrique.

EL BAILE DE LA CUCARACHA by Karla Pérez Manrique
EL BAILE DE LA CUCARACHA by Karla Pérez Manrique.

Cockroach-tour-Science-Museum-by-Mina-Bach
Cockroach tour by Mina Bach.

A couple of months ago I was invited to visit the Science Museum to dress up as a Cockroach. How on earth could I resist such an invitation? So it was that with trepidation myself and boyfriend strolled up Exhibition Road on a Saturday afternoon. Who would be our fellow Cockroaches? Children? Families? Other slightly bewildered online journos and bloggers?

Cockroach-couple-by-Sarah-Matthews
Cockroach couple by Sarah Matthews

We arrived at the tail end of nibbles in the lecture theatre, cialis 40mg and were hastily whisked off to the Cockroach dressing room – right at the front of the museum so that interested passers by (and slightly petrified children) could watch as we donned our Cockroach regalia.

Cockroach Amelia Gregory
That’s me, dressed as a cockroach. Photo by Tim Adey.

Cockroach by Jessica Holt
Cockroach by Jessica Holt.

The purpose of all this Cockroach fun? Well you might ask… the Science Museum has just opened a swanky new Climate Change Science gallery, all swelling colours and interactive screens that change the digital atmosphere. (Immediate thought: what the hell is powering all this technical gadgetry? I was assured it was green energy).

cockroach tour maria papadimitriou
Cockroach tour by Maria Papadimitriou.

The Cockroach Tour is an art installation commissioned from Danish art collective Superflex – wherein my definition of art is VERY stretched – and takes groups of Cockroaches on a tour of the museum that ends up in the high reaches of the Climate Change Science gallery. The aim being to introduce people to the concept of human idiocy, as viewed through the eyes of a Cockroach, one of the oldest and most resilient life forms on the planet.

Cockroach-boy-by-Sarah-Matthews
Cockroach boy by Sarah Matthews.

For this tour we were led by a rapidly overheating actor. Ah yes, the Cockroach costumes. These are made of fibre glass and that rubbery stuff that you find in lots of kid’s toys these days. Hardly sustainably sound in itself, but very fun, even if my shell did bang rather hard against the back of my knees as I scuttled around the exhibits.

Cockroach tour car
Cockroach tour leader

Sample Cockroach talk: “Why do humans eat pizza when the box is so much more preferable?” I must confess that I really wasn’t listening very hard: it was just too damn distracting to gaze upon Cockroach Boyfriend, knowing that I looked equally ridiculous. The tour was indeed funny, but our leader could have been talking total mumbo jumbo and I would still have been chuckling like a mad woman at the looks on people’s faces. Oh how I love to dress up – we spent most of our time trying to out silly each other’s photos. Did we feel like overgrown children? Hell yes, but that’s no bad thing every once in awhile. After a few wrong turnings we arrived at our final destination, with all it’s interactive Climate Change wizardry, where we finally de-Cockroached.

Cockroach man by Sarah Matthews
Cockroach man by Sarah Matthews.

I’d like to turn a totally blind eye to the principal sponsor of this gallery (Shell, cough, greenwash, cough) but there has clearly been a large amount of money thrown at what has now been renamed the Climate Science Gallery in the wake of the Climate Scepticism controversy last year (boo, hiss) – so why not get along and enjoy it? Hell, why not enjoy it dressed as a Cockroach?

Amelia Cockroach from behind
That’s me showing off my shiny cockroach ass in the Climate Science Gallery.

I personally feel I know enough Climate Change Science to last a lifetime, but for somebody who hasn’t got a wide knowledge this would be a really fun way to engage any kids you might have in tow. And for the adults – even just this brief visit reminded me just how much there is to see in the Science Museum, which I haven’t really visited since I was a child. And if you don’t believe me why not watch very fancy Cockroach Tour video:

YouTube Preview Image

Cockroach tours are being held every weekend until December 2011, and you can find out more about them and book online here. To celebrate the launch of the tours the Science Museum is offering one lucky winner four places on a tour of the weekend 12-13 February – they will be given a hand held camera and their video will be slicky edited into a film for the winner to keep. Oo-er. More information on this link.

I’m quite tempted to go back and visit their Trash Fashion exhibition myself.

CUCARACHA  COSMOPOLITA by Geiko Louve
CUCARACHA COSMOPOLITA by Karla Pérez Manrique.

EL BAILE DE LA CUCARACHA by Karla Pérez Manrique
EL BAILE DE LA CUCARACHA by Karla Pérez Manrique.

Cockroach-tour-Science-Museum-by-Mina-Bach
Cockroach tour by Mina Bach.

A couple of months ago I was invited to visit the Science Museum to dress up as a Cockroach. How on earth could I resist such an invitation? So it was that with trepidation myself and boyfriend strolled up Exhibition Road on a Saturday afternoon. Who would be our fellow Cockroaches? Children? Families? Other slightly bewildered online journos and bloggers?

Cockroach-couple-by-Sarah-Matthews
Cockroach couple by Sarah Matthews

We arrived at the tail end of nibbles in the lecture theatre, thumb and were hastily whisked off to the Cockroach dressing room – right at the front of the museum so that interested passers by (and slightly petrified children) could watch as we donned our Cockroach regalia.

Cockroach Amelia Gregory
That’s me, order dressed as a cockroach. Photo by Tim Adey.

Cockroach by Jessica Holt
Cockroach by Jessica Holt.

The purpose of all this Cockroach fun? Well you might ask… the Science Museum has just opened a swanky new Climate Change Science gallery, all swelling colours and interactive screens that change the digital atmosphere. (Immediate thought: what the hell is powering all this technical gadgetry? I was assured it was green energy).

cockroach tour maria papadimitriou
Cockroach tour by Maria Papadimitriou.

The Cockroach Tour is an art installation commissioned from Danish art collective Superflex – wherein my definition of art is VERY stretched – and takes groups of Cockroaches on a tour of the museum that ends up in the high reaches of the Climate Change Science gallery. The aim being to introduce people to the concept of human idiocy, as viewed through the eyes of a Cockroach, one of the oldest and most resilient life forms on the planet.

Cockroach-boy-by-Sarah-Matthews
Cockroach boy by Sarah Matthews.

For this tour we were led by a rapidly overheating actor. Ah yes, the Cockroach costumes. These are made of fibre glass and that rubbery stuff that you find in lots of kid’s toys these days. Hardly sustainably sound in itself, but very fun, even if my shell did bang rather hard against the back of my knees as I scuttled around the exhibits.

Cockroach tour car
Cockroach tour leader

Sample Cockroach talk: “Why do humans eat pizza when the box is so much more preferable?” I must confess that I really wasn’t listening very hard: it was just too damn distracting to gaze upon Cockroach Boyfriend, knowing that I looked equally ridiculous. The tour was indeed funny, but our leader could have been talking total mumbo jumbo and I would still have been chuckling like a mad woman at the looks on people’s faces. Oh how I love to dress up – we spent most of our time trying to out silly each other’s photos. Did we feel like overgrown children? Hell yes, but that’s no bad thing every once in awhile. After a few wrong turnings we arrived at our final destination, with all it’s interactive Climate Change wizardry, where we finally de-Cockroached.

Cockroach man by Sarah Matthews
Cockroach man by Sarah Matthews.

I’d like to turn a totally blind eye to the principal sponsor of this gallery (Shell, cough, greenwash, cough) but there has clearly been a large amount of money thrown at what has now been renamed the Climate Science Gallery in the wake of the Climate Scepticism controversy last year (boo, hiss) – so why not get along and enjoy it? Hell, why not enjoy it dressed as a Cockroach?

Amelia Cockroach from behind
That’s me showing off my shiny cockroach ass in the Climate Science Gallery.

I personally feel I know enough Climate Change Science to last a lifetime, but for somebody who hasn’t got a wide knowledge this would be a really fun way to engage any kids you might have in tow. What’s more, even just this brief visit reminded me just how much there is to see in the Science Museum, which I haven’t really visited since I was a child. And if you need any more reason to get down with the Cockroaches why not check out this very fancy Cockroach Tour video:

YouTube Preview Image

Cockroach tours are being held every weekend until December 2011, and you can find out more about them and book online here. To celebrate the launch of the tours the Science Museum is offering one lucky winner four places on a tour of the weekend 12-13 February – they will be given a hand held camera and their video will be slicky edited into a film for the winner to keep. Oo-er. More information on this link.

I’m quite tempted to go back and visit their Trash Fashion exhibition myself.

CUCARACHA  COSMOPOLITA by Geiko Louve
CUCARACHA COSMOPOLITA by Karla Pérez Manrique.

EL BAILE DE LA CUCARACHA by Karla Pérez Manrique
EL BAILE DE LA CUCARACHA by Karla Pérez Manrique.

Cockroach-tour-Science-Museum-by-Mina-Bach
Cockroach tour by Mina Bach.

A couple of months ago I was invited to visit the Science Museum to dress up as a Cockroach. How on earth could I resist such an invitation? So it was that with trepidation myself and boyfriend strolled up Exhibition Road on a Saturday afternoon. Who would be our fellow Cockroaches? Children? Families? Other slightly bewildered online journos and bloggers?

Cockroach-couple-by-Sarah-Matthews
Cockroach couple by Sarah Matthews

We arrived at the tail end of nibbles in the lecture theatre, viagra order and were hastily whisked off to the Cockroach dressing room – right at the front of the museum so that interested passers by (and slightly petrified children) could watch as we donned our Cockroach regalia.

Cockroach Amelia Gregory
That’s me, more about dressed as a cockroach. Photo by Tim Adey.

Cockroach by Jessica Holt
Cockroach by Jessica Holt.

The purpose of all this Cockroach fun? Well you might ask… the Science Museum has just opened a swanky new Climate Change Science gallery, case all swelling colours and interactive screens that change the digital atmosphere. (Immediate thought: what the hell is powering all this technical gadgetry? I was assured it was green energy).

cockroach tour maria papadimitriou
Cockroach tour by Maria Papadimitriou.

The Cockroach Tour is an art installation commissioned from Danish art collective Superflex – wherein my definition of art is VERY stretched – and takes groups of Cockroaches on a tour of the museum that ends up in the high reaches of the Climate Change Science gallery. The aim being to introduce people to the concept of human idiocy, as viewed through the eyes of a Cockroach, one of the oldest and most resilient life forms on the planet.

Cockroach-boy-by-Sarah-Matthews
Cockroach boy by Sarah Matthews.

For this tour we were led by a rapidly overheating actor. Ah yes, the Cockroach costumes. These are made of fibre glass and that rubbery stuff that you find in lots of kid’s toys these days. Hardly sustainably sound in itself, but very fun, even if my shell did bang rather hard against the back of my knees as I scuttled around the exhibits.

Cockroach tour car
Cockroach tour leader

Sample Cockroach talk: “Why do humans eat pizza when the box is so much more preferable?” I must confess that I really wasn’t listening very hard: it was just too damn distracting to gaze upon Cockroach Boyfriend, knowing that I looked equally ridiculous. The tour was indeed funny, but our leader could have been talking total mumbo jumbo and I would still have been chuckling like a mad woman at the looks on people’s faces. Oh how I love to dress up – we spent most of our time trying to out silly each other’s photos. Did we feel like overgrown children? Hell yes, but that’s no bad thing every once in awhile. After a few wrong turnings we arrived at our final destination, with all it’s interactive Climate Change wizardry, where we finally de-Cockroached.

Cockroach man by Sarah Matthews
Cockroach man by Sarah Matthews.

I’d like to turn a totally blind eye to the principal sponsor of this gallery (Shell, cough, greenwash, cough) but there has clearly been a large amount of money thrown at what has now been renamed the Climate Science Gallery in the wake of the Climate Scepticism controversy last year (boo, hiss) – so why not get along and enjoy it? Hell, why not enjoy it dressed as a Cockroach?

Amelia Cockroach from behind
That’s me showing off my shiny cockroach ass in the Climate Science Gallery.

I personally feel I know enough Climate Change Science to last a lifetime, but for somebody who hasn’t got a wide knowledge this would be a really fun way to engage any kids you might have in tow. What’s more, even just this brief visit reminded me just how much there is to see in the Science Museum, which I haven’t really visited since I was a child. And if you need any more reason to get down with the Cockroaches why not check out this very fancy Cockroach Tour video:

YouTube Preview Image

Cockroach tours are being held every weekend until December 2011, and you can find out more about them and book online here. To celebrate the launch of the tours the Science Museum is offering one lucky winner four places on a tour of the weekend 12-13 February – they will be given a hand held camera and their video will be slicky edited into a film for the winner to keep. Oo-er. More information on this link.

I’m quite tempted to go back and visit their Trash Fashion exhibition myself.

CUCARACHA  COSMOPOLITA by Geiko Louve
CUCARACHA COSMOPOLITA by Karla Pérez Manrique.

EL BAILE DE LA CUCARACHA by Karla Pérez Manrique
EL BAILE DE LA CUCARACHA by Karla Pérez Manrique.


Illustration by Stephanie Thieullent

‘I’m unhappy about my Wellingtons, rxEmma Forrest says as she makes her way through the packed bookshop. ‘I thought it was going to rain and then it didn’t, diagnosis and now I’m a little embarrassed.’ She takes her seat next to David Baddiel, the novelist and comedian who will interview her later. I have to admit I tend to frown upon wellie-wearing not merited by the weather too, but I was going to let that go for Emma the wordsmith. But now it seems not only does she write lovely books full of excellent literary quirks, she has sound wellie-sense too.

Considering she’s here to read from a memoir of manic depression and bereavement, Emma is funny. While unafraid to dig into the heart of the subject matter, ‘Your voice in my head’ is at times a book that makes you laugh out loud. ‘It’s important to include humour, no matter how dark the material is,’ says Emma.


Illustration by Alexandra Rolfe

Clerkenwell Tales, the little independent bookshop on Exmouth Market, was packed to the brim with people wanting to hear Emma read. But if you Google Emma Forrest you will see what she is most famous for, and it has nothing to do with writing. She used to date a certain Hollywood actor, whose name remains hidden behind a pseudonym both in the book and during the reading. But what prompted her to write this book is that just as this all-consuming love affair ended, Emma’s beloved therapist died and left her alone to pick up the pieces. The title of the book is a reflection of her reverence for him, and the book is also a celebration of the good doctor and all the people he helped.


Illustration by Gareth A Hopkins

I first discovered Emma Forrest as she published her previous novel, ‘Cherries in the snow’. I loved the book – partially for it being an unusual take on the girl-in-the-city genre (I refuse to call it chick-lit), but also because it is beautifully written with clever turns of phrases and unique metaphors. Waiting for Emma’s next book took five years, before ‘Your voice in my head’ was published a few weeks ago. Born in the UK, Emma now lives in Los Angeles where she’s a screenwriter; ‘There is so much open sky in LA. You really get a sense that your problems aren’t any bigger than anyone else’s, and that things can be dealt with.’


Illustration by Kiran Patel at Illustrating Rain

As the Q&A session wanders from the funny towards the dark, some of the questions, both from Baddiel and the audience, turn incredibly personal. The room grows completely silent as Emma describes the mania. ‘Madness felt like trying to write about music, which is so difficult to describe. Madness and music are a similar place to be.’ And later: ‘It takes a while to be able to choose to leave mania, to choose to get better. But eventually you reach a place where you need to leave it behind, to be part of the world.’ The girl sitting in front of me nods her head gently as Emma speaks, it seems she knows it’s true.

I buy the book and Emma signs it for me; she’s tiny even in her wellie heels. I read it on the train home and miss my stop.


Illustration by Sarah Alfarhan

‘Your voice in my head’ is out now. Read Emma’s blog here.

Categories ,Alexandra Rolfe, ,Bloomsbury, ,book launch, ,Clerkenwell Tales, ,David Baddiel, ,Emma Forrest, ,Exmouth Market, ,Gareth A Hopkins, ,Illustrating Rain, ,london, ,manic depression, ,memoir, ,mental illness, ,Sarah Alfarhan, ,Stéphanie Thieullent, ,Your voice in my head

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