Avril Kelly – Page 3 – AmeliasMagazine

Amelia’s Magazine | Lazy Summer Days with Handmade Ethical Clothing from Lowie

Lowie was set up by Bronwyn Lowenthal – born in the UK, site raised in Tanzania, with Jewish roots and a Welsh name. She was trained in marketing and went on to become brand manager for Ben Sherman before setting up Lowie nine years ago, which she started by importing Turkish made hats and socks to sell in Portobello Market. She quickly realised that there was a niche for brightly coloured handmade knitwear and found a supplier to produce larger quantities for her in Hong Kong.

I Love Lowie handmade ethical clothing by Kathryn Edwards.

Lowie Playsuit by Alejandra Espino.

The Lowie Parlour Dress.

Lowie has now expanded into ‘wovens’ – pretty cotton fabrics that feature darling floral sprig prints, all printed in a fair-trade factory in India. These are made into flirty dresses with full skirts and nipped in waists and cute little playsuits. The brand is sold in Heals, Anthropologie and ASOS to name but a few.

Lowie by Avril Kelly.

Lowie Crochet Bow Dress by Michalis Christodoulou.

Lowie didn’t start life as a specifically eco brand but has gradually moved in that direction over the years. At one point Lowie was the only brand producing eco knitwear in jewel bright colours, so they have helped to lead the market away from boring ethical neutrals, opening the door for some of the much more exciting eco fashions that are around today.

Lowie by Jane Young.

The Lowie Culotte Playsuit.

All wool jumpers and accessories are now made in China from wool that is produced in Australia. Although all Lowie cotton products are organic the wool is not, so they are currently looking into new types of eco yarns, for example those made from bamboo, which can feel as good or even nicer than wool.

Press Days March 2011-Lowie red bow
A close up of the bow detailing at press days.

Press Days March 2011-Lowie
A couple of the Lowie girls looking pretty in Lowie dresses. Hannah on the left manages the studio.

In the meantime Bronwyn travels overseas a few times a year to overlook factories and ensure production fits ethical fair-trade standards – all clothes are manufactured by home workers who run small domestic workshops in their living space.

Press Days March 2011-cupcakes Forward PR
A totally self indulgent photo of cupcakes at the Lowie press day. Just because they were so pretty.

You can find the new Lowie collection on their website. I absolutely adore the breezy Lowie style, especially for summer.

Written by Amelia Gregory on Monday June 13th, 2011 10:34 am

Categories ,Alejandra Espino, ,Anthropologie, ,ASOS, ,australia, ,Avril Kelly, ,Bamboo, ,Ben Sherman, ,China, ,cotton, ,cupcakes, ,Dresses, ,eco, ,Eco fashion, ,Emma Jardine, ,ethical, ,fairtrade, ,florals, ,Forward PR, ,handmade, ,Hannah, ,Heals, ,Hong Kong, ,India, ,Jane Young, ,Kathryn Edwards, ,knitwear, ,London Kills Me, ,Lowie, ,Michalis Christodoulou, ,Playsuits, ,Portobello Market, ,Press days, ,print, ,Turkey, ,Welsh, ,wool

Amelia’s Magazine | An interview with Oak fine fairtrade jewellers

Illustration by Faye West

The inspiration behind Oak jewellery is evident in its name. Delicate leaf motifs, cialis 40mg woven twigs and acorn designs abound, all inspired by the mighty Oak tree. We fell in love with their designs, adding them firmly to our one-day wish list. But when we discovered that Oak use fairtrade gold we realised that there’s more to this jewellery than first meets the eye.

We caught up with Oak over a virtual cuppa and talked all things Gold (“Gold! Always believe…” Sorry…)

Can you introduce oak to us in one sentence?
OAK is a Super-Luxe, ethical, fine jewellery brand with heart.

Illustration by Natasha Thompson

Who are you and what floats your boat?
Oak is run by myself, Jo-Anne Owdud and my partner Parul Tolentino. Parul and I are quite different in our styles; expressed through our clothing or our homes. But we always seem to love what the other is into. Parul is currently into her Papier-mâché antelope head, taking pride of place in her bedroom whilst I am frequenting Victorian fireplace graveyards on the hunt for the perfect reclaimed fireplace! Family is also a big part of our lives, especially our children. We are secretly trying to arrange their marriage after their first moonlight river stroll on Valentines. They are 1 and half and 2. We don’t think this is extreme!

How did Oak come about?
We both worked in the fashion jewellery world for some time. Then, when Parul moved south of the river it meant we saw each other a lot more, particularly when we both had our first children. One fateful day we were having a very nice pub lunch when the journey of OAK began. Many more pub lunches followed; this time with sketch books in hand! It has been a long journey but a steady one. It’s taken us around 9 months to get us to the position to launch.

Illustration by Daria Hlazatova.

What are your design inspirations?
We love objects that have a story to tell, whether that’s with a sentimental meaning, or perhaps something unexpected. Historical references play a big part in what we love to explore and our surroundings are a huge inspiration. The Richmond Park collection was inspired by the sentiments of family and life, conveyed through the power of nature and our namesake; the ‘Oak’ tree. It’s also our favourite playground.

I am a big tree lover (!) and have noticed a lot of tree inspired designs in your jewelry. What is it that appeals to you about them?
We took our name from the mighty Oak tree because it evokes strength, beauty and a sense of the elegance of British heritage. We also love the thought of ‘if trees could talk’. What would they tell us about all they have seen over their years?

Where do you see your shop in 5 years time?
We aim to be at the forefront of ethical luxury jewellery and to be a recognised global British brand.

Illustration by Avril Kelly

Some might say that it was brave launching a new business, especially a luxury jewellery company, in a recession. How have you found it? What have been the best and worst moments?
Starting a new business is such a huge task and a risk in any climate but we both found ourselves in a position to start OAK that we couldn’t let pass. Our best moment was receiving our finished collection at 7.15am one-weekday morning. The worst was when we were looking for British manufacturers to work with and we were met with so many disheartening stories about the recession. This led to a lot of reluctance from people not wanting to take the risk with working with new designers.

Do you have any advice or tips for any other aspiring entrepreneurs?
We spent a lot of time discovering and defining what we wanted OAK to be. This helped us believe in ourselves, and to know who we are. Also it has been helpful to take a step back at times and assess where we are. This has led to a few positive directional changes. We also haven’t been afraid to ask for help in some areas. Our blog has been quite cathartic too for us and we used it log our journey leading up to our launch.

Illustration by Avril Kelly

What are your ethical motivations? ie what are the issues that get you fired up?!
With all the information available these days with regards to ethical business it just seems irresponsible not to act on it. Who would want to receive something with love if someone has sweated tears over it?

Can you tell us a bit about why you chose to use fairtrade gold?
Fairtrade monitors and regulates the production of gold. This is important to us and for our customers to be reassured. We also feel that using ethical gold is important to the sentiment of heirloom pieces. Luxury jewellery is an investment for the future and we feel that part of its value is that it is made in an ethical way. Our gold is from Oro Verde, which has been awarded Fairtrade status. We are awaiting our own license.

Illustration by Natasha Thompson

Thank you Oak Jewellery! To see more of their work, or visit their shop, see their website here.

Written by Hannah Bullivant on Thursday May 5th, 2011 2:06 pm

Categories ,Avril Kelly, ,Daria Hlazatova, ,Ethical Shopping, ,fairtrade, ,Fairtrade gold, ,Faye West, ,Forest, ,Hannah Bullivant, ,Jo-Anne Owdud, ,Natasha Thompson, ,Oak Fine Jewellery, ,Parul Tolentino

Amelia’s Magazine | Craig Lawrence

When you think of the humble pom-pom you think of children’s clothes, order buy of gigantic sombreros for tourists, generic unsightly snow boots and poodles with dodgy haircuts. Experimenting with pom-poms always seemed to be a bit like tequila shots – one was fun, two was adventurous, any more was way overboard and enough to make you gag.
NOT ANY MORE! Somebody somewhere decided it was time to wrench those pom-poms from the cheerleader’s sweaty grasp and boom! Stick them in the right places and we’re in love – and it turns out you can have hundreds of them!

They might have come to our attention bobbling out all over the catwalks in fashion week and with the high street following suit, but this is a look that could be even cheaper for the creative recessionistas amongst you. Make your own! Check it.
If you ever find yourself sat staring into space on the tube, you could be churning out a whole lot of pom-poms instead. Worn the right way I think it’s a really easy and fun accessory to jazz up an outfit– this cute Peter Jensen ring as a prime example:

We’ve seen some girls wearing them in their hair, which make a nice woolly alternative to bows, and of course the contentious scrunchie.

BIGGER:

BIGGEST:

THE KITCHEN SINK:

Don’t be wearing those in the cinema mind you.

It’s amazing that something so simple has been culturally reinterpreted so often over the course of history. That might sound grand but something that’s gone from dangling off the edges of sun hats in Central America, to being mass marketed to children all over the world to making on the Paris catwalks is pretty unique. Yikes, Pom Pom international even reckons they can promote world peace. Maybe that’s one tequila too many. Sporting them could almost seem a throwback to childhood, a fashion revival harking back to the days of hats and mittens (I’d like to say ‘and snow and toboggans’ but let’s face it, it doesn’t snow THAT often).
The last thing we can learn about pom-poms is from cheerleaders everywhere, who if nothing else, seem mind-bogglingly happy. Why? POM-POMS!
“At a T-cross-section go to the left. On your left hand you will see a hill. At the end of the hill, tadalafil on the top, this you will see a green cottage. That is where you can find me. If I am not there I might be outside doing some experiments.”

Holland’s answer to a modern day Darwin, Theo Jansen has spent the last 19 years playing god and taking evolution into his own hands. An arrogant way to spend the best part of two decades you might say, but not when you see what incredible results this passing of time has produced. Jansen’s kinetic creature creations exist in a carefully crafted overlap of art and engineering.

From a physics background to a study of painting via an interest in aeronautics and robotics Jansen arrived at 1990 with a thirst for breathing autonomous life into mechanical sculpture. What started as a highly technical computer animation program is now only reliant on the power of the wind with no machine assistance and only minimal human input required, and even that Jansen hopes to eventually phase out.

My personal attraction to what Jansen does comes from my deep seated loathing of plastic waste, which he cleverly conquers by incorporating discarded plastic bottles as part of a complicated wind energy storage system and he sources metres and metres and metres of yellow plastic tubing- 375 tubes per animal to be exact- to create the skeletons for his beautiful monsters.

He claims he started to use the plastic tubing because it was unbelievably cheap and readily available although he quickly discovered that a more perfect material for the project would be hard to find as they are both flexible and multifunctional. He draws comparisons between the plastic required in his art and the protein required for life forms. “in nature, everything is almost made of protein and you have various uses of protein; you can make nails, hair, skin and bones. There’s a lot of variety in what you can do with just one material and this is what I try to do as well.”

The heads of his giant beings act as sails, directing the intricate frames to glide gracefully across the nearby beaches to Jansen’s home and laboratory. The insect-like wings catch gusts of wind and propel the body forward. When there is no wind not even for ready money, the stored energy in the belly of the beasts can be utilized.

Jansen’s vision is of a landscape populated by herds of these sculptures taking on entire lives of their own. The versions of models that made it into existence have raced and won survival of the fittest contests through his computer program and having studied these ‘winners’ Jansen designed creatures so developed they are even capable of self preservation, burrowing themselves in the sand when the gusts are too powerful for them to use constructively.

His imagination like his Strandbeests (literally translated as ‘Beach Animal) is an ever evolving self perfecting organ. He envisions a point at which he will release his creations ‘into the wild’, which he speaks about in the same loving tone you would expect from a parent preparing their nest to be flown by their offspring. “I imagine that two animals will meet each other and compare their qualities in some way; have a demonstration somewhere on how they run and how fast they can run and also do some quality comparison on how they survive the winds. And the one with the better quality kills the other one and gives the other its own genetic code. There could be 30 animals on the beach, running around all the time, copying genetic codes. And then it would go on without me.” It’s not so far fetched after all to consider what Jansen does as god-like. He plainly and rather humbly philosophizes, “I try to remake nature with the idea that while doing this you will uncover the secrets of life and that you will meet the same problems as the real creator,” he added. Theo Jansen is simply a genius though his genius is far from simple. Amen.

It has been a while since I have found a political party that I feel that I can get behind. Politics seem to have descended into a misguided mess. Anytime I read about a Tory or Labour MP, more about it is usually because of a scandal. What is going on environmentally and economically seems to play second fiddle to infighting and lies. Meanwhile, living in East London, I have become friends with a couple of people who are involved in the Hackney Green Party. They don’t seem to lie, or cheat, or claim expenses – this is a party that I can support! I wanted to find out more about them, so I sat down for a cup of tea with Matt Hanley, who is the Green candidate for Stoke Newington Central.

Jessy%20P.everything_is_connected-artwork1.jpg
Illustration by Jessica Pemberton

I really liked the political broadcast; I thought it was very astute. The message is not that we have to step outside of our comfortable lives, but that the Green Party are the only political group who can deal with the contemporary and current issues that the world is facing; both politically and environmentally.

We have changed in almost a 180-degree way, twenty years ago the stereotype was beards, sandals, pipes, hemp clothes, it was almost like lecturing the public – it was unsophisticated. Twenty years ago was what, 1989? Scientists for the first time had come to an agreement that climate change was happening, and that it appeared to be man made. I guess when that news was first out there; people were like ‘look, its GOT to change’. Now we are a bit savvier. We have to present policies which are palatable to the voting public; there is no point in standing on the side lines and finger wagging, if we present a policy which will save money but drive down carbon emissions – that is what we are all about. I see the environment agenda of the Green Party very much subset of our core goal, which is social justice. Everything we do, we put the welfare of the human being at the very core. If they are not benefiting from our policies then… I don’t want to know…. that is what the Green Party stands for. So we work for human rights, LGBT rights, promoting the local economy, promoting local business, right though to reducing carbon emissions, they are all under this umbrella of social justice. We are providing a very electable platform, which will improve people’s lives. We are a very well run political party with extremely good innovative ideas to get ourselves out of this economic mess and we are also challenging climate change and enabling our communities to do the same and preparing ourselves for peak oil.

There have been a many protests organised recently, a lot of people who have never protested before are taking to the streets. What is the Green Party’s stance on direct action?

We are the political wing of the New Social Movement; we are the only party who advocate non-violent direct action. The Green Party leader, Caroline Lucas, is probably the only leader with a criminal record, she has been arrested at a nuclear base up in Scotland. We support legitimate protest. There is a place for the protesting, and a place for the parliamentary process. So we are the elected wing of the protest movement.

Aaron%20_time_for_change_final_2.jpg
Illustration by Aarron Taylor

Other parties don’t like their protesters do they?

Absolutely not, they just want you to nod along. Like good citizens, nod along like The Churchill Dog! (Laughs)

For people who have only heard of Hackney and have not been here, the first words that would come to mind would not be “sustainability”, “communities” or “grow your own”, but plenty of people are living by these ideals here and there is actually quite a healthy sized green movement in Hackney….

There is a massive opportunity for a green movement here, and massive support for us. It is unbelievable. In the last elections, the Greens reached second or third in every single ward in Hackney.

And you have a good relationship with Transition Town Hackney as well?

Yes, but they are completely different organisations. The Transition Town movement doesn’t want to be in the thrall of the political party. We definitely support the parties and their principles. We are all about a localised economy, we should be able to feed ourselves, produce our own energy, and I should be able to send my kid to the local school. The Transition Town model is about preparing for the onslaught of climate change and equipping communities for that transition, and that is also what the Greens are all about.

Can you see Hackney functioning well under a Green Party council?

Absolutely! They are doing it in Lewisham at the moment, which is a similar demography. They are doing all these fantastic things, for example, they have set a system up where you can go to the library and hire energy reading meters which you can take home and fix into your energy meter and this allows you to do an audit of your energy usage. I definitely want to see this launched in Hackney. It’s an innovative, creative way of thinking. It’s about putting sustainability at the core of everything, which also saves lots and lots of money!

I see The Green Party as being very accessible to young people as well.

The average age of people joining is mid to late 20′s. They are not wedded to 20th century politics, a lot of older labour supporters can’t bring themselves to leave. We have the same agenda that Labour did, back when they were good Labour. Only we can add the environmental agenda. We stand up for peace. We stand up for nuclear disarmament, no other party does that. We want public services to stay public. We want to renationalise the railways – the cost of rail tickets hits young people very, very hard. Younger people can see that we are standing up to big businesses, supporting local shops, and standing up for individuals. We have a whole plethora of progressive policies……..

Aaron%20capitalist_final.jpg
Illustration by Aarron Taylor

And also The Green Party a very media savvy bunch – you are on Facebook, you organise lots of activities….

Absolutely! In fact next week we are going paintballing – ‘Paintballing for Peace’

(Laughs) What other way is there to find peace?

(Laughs), and we are going on a Hackney Greens bike ride down to Brighton, we are organising a summer solstice away down to the coast. And we go on alternative pub-crawls. (Laughs)

Speaking of young people, Matt, you are 30 years old and you are standing for Stoke Newington Council for next May. What prompted this move?

I don’t like politicians – they are all the same, especially with what is going on with news about their expenses at the moment.
Working for the Green Party, and seeing the good that they are doing, I thought, you have to step up. I know that I can do a good job. Labour are failing miserably both in Hackney and in the country. The Conservatives are the same, the Liberal Democrats are no different, and so as a Green, you just have to step up.

What will you do if you won and had the power to implement any idea? What’s the first thing that you would do?

Free insulation! It’s a scheme that stems from European legislation, which states that energy companies are obliged to give a certain percentage to energy efficiency schemes. But the councils have to apply for that. The Green Party in Kirklees is on the local council, so every single person in Kirklees gets free insulation. It drives down energy costs, and drives down the carbon emissions and creates local jobs, so it’s a win win situation. Why every single council on the country is getting on this I don’t know. It saves everyone money, make peoples homes warmer, make them healthier – it stops people going to NHS with colds and flu and also reinvigorates the local economy by producing jobs. It creates a programme of very sustainable jobs. We tried to implement it before, but the Labour Councellors called it ‘daft’, dismissed it out of hand and didn’t give a reason beyond that!

That doesn’t make any sense!

The Labour and Conservative Party and the Liberal Democrats are on the wrong side of history, but there is a new movement, and it takes into account the Green Party, Transition Town and Friends Of The Earth…. Amnesty International, trade unions, CND etc and all these community grass routes organisations. This is a wonderful new social movement that can be called green with a small g and is a new paradigm of social and political engagement…. this is what the 21st Century is coming to now, but the three big parties are still clinging onto the coat tails of 20th Century ideology. This whole new multifaceted social movement (of which the Green Party are the political wing) is the new politics of the 21st century.

Illustration by Faye Katirai

Can you tell us the best changes that we can make to our lives to make our world more sustainable?

Number one is vote Green! Although I don’t want to lecture people about being ” eco trendy”. Eco trendiness and eco consumption is not going to sort this mess out. We need strong government action to allow this country to change to a sustainable economy. But back to things that you can do as an individual: don’t use your car as much. Don’t eat as much meat. Cut down, you don’t have to stop eating meat completely, just don’t buy from supermarkets. Stop shopping at supermarkets altogether, because that is killing the environment, and your local towns. Support your local shops instead.

Wise words! Thanks Matt.
While the rest of us spent the winter windblown and wet-toed, viagra knitwear designer Craig Lawrence was dreaming of a resort escape, prostate with all the bells and whistles. And what hard earned sunburn doesn’t deserve to be soothed by an embarrassingly oversized tropical drink with all the tacky accoutrements. And ‘splash’ inspiration is born! Those fanciful toxic colored fishbowls of liquor with their cascading garnishes were all the visual inspiration Craig needed to create his first collection since graduating from St.Martins last July. Knitted up with satin ribbons and swirling metal yarn, the knitwear newcomer’s sugar sweet confections made it to Vauxhall Fashion Scout’s runways and onto the lips of the fashion heavies.

I understand sweets and cocktails were the inspirations for your recent collection. What are some of your favorites?
After my degree collection for St.Martins I needed a bit of time to catch my breath so when I started designing again it was winter…cold and grey. I was eating sweets in my studio and daydreaming of beaches and tropical drinks. Some of my favorite things are peach daiquiris, parma violets. My favorite sweet is probably chewy toffee and favorite drink is that fizzy orange drink irn-bru.
What do you recall as the first piece of knitwear you ever made?
A wooly, salmon colored scarf that I actually lost on the train. That and an awful grey ruched square-shaped polyester thing I had to make for my A levels.
If given the chance to collaborate with anyone who would you have in mind?
I’ve always thought of doing pieces for a more theatrical environment. I would love to work with Slava Snowshow.

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You recently worked with stylist Katie Shillingford on a shoot for your recent collection. There’s so much movement in those images which really brings your knits to life, how did you manage to capture that?
I’d wanted dancing and movement but the studios’ ceilings were too low and they were all too expensive. So we brought a 9 ft family size trampoline to a rooftop overlooking the city and had the girls bouncing up and down on it. A bit risky actually as there was really not much there to stop them from going over if we weren’t careful. We did the hair and make up at home with the help of my boyfriend and flatmates, one of which is a model, which definitely helps when you need someone for fittings.
Did you start out interested in knit or did you find your way to it while studying fashion?
Actually, I wanted to do menswear while I was at London College of Fashion, by the time I got to St.Martins they encouraged me to do knit because they saw that all my stuff to that point had been designed in jersey. And I loved the chunky quality of knit.

I hear you managed to do the impossible and actually design 6 seasons of knitwear for Gareth Pugh, while doing your BA, AND working a retail job once a week. How were you able to do that and how many of yourself did you have to clone?
I was in school at the time and had knitted a scarf for a friend who’s flatmate wore it on a date with Gareth, who mentioned he was looking for a knitwear designer. He got in touch and said he needed to have pieces made up in a week. So it was all quite fast. All that while doing my BA degree and working in the stock room at John Lewis on Saturday mornings, sometimes having to be there at 6 am. You get used to not sleeping.
And a year after graduating you were showing at Vauxhall Fashion Scout?
My PR agency BLOW called me up a week before the show and said they had an opening for me, so I made up some accessories and a few pieces to fill out the collection I’d been working on. I was given a team of hair and make up artists and we were off.

Which comes first for you, the yarn or the garment?
Usually the textiles come first for me. I’ve learned alot about them along the way, like for example needing to use a flat knit for tight fitting garments.
Are there any textiles, practical or not that you’re really keen to use?
I’d like to do something with little leather strips or pvc something shiny and bright. Maybe even strips of diamante.
What is one of the more random things you’ve used to knit with?
You know those yellow rubber gloves used for washing up/ i found a guy in Dalston Market selling a gaint roll of it and bought it. I cut it up into tiny little strips and started knitting it up but as a garment it was incredibly heavy and totally unweareble.
Could you give us a peek into the inspirations for your next collection?
At the moment I’m interested in accessories, chenille, and fireworks!
Look out! That is some recipe. Craig Lawrence wants to expand our minds and preconceptions, to push knitwear into places we’d least expect it. Can’t wait to see what Molotov cocktail awaits us next season!

Written by Sabrina Morrison on Tuesday May 19th, 2009 11:39 pm

Categories ,Gareth Pugh, ,Knitwear, ,St.Martins, ,Vauxhall Fashion Scout

Amelia’s Magazine | Fashion in Film Festival: Moulin Rouge (1928)

Your previous work has explored Poe and Baudelaire – what drew you to their writings and inspire you to visualise their literary landscapes?

They are both writers who utilise the city as a character within their own mythology. They blur the line between the now and another world. There is an atmosphere of insubstantial things, more about buy essences and emanations, check of beauty as a manifestation of a perpetual beyond. Of smoke, fogs, shimmering obfuscations and of a moon setting sail over the city. Through their absent, distant world, I can better see my own city, with its scuffed, graffiti-layered surfaces—another forest of symbols, veilings and half-read signs, a world of unstable meanings, porous images which flow into each other.

Your exhibitions contain both the static and moving image, how would you describe your relationship to these two methods of representation?

The drawn images both in the show and the film are an attempt to crystallise a particular idea or thought, the moving three dimensional fimed sections are more about conjuring up a state of mind or world

What possibilities of expression or narrative does film offer over the static image and vice versa?

I can be more open ended with film. when I’m making the images for my film, I create sets and project light and images into them and take hundreds of pictures ,so I often end up with something very different from what I began with film allows me to juxtapose and arrange images and have more than one thing going on at the same time by appealing to both the eyes and the ears, it also overlays images so someones impression of the film is a group of visual memories

The sets of the film resemble Victorian Children’s Theatre, possibly a stage for shadow puppets, is this a design inspired by research or relationship to the themes within the films?

I think my Poe film was more theatrical because his writing is very stagey and melodramatic

How did you discover Swedenborg and what drew you to his dream journals?

I went into the swedenborg society book shop out of curiosity, I like that part of town. it is also near to where Poe lived in London and also The conway hall and I loved the imagery in the dream diary and the struggle between reason and imagination

Which illustrators, artists or filmakers inspire or are used as reference within your work?

The Quay brothers, David Lynch, Kiki Smith, Paul Klee, Marcel Proust, Goya, Leonardo Da Vinci, Henry Darger

The enigmatic mood of the films feel similar to Alice by Jan Svankmajer, have you seen this film?

Yes I have seen it and I very much like it so I’ll take that as a compliment

What interests you with regards to Alchemic Drawings or the relationship between Science and Faith?

I like the use of Heiroglyphic language in Alchemy, the linking of the rational and the irrational and the idea that the smallest thing is linked to the greatest, the idea that the whole universe is a code where everything is both itself and something else.

Where did you study?

Cambridge University and Chelsea, I studied English BA and Fine Art Painting, which represents both sides of my work really, the literary ideas and the practical realisation.

Watercolours are frequently used within your drawings, what attracts you to the medium?

They’re very bright – I use radiant watercolour inks. also I like their irreversableness

Bellowhead Kayleigh Bluck
Jon Spiers illustration by Kayleigh Bluck

My boyfriend, prostate Charlie started showing me ‘A Folk Song A Day’ a while back. There is one where two men, stuff Jon Boden and John Spiers, frontmen of Bellowhead, sit under a tree, in an (enchanted) forest and sing a nice traditional sounding number. This is the one Charlie particularly loves, it holds the words ‘spotted pig’ within it. Most of the songs come with a healthy dollop of ‘English’ cheek, hence spotted pig.

Just like Bellowhead’s songs, which tend to chat vigorously about strange animals, wizardry and prostitution. But they’re all done with a little glint in the eye and an elbow nudge. ‘English’ cheek makes these things Ok, I reckon. It also makes it all very amusing and you feel yourself holding back an ‘hoooo arrrgh’ as they announce the next song’s topic and sing about ‘whores’. Maybe the ‘hoooo arrrgh’ is because I am watching the band in the West Country and I’ve finally lost my South Eastern ways and become western in spirit. So lovable, they are… and darn! It just seems so quintessentially English to sing like this! *In the depths of dirty 18th century London, a pub glows orangey red, and bursts music from its heart- beers spills from tankards and bosoms heave.*

bellowhead by cat palairet
Bellowhead illustration by Cat Palairet

Of course London and Brighton still love a ho-down. But I have to say it is the county of Cornwall, that Bellowhead reminds me of the most. Cornwall still retains that mystical charm, where the fairies hang out dressed in corsets and the boys wear waistcoats. It is where you will find wooden floor stomping and ‘proper’ local pubs bursting with dancing and singing – natural coloured, ethereally moving fabrics flaying about. Although some Cornish say they are not English, it feels like it is they who hold onto my own nostalgic vision of England hundreds of years ago. And it is true that most music nights in Kernow’s pubs and bars centre around acoustic music and folk struts. You would certainly be hard pushed to find any minimal or electro going on down there.

BUT I digress! We are in Bristol tonight and although I may think i’m entering a pub called Jacob’s Ladder in Falmouth, Cornwall, I am actually in The Bristol Old Vic. Charlie is made up because he is seeing his spotted pig superstars and due to last minute actions, i’ve just had to squash past a row of people to get to my red velvet (?) seat in the middle of the seating line. There are eleven instruments on stage, which the eleven band members begin to attach themselves to. Most of the instruments look enormous. One of them, has to be worn, which makes it look like it is engulfing its player with its own gigantic structure. Like a fish with a massive head.

They start. And it’s like being dunked in ocean water, blasted with air and then bounced up and down. Before you know it, you’re bouncing up and down because you can’t help doing it. Then you’re clapping. Then you’re standing up, and dancing, and clapping. Because you literally can not help it. Bellowhead have injected you and the whole audience with some sort of extreme happiness on a November night. How very talented.

Bellowhead Live Bristol

When looking at the audience, I wouldn’t call it a ‘young person’ – as my Granny would label it – night. However there is a very broad demographic of people in attendance. Which lays testament to their talent. They are able to cross the divisions and bring people together with a related inner excitement. Initially I had thought the lady sat next to me appeared very reserved when I apologetically sank into my seat. But she really went for it, and I mean went for it. I had to tell myself to loosen up a bit, I was so impressed with her enthusiasm.

Bellowhead are so very confident on stage too. Jon Boden leads them on their whizz around their elation inducing music, and they all respect and work together so well. It’s great to see the purposeful movements, belief in performance and joy from being there. Enjoying the riotous music making, Boden continuously raises up his arms, embracing, welcoming and encouraging the spirited feelings. Everyone dances around on stage and I feel like i’m watching a vibrant musical.

This stage presence and professional style now transports them from Cornwall to the Moulin Rouge! Now, Boden is standing on top of the windmill as he sings, and all the players are on a platform in the sky. It’s all loaded with humour and full of energy as I realise that these guys are actually epic.

Abby_Wright_Bellowhead
Jon Spiers illustration by Abby Wright

I begin to wish there had been no seats and we could have pranced around and stamped our feet from the start. However, of course although Bellowhead are about the dancing, they are also about the performance. Huge accolades have been bestowed upon this mega-folk band. They have won the BBC award for Best Live Folk Act four times, with The Independent stating: ‘With the exception of The Who, Bellowhead are surely the best live act in the country.’ Indeed. With 11 hugely talented musicians on stage, I didn’t want to miss a thing.

Before I sign off, going back to A Folk Song A Day, Boden says: “The main idea behind A Folk Song A Day. com is to try and do my bit for raising the profile of unaccompanied social singing. Most of the songs on the site are songs that I have sung for years but rarely on stage and never on albums – songs that I have learnt because I wanted to be able to sing them in a pub.” I’ll tell you this, their album is nothing compared to a live performance by Bellowhead. You WILL want to start singing in pubs and you WILL be singing all the way home.

Details of their tour can be found here

Bellowhead Kayleigh Bluck
Jon Spiers illustration by Kayleigh Bluck

My boyfriend, buy information pills Charlie started showing me ‘A Folk Song A Day’ a while back. There is one where two men, medical Jon Boden and John Spiers, seek frontmen of Bellowhead, sit under a tree, in an (enchanted) forest and sing a nice traditional sounding number. This is the one Charlie particularly loves, it holds the words ‘spotted pig’ within it. Most of the songs come with a healthy dollop of ‘English’ cheek, hence spotted pig.

bellowhead by cat palairet
Bellowhead illustration by Cat Palairet

Bellowhead Live Bristol

Abby_Wright_Bellowhead
Jon Spiers illustration by Abby Wright

Details of their tour can be found here

Your previous work has explored Poe and Baudelaire – what drew you to their writings and inspire you to visualise their literary landscapes?

They are both writers who utilise the city as a character within their own mythology. They blur the line between the now and another world. There is an atmosphere of insubstantial things, website essences and emanations, view of beauty as a manifestation of a perpetual beyond. Of smoke, stuff fogs, shimmering obfuscations and of a moon setting sail over the city. Through their absent, distant world, I can better see my own city, with its scuffed, graffiti-layered surfaces—another forest of symbols, veilings and half-read signs, a world of unstable meanings, porous images which flow into each other.