Amelia’s Magazine | Vintage at Goodwood: Festival Review

Wolf and Badger launch display amy
WolfandBadger skull
All photography by Amelia Gregory.

I don’t often head into town for launches after work these days but I was intrigued enough by the sound of the Wolf and Badger pop up store in Selfridges to request a ticket from them and make the trek over on my bike. Even though it was raining and I now have a snuffle.

There’s probably a reason why I don’t get asked to parties at that temple to consumerism Selfridges – it’s hallowed halls are all gleaming and full of trinkets and I don’t know that the readers of my website have much money to spend in them. I certainly don’t. But it’s rather wonderful to visit once in a blue moon – especially the food hall, order where I couldn’t resist picking up some Marmite flavoured biscuits by Fudges (shaped like Marmite pots!) as a special treat. Now there’s a brand diffusion I really can’t get enough of…

WolfandBadger Selfridges window display by Kyle Bean
The current window display by Kyle Bean.

On arrival I could see what was rather a swanky affair through the windows as I peered past a rather wonderful fairytale castle made out of old books. Inside some furiously groomed folk filled the aisles as they fuelled up with champagne and jellybeans. A couple of ladies with bog roll wigs delivered creamed canapes from a side table and there was so much people watching potential that I found it hard to concentrate on the work being sold.

WolfandBadger amelia gregory
WolfandBadger launch photo by Amelia gregory
Not sure about this as a look…

Along the back wall a vision of Amy Winehouse in buttons was on display centre stage by the artist Sarah Gwyer. We particularly admired the clever use of old Costa service badges in the hairpiece on her beehive. Next door a digital parakeet by Troy Abbott boggled my mind somewhat. Erm… fun, but do we really have energy to waste with fripperies like this?

WolfandBadger launch photo by Amelia gregory

I preferred the plates and cups with curly bites taken out of them – created by the designer Evthokia. And over the top it might be but I adored the opulent ceramic ware from Jasmin Rowlandson: great curlicued gold and cream extravagances inspired by coral reefs and wood. Note to Wolf and Badger: it’s a shame the names of artists were hammered out in metal, making them incredibly hard to read and take note of.

WolfandBadger launch photo by Amelia gregory
Not your usual crockery from Evthokia.

WolfandBadger launch photo by Amelia gregory
WolfandBadger launch photo by Amelia gregory
Ceramic ware from Jasmin Rowlandson.

On the tables knuckle duster jewellery by Gisele Ganne was equally over the top. I can’t much imagine anyone wearing this stuff but it was fun to marvel at it in a glass case.

WolfandBadger gisele ganne
Knuckle duster madness by Gisele Ganne.

Maybe I’m suddenly getting a little more low key in my old age, but I was more drawn to the delicate gold filigree jewellery of Mallarino. I often gaze longingly at the Indian wedding earrings in the windows of the shops on Bethnal Green Road, and this seemed to be greatly inspired by such designs.

WolfandBadger launch photo by Amelia gregory
Botoxed high society lady.

WolfandBadger launch photo by Amelia gregory
And not quite so botoxed (or high society) lady.

As we left I picked up a satisfyingly heavy goodie bag from Selfridges – unfortunately it wasn’t anything exciting from Wolf and Badger. Just a bog standard notebook.

Even if you haven’t got the cash to flash, the Wolf and Badger pop up concept store is worth popping into for some cool West London designer inspiration if you’re in that part of town. It’s only on between the dates of 12-31 August 2010.

WolfandBadger launch photo by Amelia gregory
WolfandBadger skull
All photography by Amelia Gregory.

I don’t often head into town for launches after work these days but I was intrigued enough by the sound of the Wolf and Badger pop up store in Selfridges to request a ticket from them and make the trek over on my bike. Even though it was raining and I now have a snuffle.

There’s probably a reason why I don’t get asked to parties at that temple to consumerism Selfridges – it’s hallowed halls are all gleaming and full of trinkets and I don’t know that the readers of my website have much money to spend in them. I certainly don’t. But it’s rather wonderful to visit once in a blue moon – especially the food hall, store where I couldn’t resist picking up some Marmite flavoured biscuits by Fudges (shaped like Marmite pots!) as a special treat. Now there’s a brand diffusion I really can’t get enough of…

WolfandBadger Selfridges window display by Kyle Bean
The current window display by Kyle Bean.

On arrival I could see what was rather a swanky affair through the windows as I peered past a rather wonderful fairytale castle made out of old books. Inside some furiously groomed folk filled the aisles as they fuelled up with champagne and jellybeans. A couple of ladies with bog roll wigs delivered creamed canapes from a side table and there was so much people watching potential that I found it hard to concentrate on the work being sold.

WolfandBadger amelia gregory
WolfandBadger launch photo by Amelia gregory
Not sure about this as a look…

Along the back wall a vision of Amy Winehouse in buttons was on display centre stage by the artist Sarah Gwyer. We particularly admired the clever use of old Costa Coffee service badges in the hairpiece on her beehive.

Wolf and Badger launch display amy

Next door a digital parakeet by Troy Abbott boggled my mind somewhat. Erm… fun, but do we really have energy to waste with fripperies like this?

WolfandBadger launch photo by Amelia gregory

I preferred the plates and cups with curly bites taken out of them – created by the designer Evthokia. And over the top it might be but I adored the opulent ceramic ware from Jasmin Rowlandson: great curlicued gold and cream extravagances inspired by coral reefs and wood. Note to Wolf and Badger: it’s a shame the names of artists were hammered out in metal, making them incredibly hard to read and take note of.

WolfandBadger launch photo by Amelia gregory
Not your usual crockery from Evthokia.

WolfandBadger launch photo by Amelia gregory
WolfandBadger launch photo by Amelia gregory
Ceramic ware from Jasmin Rowlandson.

On the tables knuckle duster jewellery by Gisele Ganne was equally over the top. I can’t much imagine anyone wearing this stuff but it was fun to marvel at it in a glass case.

WolfandBadger gisele ganne
Knuckle duster madness by Gisele Ganne.

Maybe I’m suddenly getting a little more low key in my old age, but I was more drawn to the delicate gold filigree jewellery of Mallarino. I often gaze longingly at the Indian wedding earrings in the windows of the shops on Bethnal Green Road, and this seemed to be greatly inspired by such designs.

WolfandBadger launch photo by Amelia gregory
Botoxed high society lady.

WolfandBadger launch photo by Amelia gregory
And not quite so botoxed (or high society) lady.

As we left I picked up a satisfyingly heavy goodie bag from Selfridges – unfortunately it wasn’t anything exciting from Wolf and Badger. Just a bog standard notebook.

Even if you haven’t got the cash to flash, the Wolf and Badger pop up concept store is worth popping into for some cool West London designer inspiration if you’re in that part of town. It’s only on between the dates of 12-31 August 2010.

WolfandBadger launch photo by Amelia gregory
Dahling_by_Abigail_Nottingham
Dahling by Abigail Nottingham.

“We’re building great cafes and restaurants on the Vintage High St, site where you will even find a Waitrose.” So said the flyer that I picked up in a local pub the day after our sojourn to Vintage at Goodwood. To be honest, and if I’d seen this same flyer before I’d been inundated with hype from the great VAG press machine then I might not have been so keen to attend the festival.

Vintage Goodwood 2010
Vintage Goodwood 2010
Photography by Amelia Gregory.

It’s ironic then, that, like the camping spots in “hidden glades, hollows, copses and hillocks” Waitrose didn’t make it into the final Vintage at Goodwood vision. But what did was every bit as soulless as I feared it might be in my preview blog.

Vintage Goodwood 2010

Past a regimental camping site that better represented a hillside carpark, we did indeed approach the main VAG entrance via a wooded glade… and as we did so passed what was to prove the most interesting aspect of the whole festival – a small eco-campment complete with beautiful decorated gypsy caravan, outsized lace-making and knitting, and a tiny outdoor stage for up and coming bands. Curated by textile artist Annie Sherburne, it was like a touch of Secret Garden Party had crept into the mix, but knowing not where to put it the madness was relegated to the woods.

Vintage Goodwood knit
Love shack caravan By Jessica Sharville
Love Shack Caravan by Jessica Sharville.

So far, so not very vintage, but as we ducked under the entrance arch a slew of gorgeous old cars funnelled us down towards the much trumpeted High Street, rearing up against the dramatic sky like a cross between a back lot of a Hollywood western and a trade show.

Vintage Goodwood entrance
Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

“Fifty years on from the design-led 1951 Festival of Britain, Goodwood is to host in 2010 the first of what will be an annual event” opens the glossy VAG flyer, and true to this spirit the very first shop on the High Street housed Wayne Hemingway Inc, choc full of products plastered with designs inspired by the very same Festival of Britain. As one worker commented to me “How arrogant can you be?” Vintage at Goodwood was a monument to our current obsession with consumerism as leisure, and bore no resemblance to the Festival of Britain’s celebration of modern societies’ achievements in post-war Britain. To compare something to such an iconographic event is to set oneself up for a fall.

Vintage Goodwood pub
Vintage Goodwood dress
TigzRice_pinupcar
Pinup Girl with Car by Tigz Rice.

Boggling, I gazed up at the garishly coloured towering fascias, wondering at the huge amount of money that must have gone into the construction. And none of it looking remotely recyclable. For that matter, where were the recycling bins? The post war years were frugal, and there was no sign of that here.

Vintage Goodwood 2010
Vintage Goodwood 2010

Instead there was the opportunity to shop inside stands for those well known vintage brands: The Body Shop, Fortnum & Mason, John Lewis and some really expensive watch brand I’ve never heard of; in whose stall people quaffed champagne as a man picked apart on old watch face and another displayed a case of super expensive items to a wealthy shopper. The same brand had sponsored the festival wristbands, made out of lethal lentographic plastic that cut my friend’s arm to shreds.

Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

There was also: a cinema, and a catwalk hosting “sold out” shows. We never did find out if this was just a turn of phrase or whether they were actually sold out. Yup, you had to pay on top of the ticket price for many of the attractions. And did I mention the style stand, where you could get your hair done by Primark in collaboration with the Sunday Times Style Magazine. Yes really. This is what we’ve come to.

vintage at goodwood by erica sharp
Vintage at Goodwood by Erica Sharp.

I heard rumours of people flying in to attend this festival on private jets, but it was telling of the strange mix of people that there was also a Daily Mirror volkswagen bus on site. As someone wrote on twitter, it seemed like a sanitised Daily Mail version of fifty years of culture, devoid of all nuance or passion. Inside the Sotheby’s auction tent the intermittent rain drip dripped onto a vintage speaker valued at £6000 as a couple passed looking uncomfortable in a fancy dress version of the 1970s.

Vintage Goodwood 2010
vintagegoodwood by Maria del Carmen Smith
Vintage at Goodwood Auction by Maria del Carmen Smith.

The most popular dress amongst women seemed to be the ubiquitous flouncey polka dot fifties number, or some other poorly rendered version of what was worn in the 60s or 70s. Fine if that’s your bag, but I’ve seen fancy dress done with a whole lot more verve at places like Bestival. I guess pure vintage enthusiasts wear vintage clothes with a dedication to style that wasn’t obvious on many festival goers, because vintage enthusiasts choose to wear these clothes day in day out, not as mere fancy dress. It wasn’t altogether surprising to find the real vintage enthusiasts looking slightly bemused and out of place in the staff dinner queue.

Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood crocs
Future Vintage: Crocs apparently…
Vintage Goodwood 2010
and the Big Brother chair. God help us.
Vintage Goodwood 2010
Tyrells crisps promotion: a vegetable chamber group.
Vintage Goodwood 2010
Vintage Goodwood 2010
Rocking the vintage look.

We spoke to friends in the much smaller vintage stall area that was hidden in cramped tents behind the central shopping parade. They were ambivalent about the festival: cross with the way it had been organised and how they were being treated, but happy with the money being spent on their stalls. Aside from spend spend spend, there wasn’t really much to do. We saw little evidence of art from across the decades, other than a strong presence from Peter Blake. We were amazed at the lack of protection for all the beautiful vintage cars stationed next to themed areas for each decade, scattered across the largely unpopulated site. Although there were rumours of workshops, without a £12 programme (touted as a must have “annual”) to tell us when and where, there didn’t seem to be much opportunity.

Vintage Goodwood craft

Like others we gawped at the crafters rather than join in and participate. “Ladies, wear your heels,” urged the flyer. But there wasn’t that much evidence of glamour as the small and bedraggled crowd waved their brollies in the air during the mid afternoon set at the 80s rave warehouse.

Vintage Goodwood 2010
The programme: £12 a pop.
Vintage Goodwood rave
The rave. Wet. Photograph by Tim Adey.
Vintage Goodwood empty
Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

I had hoped to visit The Chap Olympiad but every time we got close the heavens opened and we retreated. We tried to see comedian John Shuttleworth but the inflatable Leisure Dome was full to capacity and I was buggered if we were going to stand in a queue in the rain. How much electricity does it take to keep a blow up tent full of air? *ponders* Over on the main stage a respectable crowd gathered for The Noisettes, but seemed bemused by singer Shingai Shoniwa’s stage banter. And I wonder, how do The Noisettes fit into any kind of “vintage” mould?

Vintage Goodwood Noisettes
noisettes-singer-by-anagomezhernandez
Shingai Shoniwa by Ana Gomez Hernandez.

Instead we headed back to the Leisure Dome after another tip off – this time to see the absolutely amazing Swingle Singers singing choreographed acapella and beat box versions of popular songs. An utterly astonishing discovery they alone made the trip down south worthwhile.

Vintage Goodwood Swingle Singers
Vintage Goodwood austin
Vintage Goodwood swingle
Vintage Goodwood Swingle singers
swingle singers by anna hancock young
Swingle Singers by Anna Hancock Young.

Afterwards we stayed onto watch 70 year old Tony Hatch, he of soap opera theme tune fame (don’t worry, I had no idea who he was either). A highlight of our short visit to VAG was surely the sight of Captain Sensible (of punk legends The Damned), listening to Tony Hatch and singers reprise the Neighbours theme tune. Does it get anymore surreal?

Vintage Goodwood Tony Hatch
Tony Hatch and friends.

Thanks to the power of twitter I was able to find out what VAG was like for myself, and in retrospect I am very glad that I didn’t get given free tickets by the organisers because I would have felt duty bound to be much nicer about the VAG experience if I had. I am sure that many people thoroughly enjoyed their trip to Vintage at Goodwood, but for me the idea of staying on for another day was utterly unappealing. Instead we left whilst the going was good, stayed over at a friend’s house and spent Sunday getting drunk with locals at a historic pub in nearby Petersfield.

Vintage Goodwood by Louise Sterling
Vintage Goodwood by Louise Sterling.

On my previous blog there have been a couple of comments stressing the need for big sponsors in order to make a return on investment on a festival such as VAG. This is absolutely not true unless you aspire to make a festival bigger than it wants to be. Most festivals start small and grow organically through the love and dedication of the people who take part. It’s not necessary to bring big brands in unless you’re aiming for a showy experience at the expense of any kind of soul.

Vintage Goodwood girls
Vintage Goodwood shop
Vintage Goodwood red
Vintage Goodwood 2010
Sponsored up to the hilt.

For real vintage lovers I suggest that next year, instead of going to Vintage at Goodwood you check out the numerous other boutique festivals dedicated to specific eras. Especially since I have a sneaking suspicion that many of the true vintage enthusiasts that made it to VAG will not be returning next year. And if you want pure unadulterated playful creative dressing up then I suggest you check out Secret Garden Party – and for real forward thinking cultural inspiration then try Latitude. A hyped-up vanity project does not a successful festival make.

Vintage Goodwood mobility

Categories ,Abigail Nottingham, ,Ana Gomez, ,Ana Gomez Hernandez, ,Anna Hancock-Young, ,Annie Sherburne, ,bestival, ,Captain Sensible, ,Erica Sharp, ,John Shuttleworth, ,latitude, ,Louise Sterling, ,Maria del Carmen Smith, ,Peter Blake, ,Primark, ,Secret Garden Party, ,Shingai Shoniwa, ,Swingle Singers, ,The Chap Olympiad, ,The Damned, ,the Noisettes, ,Tigz Rice, ,Tigzy, ,Tim Adey, ,Tony Hatch, ,Vintage at Goodwood, ,Vintage Goodwood. Jessica Sharville, ,Wayne Hemmingway

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Amelia’s Magazine | Vintage at Goodwood: Festival Review

Wolf and Badger launch display amy
WolfandBadger skull
All photography by Amelia Gregory.

I don’t often head into town for launches after work these days but I was intrigued enough by the sound of the Wolf and Badger pop up store in Selfridges to request a ticket from them and make the trek over on my bike. Even though it was raining and I now have a snuffle.

There’s probably a reason why I don’t get asked to parties at that temple to consumerism Selfridges – it’s hallowed halls are all gleaming and full of trinkets and I don’t know that the readers of my website have much money to spend in them. I certainly don’t. But it’s rather wonderful to visit once in a blue moon – especially the food hall, order where I couldn’t resist picking up some Marmite flavoured biscuits by Fudges (shaped like Marmite pots!) as a special treat. Now there’s a brand diffusion I really can’t get enough of…

WolfandBadger Selfridges window display by Kyle Bean
The current window display by Kyle Bean.

On arrival I could see what was rather a swanky affair through the windows as I peered past a rather wonderful fairytale castle made out of old books. Inside some furiously groomed folk filled the aisles as they fuelled up with champagne and jellybeans. A couple of ladies with bog roll wigs delivered creamed canapes from a side table and there was so much people watching potential that I found it hard to concentrate on the work being sold.

WolfandBadger amelia gregory
WolfandBadger launch photo by Amelia gregory
Not sure about this as a look…

Along the back wall a vision of Amy Winehouse in buttons was on display centre stage by the artist Sarah Gwyer. We particularly admired the clever use of old Costa service badges in the hairpiece on her beehive. Next door a digital parakeet by Troy Abbott boggled my mind somewhat. Erm… fun, but do we really have energy to waste with fripperies like this?

WolfandBadger launch photo by Amelia gregory

I preferred the plates and cups with curly bites taken out of them – created by the designer Evthokia. And over the top it might be but I adored the opulent ceramic ware from Jasmin Rowlandson: great curlicued gold and cream extravagances inspired by coral reefs and wood. Note to Wolf and Badger: it’s a shame the names of artists were hammered out in metal, making them incredibly hard to read and take note of.

WolfandBadger launch photo by Amelia gregory
Not your usual crockery from Evthokia.

WolfandBadger launch photo by Amelia gregory
WolfandBadger launch photo by Amelia gregory
Ceramic ware from Jasmin Rowlandson.

On the tables knuckle duster jewellery by Gisele Ganne was equally over the top. I can’t much imagine anyone wearing this stuff but it was fun to marvel at it in a glass case.

WolfandBadger gisele ganne
Knuckle duster madness by Gisele Ganne.

Maybe I’m suddenly getting a little more low key in my old age, but I was more drawn to the delicate gold filigree jewellery of Mallarino. I often gaze longingly at the Indian wedding earrings in the windows of the shops on Bethnal Green Road, and this seemed to be greatly inspired by such designs.

WolfandBadger launch photo by Amelia gregory
Botoxed high society lady.

WolfandBadger launch photo by Amelia gregory
And not quite so botoxed (or high society) lady.

As we left I picked up a satisfyingly heavy goodie bag from Selfridges – unfortunately it wasn’t anything exciting from Wolf and Badger. Just a bog standard notebook.

Even if you haven’t got the cash to flash, the Wolf and Badger pop up concept store is worth popping into for some cool West London designer inspiration if you’re in that part of town. It’s only on between the dates of 12-31 August 2010.

WolfandBadger launch photo by Amelia gregory
WolfandBadger skull
All photography by Amelia Gregory.

I don’t often head into town for launches after work these days but I was intrigued enough by the sound of the Wolf and Badger pop up store in Selfridges to request a ticket from them and make the trek over on my bike. Even though it was raining and I now have a snuffle.

There’s probably a reason why I don’t get asked to parties at that temple to consumerism Selfridges – it’s hallowed halls are all gleaming and full of trinkets and I don’t know that the readers of my website have much money to spend in them. I certainly don’t. But it’s rather wonderful to visit once in a blue moon – especially the food hall, store where I couldn’t resist picking up some Marmite flavoured biscuits by Fudges (shaped like Marmite pots!) as a special treat. Now there’s a brand diffusion I really can’t get enough of…

WolfandBadger Selfridges window display by Kyle Bean
The current window display by Kyle Bean.

On arrival I could see what was rather a swanky affair through the windows as I peered past a rather wonderful fairytale castle made out of old books. Inside some furiously groomed folk filled the aisles as they fuelled up with champagne and jellybeans. A couple of ladies with bog roll wigs delivered creamed canapes from a side table and there was so much people watching potential that I found it hard to concentrate on the work being sold.

WolfandBadger amelia gregory
WolfandBadger launch photo by Amelia gregory
Not sure about this as a look…

Along the back wall a vision of Amy Winehouse in buttons was on display centre stage by the artist Sarah Gwyer. We particularly admired the clever use of old Costa Coffee service badges in the hairpiece on her beehive.

Wolf and Badger launch display amy

Next door a digital parakeet by Troy Abbott boggled my mind somewhat. Erm… fun, but do we really have energy to waste with fripperies like this?

WolfandBadger launch photo by Amelia gregory

I preferred the plates and cups with curly bites taken out of them – created by the designer Evthokia. And over the top it might be but I adored the opulent ceramic ware from Jasmin Rowlandson: great curlicued gold and cream extravagances inspired by coral reefs and wood. Note to Wolf and Badger: it’s a shame the names of artists were hammered out in metal, making them incredibly hard to read and take note of.

WolfandBadger launch photo by Amelia gregory
Not your usual crockery from Evthokia.

WolfandBadger launch photo by Amelia gregory
WolfandBadger launch photo by Amelia gregory
Ceramic ware from Jasmin Rowlandson.

On the tables knuckle duster jewellery by Gisele Ganne was equally over the top. I can’t much imagine anyone wearing this stuff but it was fun to marvel at it in a glass case.

WolfandBadger gisele ganne
Knuckle duster madness by Gisele Ganne.

Maybe I’m suddenly getting a little more low key in my old age, but I was more drawn to the delicate gold filigree jewellery of Mallarino. I often gaze longingly at the Indian wedding earrings in the windows of the shops on Bethnal Green Road, and this seemed to be greatly inspired by such designs.

WolfandBadger launch photo by Amelia gregory
Botoxed high society lady.

WolfandBadger launch photo by Amelia gregory
And not quite so botoxed (or high society) lady.

As we left I picked up a satisfyingly heavy goodie bag from Selfridges – unfortunately it wasn’t anything exciting from Wolf and Badger. Just a bog standard notebook.

Even if you haven’t got the cash to flash, the Wolf and Badger pop up concept store is worth popping into for some cool West London designer inspiration if you’re in that part of town. It’s only on between the dates of 12-31 August 2010.

WolfandBadger launch photo by Amelia gregory
Dahling_by_Abigail_Nottingham
Dahling by Abigail Nottingham.

“We’re building great cafes and restaurants on the Vintage High St, site where you will even find a Waitrose.” So said the flyer that I picked up in a local pub the day after our sojourn to Vintage at Goodwood. To be honest, and if I’d seen this same flyer before I’d been inundated with hype from the great VAG press machine then I might not have been so keen to attend the festival.

Vintage Goodwood 2010
Vintage Goodwood 2010
Photography by Amelia Gregory.

It’s ironic then, that, like the camping spots in “hidden glades, hollows, copses and hillocks” Waitrose didn’t make it into the final Vintage at Goodwood vision. But what did was every bit as soulless as I feared it might be in my preview blog.

Vintage Goodwood 2010

Past a regimental camping site that better represented a hillside carpark, we did indeed approach the main VAG entrance via a wooded glade… and as we did so passed what was to prove the most interesting aspect of the whole festival – a small eco-campment complete with beautiful decorated gypsy caravan, outsized lace-making and knitting, and a tiny outdoor stage for up and coming bands. Curated by textile artist Annie Sherburne, it was like a touch of Secret Garden Party had crept into the mix, but knowing not where to put it the madness was relegated to the woods.

Vintage Goodwood knit
Love shack caravan By Jessica Sharville
Love Shack Caravan by Jessica Sharville.

So far, so not very vintage, but as we ducked under the entrance arch a slew of gorgeous old cars funnelled us down towards the much trumpeted High Street, rearing up against the dramatic sky like a cross between a back lot of a Hollywood western and a trade show.

Vintage Goodwood entrance
Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

“Fifty years on from the design-led 1951 Festival of Britain, Goodwood is to host in 2010 the first of what will be an annual event” opens the glossy VAG flyer, and true to this spirit the very first shop on the High Street housed Wayne Hemingway Inc, choc full of products plastered with designs inspired by the very same Festival of Britain. As one worker commented to me “How arrogant can you be?” Vintage at Goodwood was a monument to our current obsession with consumerism as leisure, and bore no resemblance to the Festival of Britain’s celebration of modern societies’ achievements in post-war Britain. To compare something to such an iconographic event is to set oneself up for a fall.

Vintage Goodwood pub
Vintage Goodwood dress
TigzRice_pinupcar
Pinup Girl with Car by Tigz Rice.

Boggling, I gazed up at the garishly coloured towering fascias, wondering at the huge amount of money that must have gone into the construction. And none of it looking remotely recyclable. For that matter, where were the recycling bins? The post war years were frugal, and there was no sign of that here.

Vintage Goodwood 2010
Vintage Goodwood 2010

Instead there was the opportunity to shop inside stands for those well known vintage brands: The Body Shop, Fortnum & Mason, John Lewis and some really expensive watch brand I’ve never heard of; in whose stall people quaffed champagne as a man picked apart on old watch face and another displayed a case of super expensive items to a wealthy shopper. The same brand had sponsored the festival wristbands, made out of lethal lentographic plastic that cut my friend’s arm to shreds.

Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

There was also: a cinema, and a catwalk hosting “sold out” shows. We never did find out if this was just a turn of phrase or whether they were actually sold out. Yup, you had to pay on top of the ticket price for many of the attractions. And did I mention the style stand, where you could get your hair done by Primark in collaboration with the Sunday Times Style Magazine. Yes really. This is what we’ve come to.

vintage at goodwood by erica sharp
Vintage at Goodwood by Erica Sharp.

I heard rumours of people flying in to attend this festival on private jets, but it was telling of the strange mix of people that there was also a Daily Mirror volkswagen bus on site. As someone wrote on twitter, it seemed like a sanitised Daily Mail version of fifty years of culture, devoid of all nuance or passion. Inside the Sotheby’s auction tent the intermittent rain drip dripped onto a vintage speaker valued at £6000 as a couple passed looking uncomfortable in a fancy dress version of the 1970s.

Vintage Goodwood 2010
vintagegoodwood by Maria del Carmen Smith
Vintage at Goodwood Auction by Maria del Carmen Smith.

The most popular dress amongst women seemed to be the ubiquitous flouncey polka dot fifties number, or some other poorly rendered version of what was worn in the 60s or 70s. Fine if that’s your bag, but I’ve seen fancy dress done with a whole lot more verve at places like Bestival. I guess pure vintage enthusiasts wear vintage clothes with a dedication to style that wasn’t obvious on many festival goers, because vintage enthusiasts choose to wear these clothes day in day out, not as mere fancy dress. It wasn’t altogether surprising to find the real vintage enthusiasts looking slightly bemused and out of place in the staff dinner queue.

Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood crocs
Future Vintage: Crocs apparently…
Vintage Goodwood 2010
and the Big Brother chair. God help us.
Vintage Goodwood 2010
Tyrells crisps promotion: a vegetable chamber group.
Vintage Goodwood 2010
Vintage Goodwood 2010
Rocking the vintage look.

We spoke to friends in the much smaller vintage stall area that was hidden in cramped tents behind the central shopping parade. They were ambivalent about the festival: cross with the way it had been organised and how they were being treated, but happy with the money being spent on their stalls. Aside from spend spend spend, there wasn’t really much to do. We saw little evidence of art from across the decades, other than a strong presence from Peter Blake. We were amazed at the lack of protection for all the beautiful vintage cars stationed next to themed areas for each decade, scattered across the largely unpopulated site. Although there were rumours of workshops, without a £12 programme (touted as a must have “annual”) to tell us when and where, there didn’t seem to be much opportunity.

Vintage Goodwood craft

Like others we gawped at the crafters rather than join in and participate. “Ladies, wear your heels,” urged the flyer. But there wasn’t that much evidence of glamour as the small and bedraggled crowd waved their brollies in the air during the mid afternoon set at the 80s rave warehouse.

Vintage Goodwood 2010
The programme: £12 a pop.
Vintage Goodwood rave
The rave. Wet. Photograph by Tim Adey.
Vintage Goodwood empty
Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

I had hoped to visit The Chap Olympiad but every time we got close the heavens opened and we retreated. We tried to see comedian John Shuttleworth but the inflatable Leisure Dome was full to capacity and I was buggered if we were going to stand in a queue in the rain. How much electricity does it take to keep a blow up tent full of air? *ponders* Over on the main stage a respectable crowd gathered for The Noisettes, but seemed bemused by singer Shingai Shoniwa’s stage banter. And I wonder, how do The Noisettes fit into any kind of “vintage” mould?

Vintage Goodwood Noisettes
noisettes-singer-by-anagomezhernandez
Shingai Shoniwa by Ana Gomez Hernandez.

Instead we headed back to the Leisure Dome after another tip off – this time to see the absolutely amazing Swingle Singers singing choreographed acapella and beat box versions of popular songs. An utterly astonishing discovery they alone made the trip down south worthwhile.

Vintage Goodwood Swingle Singers
Vintage Goodwood austin
Vintage Goodwood swingle
Vintage Goodwood Swingle singers
swingle singers by anna hancock young
Swingle Singers by Anna Hancock Young.

Afterwards we stayed onto watch 70 year old Tony Hatch, he of soap opera theme tune fame (don’t worry, I had no idea who he was either). A highlight of our short visit to VAG was surely the sight of Captain Sensible (of punk legends The Damned), listening to Tony Hatch and singers reprise the Neighbours theme tune. Does it get anymore surreal?

Vintage Goodwood Tony Hatch
Tony Hatch and friends.

Thanks to the power of twitter I was able to find out what VAG was like for myself, and in retrospect I am very glad that I didn’t get given free tickets by the organisers because I would have felt duty bound to be much nicer about the VAG experience if I had. I am sure that many people thoroughly enjoyed their trip to Vintage at Goodwood, but for me the idea of staying on for another day was utterly unappealing. Instead we left whilst the going was good, stayed over at a friend’s house and spent Sunday getting drunk with locals at a historic pub in nearby Petersfield.

Vintage Goodwood by Louise Sterling
Vintage Goodwood by Louise Sterling.

On my previous blog there have been a couple of comments stressing the need for big sponsors in order to make a return on investment on a festival such as VAG. This is absolutely not true unless you aspire to make a festival bigger than it wants to be. Most festivals start small and grow organically through the love and dedication of the people who take part. It’s not necessary to bring big brands in unless you’re aiming for a showy experience at the expense of any kind of soul.

Vintage Goodwood girls
Vintage Goodwood shop
Vintage Goodwood red
Vintage Goodwood 2010
Sponsored up to the hilt.

For real vintage lovers I suggest that next year, instead of going to Vintage at Goodwood you check out the numerous other boutique festivals dedicated to specific eras. Especially since I have a sneaking suspicion that many of the true vintage enthusiasts that made it to VAG will not be returning next year. And if you want pure unadulterated playful creative dressing up then I suggest you check out Secret Garden Party – and for real forward thinking cultural inspiration then try Latitude. A hyped-up vanity project does not a successful festival make.

Vintage Goodwood mobility

Categories ,Abigail Nottingham, ,Ana Gomez, ,Ana Gomez Hernandez, ,Anna Hancock-Young, ,Annie Sherburne, ,bestival, ,Captain Sensible, ,Erica Sharp, ,John Shuttleworth, ,latitude, ,Louise Sterling, ,Maria del Carmen Smith, ,Peter Blake, ,Primark, ,Secret Garden Party, ,Shingai Shoniwa, ,Swingle Singers, ,The Chap Olympiad, ,The Damned, ,the Noisettes, ,Tigz Rice, ,Tigzy, ,Tim Adey, ,Tony Hatch, ,Vintage at Goodwood, ,Vintage Goodwood. Jessica Sharville, ,Wayne Hemmingway

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Jasper Conran

Like most girly girls growing up, page shop my bedroom was decorated with various shades of baby pink and faerie-inspired memorabilia. I had faerie bedspreads, no rx no rx faerie lampshades, approved faerie candles, faerie wind chimes (no, really) – I had no idea of the concept of taking things too far. If there was an image of one of those illuminated delicate, dainty little figures slapped onto anything (including mugs and toilet rolls) it had to be mine.

Although I have since grown out of my faerie-loving phase (and into other crazy obsessions my good friends will tell you!), the child in me still gravitates towards stories about magical other worldly beings, the innocence of youth, and pretty much anything that takes me back to my childhood. It is for this reason that when I was asked to do a feature on Jessica Albarn’s first storybook, The Boy in the Oak, it was with a resounding ‘yes’ that I answered. However, it turns out that these faeries aren’t the good ones that I used to wrap around me to protect me as I slept.

Written and illustrated by Jessica, the artist tells the fantastical story of a young lonely boy who amuses himself by trampling on flowers, tearing the limbs off trees, and traumatising the creatures in the garden of his family home. His play becomes increasingly cruel until one day, the faeries that inhabit a giant oak tree, which is also the passageway to the Kingdom of Faerie, at the bottom of his garden take their revenge and trap him in the magical oak.

The narrative is accompanied by fine, detailed sketches of spindly creatures, faeries and facial expressions (the faces of the two protagonists in her story are based on her son Rudy and daughter Lola). Insects are introduced throughout the text and appear on most pages of the book, which Jessica weaves into the fabric of her story, somehow managing to make them appear more beautiful than creepy, through her gentle artistic strokes. The result is a dreamy, melancholic and rather sinister yet magical tale for adults and children alike.

On the eve of the launch of her first storybook ever, Amelia’s Magazine finds a few quiet moments to talk to the very talented artist (who also happens to be Damon Albarn’s sister) about her artistic influences, her rural upbringing, her alter ego faerie tale character and her biggest career challenge to date…

When did you first decide that you wanted to become an artist?I have always loved drawing but I guess I decided that I wanted to be an artist when I was about 15 yrs old.

How has your style evolved since you first started?
When I began my degree I was part of the sculpture department but I found I was happiest when I was drawing (although that could have been down to the fact that my sculptures had a tendency to fall over whenever my tutor drew near!). By the end of college, I had started drawing from nature and studying its relationship with geometry. It has developed a lot since then but I guess the seeds of that thought were sown then.

What/who has influenced your style?
Probably the most influential thing for me was the ‘Butterfly Ball’ by Alan Alderidge. It was a book I had as a child and of which I have revisited hundreds of times. I was fascinated by the detail, the personalities that Alderidge gave his characters and the dark sinister undertones.

What inspired The Boy in the Oak?
A good friend of mine has a tree in her garden that has a ghostly face in the bark. Her garden backs onto a wood and it reminded me of a place I used to visit as young child. A perfect setting for a faerie tale!

Is there a metaphor that older readers should relate to in The Boy in the Oak?
It’s about tuning into the magic in our daydreams, seeing through the veil of reality and escaping the prison of our minds.

How long did it take you to produce the illustrations and story for this book?
There were gaps along the way but it’s taken about four years from the birth of the idea to fruition.

Most of your work has a childhood theme – what was your childhood like and what were you like as a child?
I was born in London, but my parents moved out to North Essex when I was about 6. My parents are both artistic: my Dad ran the Colchester Arts school and my Mum had a studio at home. She also had a shop where she sold arts and crafts. We lived in a very old tudor house in a close-knit village. Most of my childhood was spent running around the countryside, making dens in woods and playing down by the river with my friends. I had lots and lots of guinea pigs, a rabbit and a cat. Also my Mum had a friend who had some ponies. It was all very ramshackle, but my Mum taught me and a lot of the village kids to ride. It was far away from pony club, hairnets and horse boxes, which was a good thing. I was a very happy child. My brother and I had a lot of freedom.

What is your favourite children’s fairy tale and why?
I loved all fairy tales like The Brothers Grimm, Hans Christian Andersen and the illustrations and stories in Russian Fairytales and folklore. But my favourite today still is the ‘The Happy Prince’ – by Oscar Wilde for its beautiful portrayal of love and kindness.

If you could be any fairy tale character, who would you be and why?
I would be the little girl in Baba Yaga, beating the witch and escaping adversity.

What has been the biggest career challenge you have faced to date?
Doing a three day live drawing performance for Helmut Lang in Tokyo. It was just a big deal for someone like me who is very private in their practice to be watched drawing!

What has been your proudest achievement to date?
Succeeding in getting my book published.

What three pieces of advice would you offer someone who is starting out as an illustrator/artist?
I don’t really see myself as an illustrator and haven’t worked as one apart from illustrating my book but as an artist I would say do what pleases you and don’t worry about what other people may think, work very, very hard and don’t give up if it makes you happy!

Jessica Albarn’s book ‘The Boy in the Oak’ is now available in bookstores worldwide.

(All images courtesy of Jessica Albarn)

Like most girly girls growing up, buy my bedroom was decorated with various shades of baby pink and faerie-inspired memorabilia. I had faerie bedspreads, faerie lampshades, faerie candles, faerie wind chimes (no, really) – I had no idea of the concept of taking things too far. If there was an image of one of those illuminated delicate, dainty little figures slapped onto anything (including mugs and toilet rolls), it had to be mine.

Although I have since grown out of my faerie-loving phase (and into other crazy obsessions my good friends will tell you!), the child in me still gravitates towards stories about magical otherworldly beings, the innocence of youth, and pretty much anything that takes me back to my childhood. It is for this reason that when I was asked to do a feature on Jessica Albarn’s storybook, The Boy in the Oak, it was with a resounding ‘yes’ that I answered. However, it turns out that the faeries I would be writing about aren’t the good ones that I used to wrap around me to protect me as I slept.

Written and illustrated by Jessica, the artist tells the fantastical story of a young lonely boy who amuses himself by trampling on flowers, tearing the limbs off trees, and traumatising the creatures in the garden of his family home. As his play becomes increasingly cruel until one day, the faeries that inhabit a giant oak tree, which is also the passageway to the Kingdom of Faerie, at the bottom of his garden cast a spell and trap him in the magical oak.

The narrative is accompanied by fine, detailed sketches of spindly creatures, faeries and emotive facial expressions (the faces of the two protagonists in her story are based on her son Rudy and daughter Lola). Insects are introduced throughout the text and appear on most pages of the book, which Jessica weaves into the fabric of her story, somehow managing to make them appear more beautiful than creepy, through her gentle artistic strokes. The result is a dreamy, melancholic and rather sinister yet magical tale for adults and children alike.

On the eve of the launch of her first storybook ever, Amelia’s Magazine finds a few quiet moments to talk to the very talented artist (who also happens to be Damon Albarn’s sister) about her artistic influences, her rural upbringing, her alter ego faerie tale character and her biggest career challenge to date…

When did you first decide that you wanted to become an artist?
I have always loved drawing but I guess I decided that I wanted to be an artist when I was about 15 yrs old.

How has your style evolved since you first started?
When I began my degree I was part of the sculpture department but I found I was happiest when I was drawing (although that could have been down to the fact that my sculptures had a tendency to fall over whenever my tutor drew near!). By the end of college, I had started drawing from nature and studying its relationship with geometry. It has developed a lot since then but I guess the seeds of that thought were sown then.

What/who has influenced your style?
Probably the most influential thing for me was the ‘Butterfly Ball’ by Alan Alderidge. It was a book I had as a child and of which I have revisited hundreds of times. I was fascinated by the detail, the personalities that Alderidge gave his characters and the dark sinister undertones.

What inspired The Boy in the Oak?
A good friend of mine has a tree in her garden that has a ghostly face in the bark. Her garden backs onto a wood and it reminded me of a place I used to visit as young child. A perfect setting for a faerie tale!

Is there a metaphor that older readers should relate to in The Boy in the Oak?
It’s about tuning into the magic in our daydreams, seeing through the veil of reality and escaping the prison of our minds.

How long did it take you to produce the illustrations and story for this book?
There were gaps along the way but it’s taken about four years from the birth of the idea to fruition.

Most of your work has a childhood theme – what was your childhood like and what were you like as a child?
I was born in London, but my parents moved out to North Essex when I was about 6. My parents are both artistic: my Dad ran the Colchester Arts school and my Mum had a studio at home. She also had a shop where she sold arts and crafts. We lived in a very old tudor house in a close-knit village. Most of my childhood was spent running around the countryside, making dens in woods and playing down by the river with my friends. I had lots and lots of guinea pigs, a rabbit and a cat. Also my Mum had a friend who had some ponies. It was all very ramshackle, but my Mum taught me and a lot of the village kids to ride. It was far away from pony club, hairnets and horse boxes, which was a good thing. I was a very happy child. My brother and I had a lot of freedom.

What is your favourite children’s fairy tale and why?
I loved all fairy tales like The Brothers Grimm, Hans Christian Andersen and the illustrations and stories in Russian Fairytales and folklore. But my favourite today still is the ‘The Happy Prince’ – by Oscar Wilde for its beautiful portrayal of love and kindness.

If you could be any fairy tale character, who would you be and why?
I would be the little girl in Baba Yaga, beating the witch and escaping adversity.

What has been the biggest career challenge you have faced to date?
Doing a three day live drawing performance for Helmut Lang in Tokyo. It was just a big deal for someone like me who is very private in their practice to be watched drawing!

What has been your proudest achievement to date?
Succeeding in getting my book published.

What three pieces of advice would you offer someone who is starting out as an illustrator/artist?
I don’t really see myself as an illustrator and haven’t worked as one apart from illustrating my book but as an artist I would say do what pleases you and don’t worry about what other people may think, work very, very hard and don’t give up if it makes you happy!

Jessica Albarn’s book ‘The Boy in the Oak’ is now available in bookstores worldwide.

(All images courtesy of Jessica Albarn)

Like most girly girls growing up, search my bedroom was decorated with various shades of baby pink and faerie-inspired memorabilia (I say most, but the latter could have just been me). I had faerie bedspreads, faerie lampshades, faerie candles, faerie wind chimes (no, really) – I had no idea of the concept of taking things too far. If there was an image of one of those illuminated delicate, dainty little figures slapped onto anything (including mugs and toilet rolls), it had to be mine.

Although I have since grown out of my faerie-loving phase (and into other crazy obsessions my good friends will tell you!), the child in me still gravitates towards stories about magical otherworldly beings, the innocence of youth, and pretty much anything that takes me back to my childhood. It is for this reason that when I was asked to do a feature on Jessica Albarn’s storybook, The Boy in the Oak, it was with a resounding ‘yes’ that I answered. However, it turns out that the faeries I would be writing about aren’t the good ones that I used to wrap around me to protect me as I slept.

Written and illustrated by Jessica, the artist tells the fantastical story of a young lonely boy who amuses himself by trampling on flowers, tearing the limbs off trees, and traumatising the creatures in the garden of his family home. As his play grows more cruel day by day, the faeries that inhabit a giant oak tree, which is also the passageway to the Kingdom of Faerie, at the bottom of his garden become increasingly unsettled until eventually, they cast a spell on him, trapping the boy in the magical oak.

The narrative is accompanied by fine, detailed sketches of spindly creatures, faeries and emotive facial expressions (the faces of the two protagonists in her story are based on her son Rudy and daughter Lola). Insects are introduced throughout the text and appear on most pages of the book, which Jessica weaves into the fabric of her story, somehow managing to make them appear more beautiful than creepy, through her gentle artistic strokes. The result is a dreamy, melancholic and rather sinister yet magical tale for adults and children alike.

On the eve of the launch of her first storybook ever, Amelia’s Magazine finds a quiet moment to talk to the very talented artist (who also happens to be Damon Albarn’s sister) about her artistic influences, her rural upbringing, her alter ego faerie tale character and her biggest career challenge to date…

When did you first decide that you wanted to become an artist?
I have always loved drawing but I guess I decided that I wanted to be an artist when I was about 15 yrs old.

How has your style evolved since you first started?
When I began my degree I was part of the sculpture department but I found I was happiest when I was drawing (although that could have been down to the fact that my sculptures had a tendency to fall over whenever my tutor drew near!). By the end of college, I had started drawing from nature and studying its relationship with geometry. It has developed a lot since then but I guess the seeds of that thought were sown then.

What/who has influenced your style?
Probably the most influential thing for me was the ‘Butterfly Ball’ by Alan Alderidge. It was a book I had as a child and of which I have revisited hundreds of times. I was fascinated by the detail, the personalities that Alderidge gave his characters and the dark sinister undertones.

What inspired The Boy in the Oak?
A good friend of mine has a tree in her garden that has a ghostly face in the bark. Her garden backs onto a wood and it reminded me of a place I used to visit as young child. A perfect setting for a faerie tale!

Is there a metaphor that older readers should relate to in The Boy in the Oak?
It’s about tuning into the magic in our daydreams, seeing through the veil of reality and escaping the prison of our minds.

How long did it take you to produce the illustrations and story for this book?
There were gaps along the way but it’s taken about four years from the birth of the idea to fruition.

Most of your work has a childhood theme – what was your childhood like and what were you like as a child?
I was born in London, but my parents moved out to North Essex when I was about 6. My parents are both artistic: my Dad ran the Colchester Arts school and my Mum had a studio at home. She also had a shop where she sold arts and crafts. We lived in a very old tudor house in a close-knit village. Most of my childhood was spent running around the countryside, making dens in woods and playing down by the river with my friends. I had lots and lots of guinea pigs, a rabbit and a cat. Also my Mum had a friend who had some ponies. It was all very ramshackle, but my Mum taught me and a lot of the village kids to ride. It was far away from pony club, hairnets and horse boxes, which was a good thing. I was a very happy child. My brother and I had a lot of freedom.

What is your favourite children’s fairy tale and why?
I loved all fairy tales like The Brothers Grimm, Hans Christian Andersen and the illustrations and stories in Russian Fairytales and folklore. But my favourite today still is the ‘The Happy Prince’ – by Oscar Wilde for its beautiful portrayal of love and kindness.

If you could be any fairy tale character, who would you be and why?
I would be the little girl in Baba Yaga, beating the witch and escaping adversity.

What has been the biggest career challenge you have faced to date?
Doing a three day live drawing performance for Helmut Lang in Tokyo. It was just a big deal for someone like me who is very private in their practice to be watched drawing!

What has been your proudest achievement to date?
Succeeding in getting my book published.

What three pieces of advice would you offer someone who is starting out as an illustrator/artist?
I don’t really see myself as an illustrator and haven’t worked as one apart from illustrating my book but as an artist I would say do what pleases you and don’t worry about what other people may think, work very, very hard and don’t give up if it makes you happy!

Jessica Albarn’s book ‘The Boy in the Oak’ is now available in bookstores worldwide.

(All images courtesy of Jessica Albarn)

Illustration by Stéphanie Thieullent

I love the Portico Rooms at Somerset House. Up an elaborate sweeping staircase, ask here lies a relatively small room in which I’ve seen some of my favourite presentations: Lou Dalton’s salon show a year ago, cialis 40mg both this and last season’s Orla Kiely presentations, and now Craig Lawrence’s presentation this weekend.

Presentations are my preferred preference to catwalk shows. You don’t have to fight for a seat, you can see the clothing and craftsmanship in close-up (particularly applicable with Craig’s astonishing knitwear) and, most importantly, they always have cakes.

This was no exception – just look at this table packed with the stuff. Delicious! Shame I decided on a cream-filled whoopie rather than something edible in front of fashion folk like a delicious slice of tiffin. Cue cream-covered chops, sloppy eating and and a general unfashionable mess. Ah, well.

Craig’s presentation was simple but oh so elegant. Three models perched around sculptural furniture wearing his latest offerings. I wonder how the pay-scale for models differs between catwalks and presentations? Surely sashaying to the end of a runway, striking a pose and then walking back is far easier than having people with zoom lenses oggle your pores and walk in circles around you? It’s a wonder they don’t fall over. They are good at looking into your camera though. Look at this one! She wurrrrks it. Give her a pay rise!

Craig Lawrence has quickly established himself as a man of exquisite craftsmanship, skill and style. I simply adore these floor length knitted numbers. Seeing them up close, you really develop an appreciation for the quality. I imagine that the wool he uses is of a high calibre, but staring closely at his pieces is quite something – hypnotic weaves create beautiful, rich textures.


Illustration by Stéphanie Thieullent

The colours were industrial and pewter was the mainstay, with the occasion flourish of varying greens and white. This all white number rustled as the model moved around the room, and it’s only when you see garments like this move that you realise their full potential. She does look a bit like she’s been through a paper shredder, though. God I hope she hadn’t.

Also on display was a strikingly beautiful and somewhat haunting film, which was actually all I thought I was going to see – the static models were a massive bonus. The black and white film was shot by Ben Toms and styled by Dazed & Confused’s Katie Shillingford. Bloody hard to photograph.

At first glance, it appeared to be a collection of photographs – a model stands stock still in a variety of poses on rocks and in the sea. It’s only when you watch for a little while you realise it is actually a film – you notice the hair flickering slightly from the wind, or the almost still waves of the ocean moving back and forth. It really brought the collection to life. Plus it was edited beautifully – by our own Sally Mumby Croft, no less!

You can see the film (and I suggest you do) here.

All photography by Matt Bramford

Jasper Conran  - Lea Wade
Jasper Conran by Lea Wade.

It’s hard to know what to say about Jasper. I certainly wasn’t expecting the earth to move, ask but it’s always nice to come out of a fashion show pleasantly surprised as I did after Paul Costelloe’s extremely strong opener to London Fashion Week.

LFW Jasper Conran by Anna Hancock Young
Jasper Conran by Anna Hancock-Young.

Perhaps Jasper needs to take a leaf out of Paul’s book – it seems that clothes your mum would be comfortable in at a wedding are no longer in, viagra dosage even with the more conservative crowd. And what was with the uncomfortable cheesy grins and hideous wide-brimmed netting hats? The styling and choice of models only served to emphasise the Debenhams factor, and I’m sorry but if I wanted high street on a catwalk I’d hot foot it down to Lakeside shopping centre.

Jasper Conran  - Lea Wade
Jasper Conran by Lea Wade.

However, all of this aside, much of the clothing was very sweet and (of course) I couldn’t fault its wearability. Straight up and down monochrome quickly gave way to the most citrus of hues in pleated swing skirts and dresses. The signature print – a painterly 40s inspired beach scene – was featured on the invite and on only one little sundress.

LFW Jasper Conran by Anna Hancock Young
Jasper Conran by Anna Hancock-Young.

Jasper Conran can clearly cut a great garment, so it’s just a shame he doesn’t push the boat out a bit more for London Fashion Week. Here’s hoping for more next time around.

Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory
Jasper Conran SS2011 photo by Amelia Gregory

Categories ,Anna Hancock-Young, ,BFC Tent, ,Jasper Conran, ,Lea Wade, ,lfw, ,London Fashion Week, ,Somerset House

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