Amelia’s Magazine | Simon Ekrelius: New S/S 2012 Season Interview

Simon Ekrelius S/S 2012 by Natalia Nazimek
Simon Ekrelius S/S 2012 by Natalia Nazimek.

Simon Ekrelius has been slowly building a reputation for his futuristic yet feminine style. Here’s a peek into his new S/S 2012 collection Bar-Red, page and a chance to find out more about his unique vision.

Simon Ekrelius S/S 2012 by Milly Jackson
Simon Ekrelius S/S 2012 by Milly Jackson.

What brought you from Sweden to set up your studio in London? 
I first discovered London in 1993 and since then I have been back and forth. My designs work better in London than in Sweden, healing where people are very careful with their wardrobe. In 2002 my partner Tom and I decided to move here and settle down.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
All photography by Marc Lavoie.

Simon Ekrelius S/S 2012 by Sampo Lehtinen
Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You have a wonderful way of making futurism seem eminently female and wearable – what inspires you and how do you keep this look fresh each season?  
I’m inspired by many things other than fashion; architecture, painting, sculpture and artistic movements in general. I don’t look at the work of other fashion designers because I can’t help but be affected, which is not good for my creative process. I also tend to avoid fashion magazines, which helps to keep my head clear and enable me to work hard on my feelings for the next season. I decide what I really like and what I feel will work, bearing in mind that it’s easy to go way too crazy and futuristic. It’s important to find the right balance – that’s what fashion is all about.

Simon Ekrelius S/S 2012 by Natalia Nazimek
Simon Ekrelius S/S 2012 by Natalia Nazimek.

What in particular is the new season’s collection Bar-Red based on and what does the name refer to?
I think that back in 1919 people were maybe experiencing similar things to what we are going through now, so Bar-Red is based on the Bauhaus movement, mainly with regards the geometric forms used in architectural design. I like the way that the Bauhaus integrated different forms in order to construct a new kind of style and I translated this into our time so that the collection is not completely retrospective. Bar-Red is so named because it can also mean Barred. The shape of a Bar is rectangular and the colour Red is the main colour in the collection, plus the words Bar and Red work together perfectly. I used bar-shaped objects in my prints such as cigarettes and there are big chunky arrows pointing at naughty areas or sometimes just away.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius S/S 2012 by Sampo Lehtinen
Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You showed in Ottawa this season which is quite exciting – how did this come about?
I was asked to take part by the organisers of Ottawa Fashion Week and at first I did not even believe they had a fashion week. Plus it was during Paris Fashion Week, which was very awkward. But they wanted me to come so badly that they offered me a very good package, so then I just couldn’t say no, especially since the economy in Europe is so tough now. I met members of the Swedish embassy when I was over there and that was interesting because they want to import more independent Swedish design to Canada.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius by Gareth A Hopkins
Simon Ekrelius by Gareth A Hopkins.

Will you be showing again in London anytime soon? We loved your last catwalk show with On/Off here. Any London based plans that we can share with readers?
Yes, absolutely, I’m planning to do an exhibition again next season at London Fashion Week. Perhaps I will share space with another designer to see how that goes, and after that I’m sure that I will be back on the catwalk again. But it all depends on the sales I’m afraid…

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius S/S 2012 by Lesley T Spencer
Simon Ekrelius S/S 2012 by Lesley T Spencer.

What is your preferred music to listen to when you are working and have you discovered any new musicians or bands recently that we should know about?
I’m just putting together a playlist on Spotify, and it features Grace Jones, Best Coast, Fever Ray, The xx and The Knife. When I am working I sometimes listen to 6 Music, but sadly I don’t have much time to really discover new bands.

Simon Ekrelius Bar-Red SS 2012 - illus
Illustration by Simon Ekrelius.

Your fashion illustrations are beautiful – how do you ensure this side of your work practice stays alive?
I do my illustrations as I go along. I create them in my head and then if I have a pen, some colours and a bit of paper they will come out automatically like a machine. So I will always illustrate as long as I am creatively productive. They are not always pretty – sometimes they are just a few lines that will help me to remember what has come into my head.

Simon Ekrelius S/S 2012 by Milly Jackson
Simon Ekrelius S/S 2012 by Milly Jackson.

What are your future plans for the Simon Ekrelius brand? 
Aww, this is a difficult one! I think for the moment I just want to get a better relation with buyers abroad and perhaps one boutique here in London to stock Simon Ekrelius exclusively. But then of course it would be great to eventually do my own shows in Paris or London, with high level production so that I can explain my stories properly in all areas. After that I would like to have my own place (to sell from). But first I need to focus on finding buyers.
 

Categories ,6 Music, ,architectural, ,Bar-Red, ,bauhaus, ,Best Coast, ,Buyers, ,Fever Ray, ,Futuristic, ,Gareth A Hopkins, ,Grace Jones, ,illustration, ,Lesley T Spencer, ,london, ,London Fashion Week, ,Marc Lavoie, ,Milly Jackson, ,Natalia Nazimek, ,onoff, ,Ottawa Fashion Week, ,paris, ,S/S 2012, ,Sampo Lehtinen, ,Simon Ekrelius, ,Spotify, ,Swedish, ,The Knife, ,The XX

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


Illustration by Jo Cheung

So after a rollercoaster six days, capsule for sale Menswear Day and London Fashion Week drew to a close with hip-store Kokon To Zai’s label, KTZ, and what would be my final show of this season. I absolutely loved what they did last season, and I couldn’t wait to see what they’d come up with next.


All photography by Matt Bramford

A heavily policed front row meant me and illustrator Gareth took seats on the second, but I managed to get on the end so that my pictures would make it look like I was Frowing all along. I was bloody exhausted and feeling very sorry for myself, and I couldn’t help but wish that they’d just get on with it and stop papping people wearing pig masks. My legs wobbled and I struggled to keep my eyes open, but when the music started and the first look appeared, I quickly forgot my woes.


Illustration by June Chanpoomidole


Illustration by Thomas Leadbetter

Memphis-inspired fashion? I thought I’d died and gone to heaven. A pumpin’ soundtrack blasted from the PA system as gorgeous models (more women than men, but who cares?) sashayed up and down the length of the BFC tent. Stripes were a plenty on figure-hugging dresses with sweetheart necklines that feature extra flaps in that Pop Art/Memphis splatter pattern. Vibrant primary colours made black dresses playful: such a sophisticated, considered collection expertly styled by wonder-styilst Anna Trevelyan.

A whole load of other influences filtered into this power collection – the womenswear referenced power dressing from the 1980s (think Dynasty) and Mondrian’s prints; the menswear also digging up the eighties with (faux!) fur lapels and broad shoulders.


Illustration by Abby Wright

I have to admit, I did prefer the womenswear – it was far more wearable for fashion-forward ladies and it oozed sex appeal with dresses cut above the knee and details in all the right places to emphasise the curves. The menswear featured striped balaclavas topped with pom-poms, acrylic brooches which referenced the womenswear, over-sized imposing puffa jackets and graphic-print trousers. But it’ll be the womenswear that cements Kokontozai’s place as one of London’s hottest design duos.


Illustration by Lesley Barnes

Huge orb-like creations were worn on wrists, picking out patterns from lapels. And, oh, the cuts! Dynamic pieces of fabric were layered onto classic tailored pieces to give them a seriously sexy aesthetic. This was a collection that was playful but sophisticated at the same – a really difficult challenge to pull off.


Illustration by Valerie Pezeron

I loved EVERYTHING about it. I can’t put it into words, so just have a look at the pictures. Oh, and read Amelia’s more comprehensive and articulate review here!

You can see more from Jo Cheung, June Chanpoomidole, Abby Wright and Lesley Barnes in Amelia’s Compendium of Fashion Illustration!


Marnie for Ziad Ghanem A/W 2011 by Tigz Rice
Marnie Scarlet for Ziad Ghanem A/W 2011 by Tigz Rice.

Ziad Ghanem‘s Never End, salve Never End, troche Never End was one of those hotly tipped shows that all my contributors were desperate to go to so I was promised performance catwalking at its best. What I hadn’t expected was to land a prime seat right opposite Boy George, looking remarkably svelte next to Daniel Lismore.

Boy George and Daniel Lismore. Photography by Amelia Gregory
Boy George and Daniel Lismore. Photography by Amelia Gregory.

I remember the allure of Karma Chameleon, back when a dodgy video was sufficient accompaniment for pop songs of such genius. Colour by Numbers was actually the VERY FIRST album that I owned, given to me by my aunt on good old cassette tape.

YouTube Preview Image

But then, ah, the show!!! This collection was inspired by a horror video game called Silent Hill and the work of Romantic painter John Henry Fuseli, and it explored themes of gothic romance. The press release states that the same garment viewed in a dark, gothic context by one viewer will be interpreted as romantic and liberating by the next.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011 by Jessica Holt
Ziad Ghanem A/W 2011 by Jessica Holt.

The show opened with a stunning piece of performance, as a red-headed model appeared in gothic Tim Burton-esque make up, black skirts tumbling as she grew before our eyes into a 12 foot monster burlesque bride waving great green feathered fans. Thereafter followed a series of printed, billowing capes and tightly corseted dresses, all accessorised with veils, reddened eyes, cracked cheeks and Joker smiles. Apparently Ziad asked each model to choose their own favourite horror film make up for the show.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011 by Jamie McGregor
Ziad Ghanem A/W 2011 by Jamie McGregor.

Androgynous models wore chiffon and beaded dresses, a spooky ghost couple trailed still more netting behind as they faced the photographers together. Amidst the drama cleverly made outfits showcased traditional haute couture skills using bias cut vintage silk chiffons and duchess satin that flowed around the body.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011 by The Lovely Wars
Ziad Ghanem A/W 2011 by The Lovely Wars.

A white faced creature smeared its face with black paint and make up took a turn towards our feathered friends: blue winged eyes echoing the giant bird prints on winged dresses. Out stepped a ballet dancer on pointe, edging down the catwalk in frilled lilac, her skull face shrouded in grey. As she retreated backwards a series of busty ladies swept down the catwalk in eminently wearable multi coloured chiffon dresses: amongst them walked transvestites, burlesque artists and a giant lady in grey. I particularly adored the bustle backed electric fuchsia number that emphasised every womanly curve.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011 by The Lovely Wars
Ziad Ghanem A/W 2011 by The Lovely Wars.

Taking the art of the catwalk to fantastical heights, Ziad Ghanem proved that his shows really are worth the hype, with or without the added bonus of an 80s pop idol in a fabulous yellow fedora. You can read more about his unique selection of models here.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia Gregory
Ziad Ghanem A/W 2011. Photography by Amelia Gregory.

You can also read Florence Massey’s review of the Ziad Ghanem show here.

Alice Palmer A/W 2011 by Maria Papadimitriou
Alice Palmer A/W 2011 by Maria Papadimitriou.

Glaswegian Alice Palmer makes extravagantly shaped knitwear. Now based in London, medical she demonstrated her ‘polyhedra knitting’ skills to the max with her Into the Void collection. The press release cites the minimalism of Anish Kapoor, side effects the eccentric dreams of flying machine enthusiast Gustav Mesmer, who invented an Umbrella Helicopter, and Black Sabbath as diverse influences, but you’d be hard pushed to identify them in anything more than the loosest of contexts.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 by Gilly RochesterAlice Palmer A/W 2011 by Gilly Rochester
Alice Palmer A/W 2011 by Gilly Rochester.

Abstracted shapes in monochrome and muted gold were the basis of Into the Void, extended and furled from the body in stunning 3D folds like the skin of an exotic ridged lizard. Large dangling flaps resembled the armoured scales of a dinosaur as they capsized down low cut backs, or heaved forwards like ruptured innards. Hair was layered high on top of the head, and eyes pronounced with winged eyebrows in severest black. Tight fitting dresses with a geometric pattern like rippling water were amongst the most desirable in terms of wearability.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void All photography by Amelia Gregory.Alice Palmer A/W 2011 Into the Void Daniel Lismore photography by Amelia Gregory.Alice Palmer A/W 2011 by Emmi OjalaAlice Palmer A/W 2011 by Emmi Ojala
Alice Palmer A/W 2011 by Emmi Ojala.

I was particularly captivated by the amazing spike jewellery which came bobbing seductively past me at eye level on wrists, and around necks, and dangling in great stacked globes off fingers. It was created by Karen-Ann Dicken of Oread Jewellery, a fellow Glaswegian who trained at the Royal College of Art. For this catwalk show she lent her Geo designs, made from steel, silver, semi-precious stones and cubic zirconia.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryKaren-Ann Dicken geo necklaceKaren-Ann Dicken geo necklace in steel
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void. Rebekah Roy. Photography by Amelia Gregory
Alice Palmer A/W 2011 Into the Void stylist, the lovely Rebekah Roy. All photography by Amelia Gregory.

You can view more work by Emmi Ojala in my first book, Amelia’s Anthology of Illustration, available here.

Categories ,Alice Palmer, ,Amelia’s Anthology of Illustration, ,Anish Kapoor, ,architectural, ,Black Sabbath, ,Cubic Zirconia, ,Daniel Lismore, ,Emmi Ojala, ,Fashion Scout, ,Geo Designs, ,Geo Necklace, ,geometric, ,Gilly Rochester, ,glasgow, ,Gustav Mesmer, ,Into the Void, ,Karen-Ann Dicken, ,knitwear, ,lfw, ,Maria Papadimitriou, ,minimalism, ,monochrome, ,Oread Jewellery, ,Polyhedra Knitting, ,Rebekah Roy, ,Royal College of Art, ,Silver, ,Slowly the Eggs, ,Steel, ,Umbrella Helicopter

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Jean Pierre Braganza (by Matt)

After the safety of school, stuff facing the real world can make artists feel a bit lost – this is why the working artists at the Core Gallery started ‘DIY Educate’. Starting from Saturday 26th February, this there will be workshops, prostate critiques and lectures to help with the practical aspects of art life.

Rosalind Davis

‘I came out of five years of education with a BA and an MA, but I still didn’t know where to begin when it came to knowing how the art world works,’ says Rosalind Davis, co-director of the Core Gallery. A lot of people who graduated university with an arts or humanities degree are likely to identify with this sentiment; while art school is good for finding your voice, it’s not so good when it comes to teaching you about running a business. This is where Rosalind, and her fellow Core Gallery artists, hope to be able to help.

Enver Gursev

The Core Gallery was set up in April 2010, and puts on exhibitions by emerging curators. ‘We want to be a dynamic, exploratory space,’ says Rosalind. Their DIY Educate programme kicks off this spring, focusing firmly on ‘what they don’t teach you in school’: how to apply for an exhibition, how to sell your work, how to approach a gallery. The workshops will also go over how to find grants, or how to find an arts-related side-job to keep food on the table. One-on-one tutorials are also part of the package, with esteemed painter Graham Crowley offering his honest opinion for starters, with more names to be added. ‘There will also be peer critique sessions, and the opportunity to exchange ideas in a friendly place’, says Rosalind, emphasising how the most important thing is to create a space where artists feel nurtured.

Graham Crowley

‘Lots of art school practice is about the concept and processes of art, and there is less focus on the business side,’ says Rosalind. ‘But artists can be shy about marketing themselves, and they will often need encouragement.’

I ask Rosalind why the business side this isn’t covered better in school, and she says it’s difficult to say, but part of the reason may be that artist teachers in university may not be that great at promoting themselves either. She lectures about the business side of art herself, but she thinks it should be a mandatory subject to better prepare students for what’s to come.

Arnold Borgerth

DIY Educate will include talks by curators and artists, plus practical workshops. Membership costs £18 per year, granting free or reduced price access to events. Non-members can attend too, paying full price. DIY Educate is a not-for-profit programme that receives no independent funding, and Rosalind hopes to be able to expand offerings as things get going.

Elizabeth Murton

The programme kicks off this Saturday, 26th February, with a peer critique sesson followed by an artist and curator dialogue. On Tuesday night, 1st March, there will be a ‘nuts and bolt’ workshop on how to be an artist.

‘We plan to have one of these ‘nuts and bolts’ workshop every other month or so, plus a series of art workshops through the spring and summer,’ Rosalind explains. Initially the gallery plans to have two tutorials a month, but this could grow as more artists join Graham Crowley in offering them.

All images courtesy of Core Gallery and its resident artists.

The DIY Educate website is here – find the Core Gallery in Deptford: C101 Faircharm Trading Estate, 8-12 Creekside, London SE8 3DX

Illustration by Joana Faria

If I ever meet Jean Pierre Braganza in person, buy I might give him a little squeeze. His A/W 2011 show on Friday leaps right into my top 5 – and I’m writing this at the end of a very long and pretty stressful Day 3.

One of my favourite things during fashion week is getting to see interesting buildings that I never knew existed and wouldn’t normally take the slightest interest in. Braganza’s show was to take place at the ‘Show Space‘ – part of one of those centuries-old hotels with Baroque interiors and branded soaps. Me and Amelia skipped the queue and sneaked inside to find the most beautiful chandeliers and lots of OTT dressed punters. The actual room in which the show was to take place was equally as decadent, save for the make-shift catwalk that looked like it could topple at any second – and the tiny gap down the side of said catwalk through which we all had to squeeze. ‘I predict a bottle neck’ I thought as we entered, and my premonition came true on the way out.


Illustrations by Krister Selin

A little wait ensued while it was ensured that every inch of carpet had somebody to occupy it, so I took a few snaps of the room and got a bit excited about the juxtaposition of this past interior and Braganza’s future aesthetic.

On with the show with bangin’ beats and gorgeous models wearing more gorgeous clothes. Masculine tailoring appeared first, dynamically cut and decorated with a transfixing splatter pattern in tonal greys. This pattern was set to become a theme, appearing in both menswear and womenswear. After only a few pieces I instantly thought that Braganza’s collections are always meticulous and polished – rich, full fabrics are combined with unique cuts and expert craftsmanship – the entire collection was technically faultless.

Models appeared one after the other, pausing a third of the way down the catwalk so we could all get a good look. I like this set up – much better for pictures (and I’ve really struggled with pictures this season – bloody A/W and it’s sea of dark colours).


Illustrations by Krister Selin

Branganza took the collection forward concentrating on luxe materials that have high aesthetic value: rich and heavy knits, leather and mohair; add a science-fiction influence and you’ve got a real fashion forward collection.

Geometric cuts featured patches of contrasting materials. Nautical stripes in monochrome contrasted with the smoothness of jersey; gents wore Cuban heels with their military tailoring with contrasting sleeves. Braganza has an incredible ability to combine leather architectural pieces with beautifully elegant silk frocks – sounds hideous on paper but as a collection it was completely coherent.


Illustration by Joana Faria

I usually can’t get it up for a predominantly black collection, but with Jean Pierre Braganza’s vision of the future I most certainly can. Bursts of lipstick red shook things up a bit: a gent’s suit with a synched back and skinny trousers that finished with points; embellished onto a mind-blowing shift dress; on short skirts. But it will be Braganza’s black that I remember this collection for: leather sleeves for gents and cutaway dresses in leather with a hint of bondage that oozed sex appeal for the ladies. Eyes peeled folks, this is what the future looks like.

All photography by Matt Bramford

See more of Joana Faria and Krister Selin’s illustrations in Amelia’s Compendium of Fashion Illustration.

Categories ,A/W 2011, ,architectural, ,baroque, ,black, ,Catwalk review, ,Croydon face lift, ,Cuban heels, ,Futuristic, ,geometric, ,Jean Pierre Braganza, ,Joana Faria, ,Krister Selin, ,London Fashion Week, ,Northumberland Avenue, ,Red, ,The Show Space, ,Trace Publicity

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