Amelia’s Magazine | The 2013 FAD Awards: London Fashion Week Catwalk Review


Stephanie Kitchen by Warren Clarke

The Fashion Awareness Direct (FAD) Awards are always an end-of-fashion-week treat. After five days of the freshest fashion talent dominating the catwalks at the Fashion Scout venue, FAD looks even further into the future at the best of the country’s undergraduate talent, based each season around a different theme.


Louis Anderson-Bythell – all photography by Matt Bramford

There could be no better a theme in this age of global change and austerity than ‘Future Optimism‘, which was the brief for this year’s students. Over 100 undergraduates submitted work for the competition, with fifteen entries showcased at this climatic event.


Anna Kim by Gabriel Ayala

Here’s a quick photographic rundown of the fifteen entries:

MATTHEW O’BRIEN

LUCINDA ROBERTS

STEPHANOS KONSTANTIOU


Stephanos Konstantiou by Laura Hickman

ROBERT MILLS

STEPHANIE KITCHEN

JOSEPH HORTON

CHELSEY CROSSLAND

LOUIS ANDERSON-BYTHELL

AYSHA SIMPSON

NNEKA OKORIE

KIMBERLEY PHILLIPS

LAURA CHITTENDEN

ANNA KIM

ESTELA NEVINSKAITE

MORWENNA DARWELL

And so on to the winners. It must have been a tough job for Hilary Alexander, Fashion Scout’s Martyn Roberts, Topshops’ Geraldine O’Brien, FAD’s Claire Muldoon and our pal Milly Jackson (who won the 2011 Award) to choose a winner.


Sitting at the end of the catwalk is fantastic for shots of models but not so fantastic if the awards action takes place at the opposite end.

One of my personal favourites, Nneka Okorie‘s glorious menswear, took one of the runner up prizes. Her slick trench-coats with digital printing techniques brought both expert tailoring and vivid colours to the catwalk and I loved the discrete details of city skylights on a backpack and trouser hems.

Stephanos Konstantiou took the other runner up prize with his futuristic neoprene collection with rigid cutaway details. His laser-cut houndstooth pattern was completely original, and I enjoyed the sharp silhouettes that his collection projected. Nneka and Stephanos both take home five hundred quid and an industry placement. Well done, pals!

The winner, described by Hilary Alexander as ‘unanimous’ and ‘one to watch’ for the coming seasons, was, deservedly, Stephanie Kitchen. A final year student at Bath Spa University (always a good show at Graduate Fashion Week), Stephanie’s innovative cycle wear earned cheers when it first appeared at the beginning of the show and rapturous applause when it was announced Stephanie had won. This collection brought together wearability, sustainability, style and functionality all in one. The cycle sunglasses were a hit, too.

Stephanie wins £1000 and an industry placement and her designs were also shown at London Fashion Weekend. I don’t think this will be the last time we see Stephanie on the London fashion catwalks.


Winner Stephanie Kitchen by Milly Jackson for FAD

Categories ,2013, ,Anna Kim, ,Awards, ,Aysha Simpson, ,BA, ,catwalk, ,Chelsey Crossland, ,Estela Nevinskaite, ,FAD, ,Fashion Scout, ,Freemasons’ Hall, ,Gabriel Ayala, ,Hilary Alexander, ,Joseph Horton, ,Kimberley Phillips, ,Laura Chittenden, ,Laura Hickman, ,London Fashion Week, ,Louis Anderson-Bythell, ,Lucinda Roberts, ,Matt Bramford, ,Matthew O’Brien, ,menswear, ,Milly Jackson, ,Morwenna Darwell, ,Nneka Okorie, ,review, ,Robert Mills, ,Stephanie Kitchen, ,Stephanos Konstantinou, ,students, ,sustainability, ,undergraduate, ,Warren Clarke, ,Womenswear

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Amelia’s Magazine | Paradise Lost: London College of Fashion ‘Digital Catwalk’ Second Year Student Show 2012

amelias magazine - london college of fashion - paradise lost - Digital Catwalk Angela Cote

All photographs by Milan Mosna

There was an impressive array of design flair, organisational wizardry and interesting pattern design on show at the London College of Fashion last Wednseday, especially considering the majority of the designs were from 2nd year BA students, and that many of these hold down jobs as well as studying. As the press release was at pains to point out, these are challenging times for budding creatives and it’s good to see the sheer bloody-mindedness that it takes to put on this sort of event still going strong in the student body.

I’m only sorry I can’t point you to more information about some of these “potential fashion leaders of tomorrow” on the web as, busy and second year as they are, they don’t seem to have sorted blogs or portfolios that I can find online, though they are obviously at least halfway to realising that promotion is nine tenths of success because the reception space was full to the brim.

amelias magazine - london college of fashion - paradise lost - Digital Catwalk -  2FDR by Gareth A Hopkins
Illustration by Gareth A Hopkins of dress by Sunny De Las Alas

The small space we were all crammed in also featured a display on widescreen tvs of the work from the Fashion Media course, although it was soon too busy to see the screens properly, let alone make one’s way to the supply of Cava and biscuits. obviously I contrived to do both; had lots of Cava and biscuits and managed to note down at least the name of Leah Patel whose highly saturated promo shots I loved.

amelias magazine - london college of fashion - paradise lost - Digital Catwalk - Taj Chelvaiyah
Clear flowing lines from Taj Chelvaiyah

amelias magazine - london college of fashion - paradise lost - Digital Catwalk - Nicole Quadrio
Exciting moth-like scultural prints from Nicole Quadrio

Once we got into the show space I nabbed a space on the floor; annoying the photographers with my novelty oversized briefcase (I came from school) as I like to do. The high tech addition of twin powerpoint presentations of the students’ pattern designs and inspirations was cute, especially the classic marbling shot and messed up fashion collage. But the obvious inspiration and skill in many of the garments themselves was anything but cute.

amelias magazine - london college of fashion - paradise lost - DIGITAL-CATWALK SHOW-2FDR-JuneChanpoomidole
More highly evocative designs from Taj Chelvaiyah as illustrated by June Sees

I don’t know what second year fashion student’s work usually looks like, but I overheard some front row LCF old hats saying what a quality group it was, not to mention having ‘a good dynamic‘, and being ‘much better than last year‘. Sorry if you were in last year’s cohort (presumably graduating this year), I can’t personally comment. Some definite highlights for me were Hope Freeman‘s lasercut ‘Full Circle‘ collection, especially the full length black dress (below).

amelias magazine - london college of fashion - paradise lost - Digital Catwalk -  Hope Freeman 2
She calls this technique ‘a new lace for the 21st Century‘ and talks about the circle as a reflection of eternity. Bumf aside, this piece was a crowd pleaser, and would be a definite head turner on a red carpet, managing to be sleek and simple in a very pretty intricate way, so 21st Century lace seems a fitting description. I also loved the interplay of nostalgia and modern associations in Sunny De Las Alas (yes, she has a twitter)’s lamp-post print dress, which at the time I thought was the main thing I liked about the dress, but looking at the images now it’s clear in both these pieces that the drapery is equally important, showing great interplay of shape and shine.

amelias magazine - london college of fashion - paradise lost - Digital Catwalk - Sunny De Las Alas 2 dress
amelias magazine - london college of fashion - paradise lost - Digital Catwalk - Sunny De Las Alas cityscape prints
Dress by Sunny De Las Alas and the print designs on their own.

amelias magazine - london college of fashion - paradise lost - Joanna Michalska
Joanna Michalska was a guest contributor from the Third year Design programme, but her work fitted well into the show and I very much enjoyed the denim sunset flag effect of this dress.

amelias magazine - london college of fashion - paradise lost - Digital Catwalk Angela Cote 2
Exemplifying the digital print brief, Angela Cote‘s work was inspired by toy kaleidoscope’s view of the world, refracting colour into a million repeated shapes. The designs were made with minimal wastage, employing techniques of edge to edge cutting and using as few seams as possible. Her pieces were as seductive as they were unsettling, like looking through a kaleidoscope is.

amelias magazine - london college of fashion - paradise lost - Digital Catwalk Qimei
amelias magazine - london college of fashion - paradise lost - Digital Catwalk - Qimei Print
Another favourite for me was this fabulously colourful piece by Qimei Gai, evoking images of a lost Chinese childhood (above).

amelias magazine - london college of fashion - paradise lost - Digital Catwalk - Mina Jugovic
Finally these more subtly hued pieces from Min Jugovic made me a bit nostalgic: there was a lot of serious-faced playfulness in the show as a whole that I liked, perhaps reflecting the central idea of paradise lost – a determined dedication to beauty and opulence in austere times.

Here are my sketches:
amelias magazine - london college of fashion - paradise lost - Digital Catwalk -  jenny robins sketches 1
amelias magazine - london college of fashion - paradise lost - Digital Catwalk -  jenny robins sketches 2
amelias magazine - london college of fashion - paradise lost - Digital Catwalk -  jenny robins sketches 3

Categories ,2012, ,Angela Cote, ,BA, ,Digital Catwalk, ,Fashion Media, ,Full Circle, ,Gareth A Hopkins, ,Hope Freeman, ,Joanna Michalska, ,June Chanpoomidole, ,June Sees, ,lace, ,LCF, ,Leah Patel, ,London College of Fashion, ,Milan Mosna, ,Min Jugovic, ,Nicole Quadrio, ,Paradise Lost, ,Qimei Gai, ,Sunny De Las Alas, ,Taj Chelvaiyah

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Swedish School of Textiles BA


Isabella Falkirk (BA) Graduate Collection, mind by Faye West

On Saturday evening a selection of students from the Swedish School of Textiles transported their graduate collections to our fair city to give us a taster. A year ago, graduating students from Sweden did the same thing and Amelia was bowled over by what was on display, so I was pretty eager to see what this year’s offering offered.

The Vauxhall Fashion Scout venue at Freemason’s Hall wasn’t packed wall to wall like it usually is, which suits me fine – I was only mildly sweating as opposed to my usual soaking-wet state. A glance down the running order while I waited for the show to start revealed that this was to be pretty epic – no less than 17 BA and 4 MA graduates. Here goes!

Isabella Falkirk
The show kicked off with Isabella Falkirk. Foam shapes took centre stage, squared off to control the contours of the female form. The model was essentially wearing a foam box. The aesthetic was pleasing, but the model looked miserable, and I did have to wonder to myself how viable or groundbreaking this show opener was. A similar creation followed atop a model’s head, and I wondered further; this wasn’t fashion to wear on a visit to the shops to pick up milk. Despite this, underneath the shock tactics was some extremely wearable and well-tailored formal attire – sleek trousers and well-cut blazers. A reaction to the strains of work, the collection finished with a conceptual jacket with four or five layers, showing Falkirks’ vision a little more clearly. I liked this piece a lot.


All photography by Matt Bramford

Per Axén
Next came chic and crisp tailoring courtesy of Per Axén, whose concept through the juxtaposition of materials was a little more commercial but equally as enjoyable. A leather cape flirted with cream free-flowing trousers that looked elegant and futuristic at the same time. Other leathers had been married with cottons for the same effect, and geometric shapes featured, a la Mondrian.

Freja Sundberg

Freja Sundberg‘s BA Graduate Collection, illustrated by Christina Demetriou

Up next came Freja Sundberg‘s homage to the working class people of Havana and their music and culture. A lively collection, it featured Cuban prints in a multitude of colours, plastic skirts and lively wigs with flashes of red. Statement jewellery also appeared, and the final piece, an extravagant gold silk dress with a discreet print, had been gathered with drawstrings and rucksack pulls. A real winner.


Sofi Svensson

Sofi Svensson (BA) Graduate Collection, by Faye West

The standout collection for its sheer bravery, conceptualism and bloody amazing craftsmanship, was Sofi Svensson’s masked creatures. Models appeared like they had landed from a Doctor Who novel, wearing ghoulish masks with eyeholes that became long, wide dresses. Each had been encrusted and embellished to the max – jewels, crystals, plastic objects and mirrors filled every piece of the garment. Again, this was fashion as expression and conception rather than as a commercial commodity. Breathtaking, too.

Maja Dixdotter
Maja‘s collection brought us back in to the real world a little, but was by no means boring. Beautiful pastel shades in lemon, lavender and blush were the colour palette. A structured jacket had been juxtaposed with a sheer micro dress, while a skirt and a top carried gorgeous flower details.

Linnéa Woxinger Sköld
Living creatures affect me in a way nothing else can,’ exclaims Linnéa Woxinger Sköld on the handout, ‘…and fashion, at its best, gets very close to this fascination. How close can I get?‘ Pretty close, love. Linnéa’s collection was a fusion of organic shapes and experimental materials. An unusual mint-coloured translucent number opened her showing, which had been gathered together working against the model’s body. A body-concious number followed, then other dresses with organic twists and turns. This was like something I’d never seen before, but I really liked it.

Elin Engström

Elin Engström‘s BA Graduate Collection, by Christina Demetriou

Questioning the conquer-all ethos of the suit and fashion’s fascination with it, Elin Engström presented an expertly tailored collection in monochrome. The first model appeared with a large tube covering her face that looked a bit like those things you put on dogs to stop them sniffing their arses (is that what they’re for?) and was teamed with a large cloak. Later came a onesie, in which the model’s arms were unable to escape. Wild vase-like shapes were worn over the eyes, creating an ethereal effect. More tailoring followed with horse-hair details, but the real showstopper was an embellished translucent jacket with matching strange-vase-like-sunglasses-thingies.

Ida Klamborn
Closing the BA section of the show in dramatic fashion, Ida Klamborn presented an all-red collection of floor-length numbers. The colour choice and use of grand fabrics made for a sophisticated, luxurious collection of pleated skirts and high-waisted trousers. Sweet.

At this point I was desperate for the loo, and I just couldn’t make up my mind if I thought attendee Jay from E4 show Dirty Sexy Things was attractive*. I do love seeing graduate shows – they have fewer constraints and no worries about commerciality. But during London Fashion Week, with so many shows to think about, I did find it a little exhausting. The show wasn’t over, though, and we quickly launched into the MA graduates – you can read all about them in Akeela‘s review here!

*I decided in the end that yes, he probably is.

Categories ,BA, ,catwalk, ,Christina Demetriou, ,Cuba, ,Dirty Sexy Things, ,Doctor Who, ,E4, ,Elin Engstöm, ,Fashion Design, ,Faye West, ,Freemasons’ Hall, ,Freja Sundberg, ,Front Row, ,Havana, ,Ida Klamborn, ,Isabella Falkirk, ,Jay, ,Linnea Woxinger Skold, ,London Fashion Week, ,ma, ,Maja Dixdotter, ,Matt Bramford, ,Mondrian, ,pastels, ,Per Axen, ,review, ,S/S 2012, ,Sofi Svensson, ,sweden, ,Swedish School of Textiles, ,Vauxhall Fashion Scout, ,Womenswear

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Amelia’s Magazine | Kingston University: Graduate Fashion Week 2014 Catwalk Review

GraduateCollection_StefanieTschirky-4
Graduate Collection by Stefanie Tschirky

It was a predictably brilliant outing for Kingston on Monday at this year’s Graduate Fashion Week. Finally the organisers have had some sense and clocked that the Earl’s Court Two venue, home to the event for a number of years, doesn’t do this showcase of the next generation of fashion designers any favours. Relocated at the Truman Brewery, home of numerous other graduate shows, Graduate Fashion Week felt more current, more exciting and a damn sight bloody easier to get to.

Having said that, and as per usual, I hadn’t been particularly organised in the run up to the event and the only ticket I’d managed to get hold of was for Kingston‘s presentation, thanks to some on-it staff who go to the trouble of inviting you rather than waiting for you to email. Drinks and canapés were served across the road in Corbet’s Place, a bar I try to avoid on account of it being at the heart of the misery that is Brick Lane at weekends. I left there precisely one hour later, blind drunk and stuffed full of duck tagine and chicken skewers. Even if the show itself had been terrible, which it definitely wasn’t, I wouldn’t say a bad word about Kingston.

MattBramford_GraduateFashionWeek_Kingston_003LaurenLake

MattBramford_GraduateFashionWeek_Kingston_006LaurenLake

All photography by Matt Bramford

It was down to Lauren Lake (above) to launch the show, with a fresh approach to outerwear. Pale pink coats with fur trims were teamed with hot pink accessories and it set a heady, exciting tone to the proceedings as the booze started to wear off.

MattBramford_GraduateFashionWeek_Kingston_018MariaBarreto

MattBramford_GraduateFashionWeek_Kingston_028MariaBarreto

Luckily Maria Barreto (above) was awarded the job of following, doing it in style with a collection of sharp tailored coats and dresses in a more serious, sophisticated palette of blue and black.

Karen Verey 01
Graduate Collection by Karen Verey

Karen Varey was first up representing menswear, with a mixture of sportwear and tailoring. Unique, shiny jackets had embroidered floral details.

MattBramford_GraduateFashionWeek_Kingston_034KarenVerey

MattBramford_GraduateFashionWeek_Kingston_042KarenVerey

Not dissimilar was Merle Ingram‘s approach to womenswear, making use of futuristic materials, like the plastic jacket with zip detail. Abstract shapes were brought together in pale-coloured separates:

MattBramford_GraduateFashionWeek_Kingston_047MerleIngrama

MattBramford_GraduateFashionWeek_Kingston_051MerleIngram

Stefanie Tschirky also worked with glossy fabrics, but in a strong palette of black and blue – pencil skirts and wide-leg trousers were teamed with oversized jackets:

GraduateCollection_StefanieTschirky-4
Graduate Collection by Stefanie Tschirky

MattBramford_GraduateFashionWeek_Kingston_068StefanieTschirky

MattBramford_GraduateFashionWeek_Kingston_066StefanieTschirky

Jasmine Sellers‘ models were enveloped in soft materials, in beige and salmon:

MattBramford_GraduateFashionWeek_Kingston_094JasmineSellers

MattBramford_GraduateFashionWeek_Kingston_101JasmineSellers

Tamsin Pick‘s menswear was fresh and unique, with majestic colours, sportswear shapes and towelling details:

collectionlineupflat

MattBramford_GraduateFashionWeek_Kingston_103TamsinPick

MattBramford_GraduateFashionWeek_Kingston_115TamsinPick

Abigail Irving-Munro‘s womenswear also used sports elements like varsity jackets and zip hoodies, jazzed up with all sorts of embellishments, like contrasting knits and unfinished strips:

MattBramford_GraduateFashionWeek_Kingston_120AbigailIrvingMunroe

MattBramford_GraduateFashionWeek_Kingston_127AbigailIrvingMunroe

More menswear came courtesy of Catriona Outram; vibrant sketchy patterns were combined with heavy knitwear, while models wore iPad necklaces:

MattBramford_GraduateFashionWeek_Kingston_166CatrionaOutram

MattBramford_GraduateFashionWeek_Kingston_177CatrionaOutram

Kanrawee line up
Graduate collection by Kanrawee Vechiboonsom

Kanrawee Vechiboonsom presented a sophisticated collection of striking blue and white separates, one featuring an intricate concertina design:

MattBramford_GraduateFashionWeek_Kingston_194KanraweeVechiboonsom

MattBramford_GraduateFashionWeek_Kingston_197KanraweeVechiboonsom

Maria Brimelow‘s Scandinivian-inspired collection of elongated coats and cardigans drew loud whoops; I particularly like the knotted orange number:

MattBramford_GraduateFashionWeek_Kingston_272MariaBrimelow

MattBramford_GraduateFashionWeek_Kingston_263MariaBrimelow

Meanwhile, Susanne Wen‘s truly unique collection featured pleated fabrics stitched together in a haphazard fashion:

MattBramford_GraduateFashionWeek_Kingston_276SusanneWen

My favourite collection of Kingston’s outing was without doubt Hannah Cawley. Voluminous silhouettes featured orange and black prints with silver buckle fastening details. Oversized clutch bags in these rich, loud patterns completed the looks:

MattBramford_GraduateFashionWeek_Kingston_285HannahCawley

MattBramford_GraduateFashionWeek_Kingston_287HannahCawley

Closing menswear was left in the hands of Isabelle Sallis, showing vibrant green prints and a sinister hooded figure:

MattBramford_GraduateFashionWeek_Kingston_301IsabelleSallis

MattBramford_GraduateFashionWeek_Kingston_302IsabelleSallis

And finally, Phoebe Kowalska closed this stunning show with an ethereal, Comme des Garçons-esque collection of long dresses with multiple panels.

MattBramford_GraduateFashionWeek_Kingston_331PhoebeKowalska

MattBramford_GraduateFashionWeek_Kingston_339PhoebeKowalska

Until next year, Kingston!

IMG_0348

Categories ,2014, ,Abigail Irving-Munro, ,BA, ,Catriona Outram, ,catwalk, ,GFW, ,Graduate Fashion Week, ,Hannah Cawley, ,Isabelle Sallis, ,Jasmine Sellers, ,Kanrawee Vechiboonsom, ,Karen Verey, ,Kingston, ,Lauren Lake, ,Maria Barreto, ,Maria Brimelow, ,Matt Bramford, ,Merle Ingram, ,review, ,Stefanie Tschirky, ,Susanne Wen, ,Tamsin Pick, ,Truman Brewery

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Amelia’s Magazine | London College of Fashion BA (Hons) Graduate Catwalk Show 2014

•RuriWatanabe_LCFBA2014_Illustration
LCF BA Graduate Collection by Ruri Watanabe

A whole three weeks ago, while trying to wade through 10,000 London Collections: Men photographs and write up show reports, I went to another fashion show. The London College of Fashion hosted their BA collections two days after LC:M had finished (and I’d barely started). I knew that going was a bit silly, but I couldn’t resist – each year the standard is so high and the collections are so unique. ‘Bugger it’ I thought, as I legged it to The Yard in Shoreditch, the venue for this year’s show.

Twenty-six collections – many collaborations – is a bit of a challenge. At the LC:M menswear shows it’s pretty much one idea translated 30-odd times, but here there were TWENTY SIX totally different, totally unique ideas. Each student is worth a full review, but if I did that I wouldn’t sleep for days. I urge you to check out the very comprehensive University of the Arts London Showtime website where you can see collections in full. In the meantime, here’s a run-down of my favourites:

Opening the show was Daniel Tanner‘s regal womenswear, where dramatic sections of fabric in contrasting colours were fastened together with oversized knots.

MattBramford_LCFBA2014_007DanielTanner
All photography by Matt Bramford

I loved Arianna Luparia‘s luxuriant womenswear; rigid felt fabric in rich, dark colours appeared moulded into shapes that revealed bare flesh. Pieces were finished with Henriette Camilla Sveen‘s glorious jewellery and objet d’art – black wood and gold sculptures.

MattBramford_LCFBA2014_051AriannaLuparia_HyejinGo_HenrietteCamillaSveen

Faye Van Andel collaborated with Contour student Zoë Greening. The result was lace lingerie draped with rich silk fabrics and finished with fur wraps:

MattBramford_LCFBA2014_062FayeVanAndel_ZoeGreening

Luke Bullen and Jana Dahmen drew gasps from the audience with their ghostly, ethereal creatures. Delicate white sheets with unfinished hems were painted with black stripes with a resulting translucency. Models’ faces were only just visible underneath these unique creations.

MattBramford_LCFBA2014_079LukeBullen_JanaDahmen

MattBramford_LCFBA2014_088LukeBullen_JanaDahmen

Bespoke Tailoring graduate Marta Cesaro collaborated with knitwear designer Shasha Wong. The result: a polished collection of coats, tops and dresses in thick fabrics and pastel colours. Hats with enormous brims, concealing models’ faces, completed their looks.

MattBramford_LCFBA2014_131MartaCesaro_ShashaWong

MattBramford_LCFBA2014_139MartaCesaro_ShashaWong

I was blown away by Lucia Kelly‘s womenswear, with textiles by Inthira Tangjaroensutthichai. Love hearts formed the inspiration for these vibrant hand-painted metallic pieces; long coats were synched at the waist and long dresses with sweetheart necklines had dramatic dropped sleeves.

MattBramford_LCFBA2014_175LuciaKelly_InthiraTangjaroensutthicha

Headpieces made from hair by Nicole Paskauskas transformed the clothing by Fiona Barnes and Lauren Pilgreen

MattBramford_LCFBA2014_189FionaBarnes_LaurenPilgreen_NicolePaskauskas

Sunjung Park‘s denim creations were pretty striking to say the least; shredded fabrics with thick knots and flattering, 1970s-esque shapes that revealed bare navals were complimented by Vivian Ng‘s bizarre and fascinating septum jewellery.

MattBramford_LCFBA2014_215SunjungPark_JesikaJuly_VivianNg

Also bringing a disco element to the catwalk were Sofia Ilmonen and Jinhee Moon, with millinery by Mengna Ye. Towelling pastel fabrics were matched with metallic ruffles, velvet and tinsel in a collection that sounds hideous when written down but sparkled in real life.

MattBramford_LCFBA2014_242SofiaIlomen_JinheeMoon_MengnaYe

MattBramford_LCFBA2014_245SofiaIlomen_JinheeMoon_MengnaYe

Maewa Uhlmann‘s luxurious sportswear in pretty much all white, with floating headpieces and cable details, provided a welcome break:

MattBramford_LCFBA2014_262MaewaUhlmann

A collaboration between Victoria Smith and Hae-Na Kim, featuring dramatic blosson shapes and candy colours, was a worthy winner of collection of the year:

MattBramford_LCFBA2014_301VictoriaSmith_HaeNaKim

MattBramford_LCFBA2014_302VictoriaSmith_HaeNaKim

MattBramford_LCFBA2014_371Finale_Awards

Clarissa Kang and Umme Salma presented a futuristic collection; dramatic, layered, silk pieces were brought to life with contemporary rigid braces with hair details:

MattBramford_LCFBA2014_320ClarissaKang_UmmeSalma

Menswear was, as always, well represented. My favourites included Danielle Nichol/Katie Barker/Tiffany C. Ng‘s offering, with revealing sportswear and futuristic jewellery; Carl Jan Cruz‘s unfinished tailoring combining a wide range of fabrics; Guyhyun Jee‘s ostentatious fur coats and Ruri Watanabe‘s fun, vibrant style that was complimented with womenswear.

MattBramford_LCFBA2014_113DanielleNichol_KatieBarker

MattBramford_LCFBA2014_162CarlJanCruz

MattBramford_LCFBA2014_240GuyhyunJee

MattBramford_LCFBA2014_272RuriWatanabe_MarcoStormBraskov_HattieBuzzard

Closing the show was Charlotte Knowles. Charlotte had deconstructed Pinscreens and created dazzling pieces that jingled as models walked backwards and forwards. Hundreds of nails were delicately applied to wool coats and translucent dresses layered over skirts. It was the perfect finale to an outstanding show.

MattBramford_LCFBA2014_360CharlotteKnowles

MattBramford_LCFBA2014_363CharlotteKnowles

Categories ,2014, ,Arianna Luparia, ,BA, ,Carl Jan Cruz, ,catwalk, ,Charlotte Knowles, ,Clarissa Kang, ,Daniel Tanner, ,Danielle Nichol, ,fashion, ,Faye Van Andel, ,Fiona Barnes, ,graduate, ,Guyhyun Jee, ,Hae-Na Kim, ,Henriette Camilla Sveen, ,Inthira Tangjaroensutthichai, ,Jana Dahmen, ,Jinhee Moon, ,Katie Barker, ,Lauren Pilgreen, ,LCF, ,London College of Fashion, ,Lucia Kelly, ,Luke Bullen, ,Maewa Uhlmann, ,Marta Cesaro, ,Matt Bramford, ,Mengna Ye, ,menswear, ,Nicole Paskauskas, ,Pinscreens, ,review, ,Ruri Watanabe, ,Shasha Wong, ,shoreditch, ,Sofia Ilmonen, ,Sunjung Park, ,The Yard, ,Tiffany C. Ng, ,Umme Salma, ,Victoria Smith, ,Vivian Ng, ,Womenswear, ,Zoë Greening

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Amelia’s Magazine | Graduate Fashion Week 2010: London College of Fashion Graduate Natalie Rae

Natalie Rae graduated from the London College of Fashion 2010 class with a BA in fashion design technology (Womenswear). The designer caught Amelia’s Magazine’s attention for her stance against the use of fur in the fashion industry and the application of embroidery to create stunning textures on jacket shapes based on 1980′s casual wear. Speaking to Natalie was an insight into the difficulties that await any designer (especially for students) branching into sustainable fashion design, symptoms namely the time and cost it takes to source from ethical sources.

With this fantastic collection Natalie blows apart the misconceived assumption that sustainable fashion has no place on the catwalk.

What was the starting point for your collection?

Before embarking on my initial research for my collection concepts, abortion I knew I wanted all of my ideas to centre around sustainability. To be conscious of how I would be producing my garments, using only organic or recycled materials as well as making sure my production methods where compliant with fair trade. This was very important to me through every step of this project. Also craft is something I have always been fascinated with; many different types of crafts, not just related to fashion; this was how I came across Ryan Berkley’s amazing animal portraits. These illustrations gave me a great starting point to help build a story for my collection and opened me up to using lots and lots of colors.

How does your creative process begin?

I work straight into pattern cutting, I collect all my research into one book to refer to and start pulling from each image, creating random sketches and then go straight into sampling either textures, silhouettes or details. I am very visual and hands on about everything I do, I find I absorb ideas better this way. I also don’t like wasting time, I like to get started right away with things, that is way I go straight into patterncutting and sampling. All of this really helps me to create more ideas and to start pulling things together into one cohesive collection of ideas.

What techniques do you use to minimize waste when pattern cutting or constructing the garments?

I try to minimize the amount of fabric and paper I use while patterncutting and sewing by trying to fit my patterns in a way that they don’t waste massive amounts of small bits. This can be really tricky sometimes because in some cases you just can’t help it. I have a box for scraps for both paper and fabric, I use the scrapes usually for sampling ideas or making small details like pockets and such. I also try to reuse my twilling samples for other project as much as i can by refitting them or just cutting them up to create something else.

How did you become interested in designing sustainable clothes?

It’s my lifestyle essentially. Its somewhat hard to say where it begin because it is something I’ve always agreed with and tried to incorporate into my everyday life. I will admit that when I started fashion design here in London, I became a bit more religious about it and started re-educated myself on the different areas of sustainability but particularly those in fashion and realized there is such massive gap in the fashion industry for it.

How do you think this gap in fashion with regards to sustainability can be closed?

I can honestly say that while I don’t think sustainability will ever take over fashion, it needs to more prominent then it is at the moment, something I believe it can and will be in the near future. It is important not only to create brands that are sustainable, but that existing brands switch to more sustainable practices. These brands already have a place in the market and have seen the industry and its effects, they have the power to modify these existing problems and I feel if they promoted more sustainable/ethical ideals other people will follow. But saying that, I do think new brands coming into the market place promoting sustainable/ethical fashion is important too. Making people aware of the effects of both non-sustainable and sustainable fashion is something that needs to be done, if they can see the before and after, it helps put things in prospective.

I also think design should not be sacrificed when creating sustainable/ethical fashion. Some students at my university still think sustainable fashion feels dated and they always imagine it being another scratchy hemp sack. This is far from the truth, sustainable fashion design and fabrics have come a long way, even brands like H&M and Topshop carry small amounts of sustainable/ethical pieces in their collections that are very on trend. The problem is that people don’t realise it, as it’s not promoted as much as it should be

Where did the idea of embroidery develop from and what is your stance on the use of fur within the fashion industry?

I am very in to surface textiles and I have always loved the use of embroidery in both art and fashion, it reminds me of something that is a bit more special and authentic. The uniqueness and beauty of hand crafted embroidery is hard to copy, so when you buy a piece that has that, you feel special and that you have something no-one else has. Previously I worked at a couture bridal salon, where we would create these beautiful one off gowns with amazingly small details people just loved, I wanted to recreate that idea with my garments, by creating pieces that make you feel special everyday, not just for one.

With the subject of fur, I came into animals rights activism at a young age, I never saw the use of fur as a necessity in fashion. To me the whole concept is really grotesque and I can’t understand it even in the smallest of ways. The production and use for creating fur is so inhumane, we have so many alternatives (and I am not talking about synthetic furs) in fashion for creating warmth but I know that this is not just the issue, people see it as luxury, but how can one see the death of animals as a luxury? Be creative. I wanted to show that you can still have luxury with out death.

Why the illustrations of Ryan Berkley? How were his anthropomorphic illustrations transferred into the collection?

I saw each of Berkley’s illustrations as a great story of each animal. Giving me an insight into their lives, how they dressed themselves and even the expressions on their faces told me that they may be a bit more serious about their daily lives, trying to pass off as proper civilized humans. It reminded me of working class and how we must put on a costume or character for work that is not really who we are; trying to restrain the animal inside. The collection really shows a coming through or breaking out; the wild with the restrained.

Where did the 1980′s american shape of the collection develop from?

I am big on causal attire, anyone that hangs around me will tell you I am a jeans and t-shirt kind of gal! But saying that, I love well tailored pieces that are easy to wear and mix into your wardrobe. I wanted to convey that with this collection. I also needed that concept to fit with my working class animals idea. I found images from the early 80’s of designers I admire such as Calvin Klein and Perry Ellis; I felt that the style of the early 80‘s causal american mixed with a little bit of tailoring was perfect way to show my love for two kinds of style.

Who are Hand and Lock of London?

Hand and Lock are a London based embroidery company that have been around since the mid 1700‘s, and is the merging of two long established embroidery companies. I chose Hand and Lock because of their many, many years of experience and expertise as well as their professionalism and friendliness. They where extremely easy to work with and everything was done in a very timely fashion. When I was searching for embroidery companies, my top priority was for finding fair trade work conditions. Hand and Lock had just opened a factory in India to balance their work load and I was reassured, very adamantly, that the employees are paid fair trade wages and have good quality working conditions. I was very happy in the end that my work would be done in India, where the craft and tradition of embroidery is such an amazing part of the culture and I could promote it and show the beauty of it in a small way.

Where did you source your materials?

The vast majority of my materials came from India, some were sources directly from companies in India and some were from UK companies that supply materials from India. The biggest challenge I came across with using organic materials was finding variations in colours. This was a problem because my collection has so many colours and organic materials rarely come in a vast amount of colorways. I knew all this to begin with and tried to stick with what I could find but silly me! I kept choosing fabrics that came in only one colorway – the base color, which is an un-dyed cream. In the end, I researched the self dying of natural dyes and low impact dyes to solve this problem. I didn’t want to create another step in production that would create more waste but I also wanted to create a beautiful vibrant collection that was sellable and wearable, so I had to make the sacrifice. I was very conscious of my consumption of water and tried my best to conserve as much as I could by minimizing the amount of dying that needed to be done. In the end it wasn’t so terrible but the experience defiantly made me want to research more into the process of fabric dying.

Where the fabric companies you used part of fair trade initiatives? Do you have tips to other fashion students considering using ethical/sustainable fabric?

It can be tricky business finding organic/fair trade suppliers, especially ones that will supply in smaller quantities but they are out there and there are more then people realize. All of the suppliers I used are certified organic fabric suppliers and each company also states their practice fair trade principles. Only some of the companies are part of The Fair Trade Foundation. As far as finding organic/fair trade suppliers, there are sites that will help direct you to suppliers: The Green Directory, Ethical Junction and the Ethical Fashion Forum. Additionally, some suppliers have references to other sites relating to eco suppliers and going to trade shows is very important. I try to attend as many textile trade shows as possible, even ones that don’t say anything about sustainable/ethical fabrics because there are always a few companies that do provide them or are trying to cross over into more sustainable practices. It is important to be able to talk to a rep about the company, as this way you can find out more, about what individual companies consider to be sustainable and see the products in person.

I found all of my fabric suppliers either through tons of research, collecting from fabric libraries or from my work experience with ethical brands. People in ethical fashion are very friendly and very willing to help. Going to any type of ethical fair/ marketplace or event with sustainable brands where you can speak to people is always a good start, most people will give you good tips and suggestions.

Can the same be said of the embroidery through hand and lock?

Unfortunately no. When I came to Hand and Lock my first question to them was about fair trade practices, they could only reassure me that they do pay fair wages and have good working conditions for their employees in India. They seemed very honest and actually happy that someone asked them. I do wish I could say they are part of the fair trade initiative and maybe they will be, as the factory in India is still new. At the time that I choose to work with them, I was very short on time and had to make a quick decision, they are such lovely people that it was hard to say no. As well, one thing I learned from my work experience with sustainable brands is that you can’t tick every box with it comes to being ethical and sustainable, its very difficult and in the end, you can only do the best you can and to be honest every step of the way.

What’s next for Natalie Rae?

I take things day to day and try not to restrict myself from any new ideas. At the moment I am sorting out my next big move, whether I do an MA or gain more work experience. I do want to gain more experience with in the fashion industry before I move on to create my own label in the future. But who knows, things change……

Photography by Sean Michael and the Creative Director was Rob Phillips

Categories ,BA, ,Calvin Klein, ,craft, ,Creative Director Rob Phillips, ,Embroidary, ,Ethical Fashion, ,Ethical Fashion Forum, ,Ethical Junction, ,Fair Trade, ,Fur is Murder, ,Graduate Fashion Week 2010, ,Hand and Lock, ,India, ,London College of Fashion, ,Natalie Rae, ,Perry Ellis, ,photography Sean Michael, ,Research, ,Ryan Berkley, ,Sketchbooks, ,Sourcing the Global Market Place, ,Sustainable Fashion

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Amelia’s Magazine | Graduate Fashion Week 2010: London College of Fashion Graduate Natalie Rae

Natalie Rae graduated from the London College of Fashion 2010 class with a BA in fashion design technology (Womenswear). The designer caught Amelia’s Magazine’s attention for her stance against the use of fur in the fashion industry and the application of embroidery to create stunning textures on jacket shapes based on 1980′s casual wear. Speaking to Natalie was an insight into the difficulties that await any designer (especially for students) branching into sustainable fashion design, symptoms namely the time and cost it takes to source from ethical sources.

With this fantastic collection Natalie blows apart the misconceived assumption that sustainable fashion has no place on the catwalk.

What was the starting point for your collection?

Before embarking on my initial research for my collection concepts, abortion I knew I wanted all of my ideas to centre around sustainability. To be conscious of how I would be producing my garments, using only organic or recycled materials as well as making sure my production methods where compliant with fair trade. This was very important to me through every step of this project. Also craft is something I have always been fascinated with; many different types of crafts, not just related to fashion; this was how I came across Ryan Berkley’s amazing animal portraits. These illustrations gave me a great starting point to help build a story for my collection and opened me up to using lots and lots of colors.

How does your creative process begin?

I work straight into pattern cutting, I collect all my research into one book to refer to and start pulling from each image, creating random sketches and then go straight into sampling either textures, silhouettes or details. I am very visual and hands on about everything I do, I find I absorb ideas better this way. I also don’t like wasting time, I like to get started right away with things, that is way I go straight into patterncutting and sampling. All of this really helps me to create more ideas and to start pulling things together into one cohesive collection of ideas.

What techniques do you use to minimize waste when pattern cutting or constructing the garments?

I try to minimize the amount of fabric and paper I use while patterncutting and sewing by trying to fit my patterns in a way that they don’t waste massive amounts of small bits. This can be really tricky sometimes because in some cases you just can’t help it. I have a box for scraps for both paper and fabric, I use the scrapes usually for sampling ideas or making small details like pockets and such. I also try to reuse my twilling samples for other project as much as i can by refitting them or just cutting them up to create something else.

How did you become interested in designing sustainable clothes?

It’s my lifestyle essentially. Its somewhat hard to say where it begin because it is something I’ve always agreed with and tried to incorporate into my everyday life. I will admit that when I started fashion design here in London, I became a bit more religious about it and started re-educated myself on the different areas of sustainability but particularly those in fashion and realized there is such massive gap in the fashion industry for it.

How do you think this gap in fashion with regards to sustainability can be closed?

I can honestly say that while I don’t think sustainability will ever take over fashion, it needs to more prominent then it is at the moment, something I believe it can and will be in the near future. It is important not only to create brands that are sustainable, but that existing brands switch to more sustainable practices. These brands already have a place in the market and have seen the industry and its effects, they have the power to modify these existing problems and I feel if they promoted more sustainable/ethical ideals other people will follow. But saying that, I do think new brands coming into the market place promoting sustainable/ethical fashion is important too. Making people aware of the effects of both non-sustainable and sustainable fashion is something that needs to be done, if they can see the before and after, it helps put things in prospective.

I also think design should not be sacrificed when creating sustainable/ethical fashion. Some students at my university still think sustainable fashion feels dated and they always imagine it being another scratchy hemp sack. This is far from the truth, sustainable fashion design and fabrics have come a long way, even brands like H&M and Topshop carry small amounts of sustainable/ethical pieces in their collections that are very on trend. The problem is that people don’t realise it, as it’s not promoted as much as it should be

Where did the idea of embroidery develop from and what is your stance on the use of fur within the fashion industry?

I am very in to surface textiles and I have always loved the use of embroidery in both art and fashion, it reminds me of something that is a bit more special and authentic. The uniqueness and beauty of hand crafted embroidery is hard to copy, so when you buy a piece that has that, you feel special and that you have something no-one else has. Previously I worked at a couture bridal salon, where we would create these beautiful one off gowns with amazingly small details people just loved, I wanted to recreate that idea with my garments, by creating pieces that make you feel special everyday, not just for one.

With the subject of fur, I came into animals rights activism at a young age, I never saw the use of fur as a necessity in fashion. To me the whole concept is really grotesque and I can’t understand it even in the smallest of ways. The production and use for creating fur is so inhumane, we have so many alternatives (and I am not talking about synthetic furs) in fashion for creating warmth but I know that this is not just the issue, people see it as luxury, but how can one see the death of animals as a luxury? Be creative. I wanted to show that you can still have luxury with out death.

Why the illustrations of Ryan Berkley? How were his anthropomorphic illustrations transferred into the collection?

I saw each of Berkley’s illustrations as a great story of each animal. Giving me an insight into their lives, how they dressed themselves and even the expressions on their faces told me that they may be a bit more serious about their daily lives, trying to pass off as proper civilized humans. It reminded me of working class and how we must put on a costume or character for work that is not really who we are; trying to restrain the animal inside. The collection really shows a coming through or breaking out; the wild with the restrained.

Where did the 1980′s american shape of the collection develop from?

I am big on causal attire, anyone that hangs around me will tell you I am a jeans and t-shirt kind of gal! But saying that, I love well tailored pieces that are easy to wear and mix into your wardrobe. I wanted to convey that with this collection. I also needed that concept to fit with my working class animals idea. I found images from the early 80’s of designers I admire such as Calvin Klein and Perry Ellis; I felt that the style of the early 80‘s causal american mixed with a little bit of tailoring was perfect way to show my love for two kinds of style.

Who are Hand and Lock of London?

Hand and Lock are a London based embroidery company that have been around since the mid 1700‘s, and is the merging of two long established embroidery companies. I chose Hand and Lock because of their many, many years of experience and expertise as well as their professionalism and friendliness. They where extremely easy to work with and everything was done in a very timely fashion. When I was searching for embroidery companies, my top priority was for finding fair trade work conditions. Hand and Lock had just opened a factory in India to balance their work load and I was reassured, very adamantly, that the employees are paid fair trade wages and have good quality working conditions. I was very happy in the end that my work would be done in India, where the craft and tradition of embroidery is such an amazing part of the culture and I could promote it and show the beauty of it in a small way.

Where did you source your materials?

The vast majority of my materials came from India, some were sources directly from companies in India and some were from UK companies that supply materials from India. The biggest challenge I came across with using organic materials was finding variations in colours. This was a problem because my collection has so many colours and organic materials rarely come in a vast amount of colorways. I knew all this to begin with and tried to stick with what I could find but silly me! I kept choosing fabrics that came in only one colorway – the base color, which is an un-dyed cream. In the end, I researched the self dying of natural dyes and low impact dyes to solve this problem. I didn’t want to create another step in production that would create more waste but I also wanted to create a beautiful vibrant collection that was sellable and wearable, so I had to make the sacrifice. I was very conscious of my consumption of water and tried my best to conserve as much as I could by minimizing the amount of dying that needed to be done. In the end it wasn’t so terrible but the experience defiantly made me want to research more into the process of fabric dying.

Where the fabric companies you used part of fair trade initiatives? Do you have tips to other fashion students considering using ethical/sustainable fabric?

It can be tricky business finding organic/fair trade suppliers, especially ones that will supply in smaller quantities but they are out there and there are more then people realize. All of the suppliers I used are certified organic fabric suppliers and each company also states their practice fair trade principles. Only some of the companies are part of The Fair Trade Foundation. As far as finding organic/fair trade suppliers, there are sites that will help direct you to suppliers: The Green Directory, Ethical Junction and the Ethical Fashion Forum. Additionally, some suppliers have references to other sites relating to eco suppliers and going to trade shows is very important. I try to attend as many textile trade shows as possible, even ones that don’t say anything about sustainable/ethical fabrics because there are always a few companies that do provide them or are trying to cross over into more sustainable practices. It is important to be able to talk to a rep about the company, as this way you can find out more, about what individual companies consider to be sustainable and see the products in person.

I found all of my fabric suppliers either through tons of research, collecting from fabric libraries or from my work experience with ethical brands. People in ethical fashion are very friendly and very willing to help. Going to any type of ethical fair/ marketplace or event with sustainable brands where you can speak to people is always a good start, most people will give you good tips and suggestions.

Can the same be said of the embroidery through hand and lock?

Unfortunately no. When I came to Hand and Lock my first question to them was about fair trade practices, they could only reassure me that they do pay fair wages and have good working conditions for their employees in India. They seemed very honest and actually happy that someone asked them. I do wish I could say they are part of the fair trade initiative and maybe they will be, as the factory in India is still new. At the time that I choose to work with them, I was very short on time and had to make a quick decision, they are such lovely people that it was hard to say no. As well, one thing I learned from my work experience with sustainable brands is that you can’t tick every box with it comes to being ethical and sustainable, its very difficult and in the end, you can only do the best you can and to be honest every step of the way.

What’s next for Natalie Rae?

I take things day to day and try not to restrict myself from any new ideas. At the moment I am sorting out my next big move, whether I do an MA or gain more work experience. I do want to gain more experience with in the fashion industry before I move on to create my own label in the future. But who knows, things change……

Photography by Sean Michael and the Creative Director was Rob Phillips

Categories ,BA, ,Calvin Klein, ,craft, ,Creative Director Rob Phillips, ,Embroidary, ,Ethical Fashion, ,Ethical Fashion Forum, ,Ethical Junction, ,Fair Trade, ,Fur is Murder, ,Graduate Fashion Week 2010, ,Hand and Lock, ,India, ,London College of Fashion, ,Natalie Rae, ,Perry Ellis, ,photography Sean Michael, ,Research, ,Ryan Berkley, ,Sketchbooks, ,Sourcing the Global Market Place, ,Sustainable Fashion

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Amelia’s Magazine | Goldsmiths University: BA Fine Art & History of Art + BA Art Practice graduate shows 2011

Ciarán Wood

Three whole years to explore and learn is what you get with a Bachelor degree – the freedom to focus on the process of discovery. After having spent some years in the working world it sounds amazingly luxurious, viagra sale and a few hours of walking around the graduate exhibition at Goldsmiths University of London shows that the students have taken advantage of this to the fullest. Experimentation and exploration of concepts seem to have been at the core for a lot of students’ practice.

The graduates of BA Fine Art & History of Art and BA Art Practice have produced a very broad range of work, look from painting, order photography, sculpture, video, all the way to over-sized hairdriers and lots of rooms hidden behind curtains, enveloping the viewer in sound and light.

Sasha Campbell

Ewelina Bochenska

With ‘A taste for perfection’, Abigail Jones presents a series of drawings that make for an intriguing read. ‘London you are looking really fine today’, one of them reads, dated 11 March; the label says it’s an autobiographical project. For 7 January, Jones writes underneath a set of lipstick marks: “‘The great thing about lipstick’, said the sales assistant, ‘is how it really lets us girls play with our identity.’ This made me hate her a bit. Then I bought the one called Toffee Waffle. I think it really says ‘Damn, Girl’.”

Abigail Jones

Robert James’ piece, ‘The Fragment Project’ is made from large slabs of broken glass and steel wires. It’s lovely to look at and must have taken ages to assemble, but without any more information available it’s hard to know what else to make of it. Only when I leave do I discover there’s a catalogue available with more information about each artist, so this is my own fault, really. But still I can’t help but think it would have been easy enough to add a paragraph about the work underneath the nametags, especially as the vast majority of the work is on the conceptual side.

Robert James

Elena Colman is one of several students whose work was presented behind a curtain, inviting the viewer to step inside and immerse themselves in the experience. With ‘Cave’, she prompts her audience to walk through a dark red tunnel, leading to an almost entirely black room at the end. Fumbling your way inside, your heart leaps into your throat as a flash goes off, causing the artwork on the walls to brighten up and then fade back into darkness.

Rebecca Lancaster-Gaye

The development of the work is part of the presentation for a few of the students, including Rebecca Lancaster-Gaye’s 2D and 3D figures, and Anastasia Shin’s paintings and film. Next to the projector stands Shin’s painting of its insides, showing the individual frames of the film as they whirr through to create a moving image. Lacking the catalogue I don’t know what it means, but it seems to say something, and I guess that’s what matters.

Anastasia Shin

Hannah Davis

– – –

The BA Fine Art & History of Art and BA Art Practice degree exhibition is open Sunday 26th June between 10am and 4pm, and on Monday 27th between 10 am and 7pm – Goldsmiths University, New Cross, London SE14 6NW.

The postgraduate art degree shows run between 14th and 18th July. See here for more about the Goldsmiths graduate shows, or click here for more details about the Goldsmiths University arts department.

Categories ,Abigail Jones, ,Anastasia Shin, ,art, ,Art Practice, ,BA, ,Ciarán Wood, ,Elena Colman, ,Evelina Bochenska, ,Fine Art & History of Art, ,Freya Clark, ,Goldsmiths University, ,Graduate Show, ,Hannah Davis, ,Jessica Meredith, ,london, ,multi-media, ,New Cross, ,photography, ,Rebecca Lancaster-Gaye, ,Robert James, ,Sasha Campbell, ,sculpture

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Amelia’s Magazine | BRIGHTON SHOW: University of Brighton 2014 Graphic Design and Illustration Degree Show Review

Processed with VSCOcam with f2 preset
Installation by Charlie Barrows

Over the weekend more than 70 students from the University of Brighton‘s Graphic Design and Illustration programme brought their wares to The Bargehouse, a cavernous part of the Oxo Tower building with a labyrinth of bare brick rooms over four floors. It was the perfect setting for this show, where viewers were invited to explore the whole building featuring print, illustration and film in various rooms.

It was a mammoth task trying to check everything out, but a task I thoroughly enjoyed. Here’s a rundown of some of my favourites, beginning with Charlie Barrows, whose flowers installation (top) was the first thing that caught my eye. She’d also produced some striking collage prints that at first looked pretty but up close revealed a sinister message (a key theme in her work) – like this one featuring Fred and Rose West.

CharlieBarrows1

Providing light relief in juxtaposition was Marcus Connor. I loved his Patrick Caulfield/Michael Craig-Martin-esque line illustrations.

MarcusConnor_BrightonShow2014_002

Sarah Todd had curated an entire offshoot room, erecting a vintage gym complete with climbing frame, bench and hoops to display her mixture of retro apparel and printed matter.

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Processed with VSCOcam with f2 preset

I loved Richard Henley‘s bold, Memphis-like prints. The geometric shapes and marble patterns were right up my strasse, based loosely on childrens’ building blocks.

RichardHenley

Dan Mountford has courted much press attention with his ethereal photography. I was mesmerised by this side portrait with ripple effect. His double exposure portraits (which I must have missed at the exhibition) are definitely worth checking out – have a look over on his website.

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Florence Wood dominated one corner of a room with her all white sculpture, made from bottles, tins and other household packaging items. Her aim was to raise awareness of the level of poverty in Brighton itself.

MattBramford_BrightonShow2014_002

There was nothing not to love about Andrew Morley‘s skeleton man, a sculpture based on his comic drawing style.

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Ralph Pederson‘s Tear Back project aims to reimagine some of Brighton’s derelict buildings.

RalphPederson_TearBack1

RalphPederson_TearBack2

I loved the minimalist aesthetic of Elina Linina‘s photography, in particular this shot of Copenhagen concrete.

OLYMPUS DIGITAL CAMERA

Chantal Caduff produced, amongst other things, this wonderful post-modernist stop-frame animation, featuring multiple magazine collages:

Jordan Pryke lives with bi-polar disorder and his aim is to spread awareness of its complications; his unique visual style resulted in many effective and eye-catching images.

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Abi Overland presented some classic, organic, forestry illustrations with a nice mix of different styles.

AbiOverland

I really liked Luisa Lloyd‘s abstract graphic design – fragments of images and text combined to form images based on Friedrich Nietzsche‘s works.

Luisa Lloyd 1

Luisa Lloyd 2

And lost but not least, a quick mention to Lawrence Dodgson‘s hilarious ‘Horny Trains’ zine cover…

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Nice one, Brighton!

Photographs of exhibition by Matt Bramford; work images courtesy of graduates.

Categories ,2014, ,Abi Overland, ,Andrew Morley, ,art, ,BA, ,Bargehouse, ,brighton, ,Chantal Caduff, ,Charlie Barrows, ,Dan Mountford, ,Elina Linina, ,Florence Wood, ,Fred West, ,graduates, ,Graphic Design, ,horny trains, ,illustration, ,installation, ,Jordan Pryke, ,Lawrence Dodgson, ,Luisa Lloyd, ,Marcus Connor, ,Matt Bramford, ,Mixed Media, ,Oxo Tower, ,Ralph Pederson, ,review, ,Richard Henley, ,Rose West, ,Sarah Todd, ,Screenprints, ,show, ,University of Brighton, ,Visual Communication

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