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Amelia’s Magazine | The Amazon: Can Fashion Save the Rainforest? A talk with Bia Saldanha

Illustration by Charlotte Hoyle

“We are consumers, capsule addicted. We need to ask ourselves – this t-shirt, this where did it come from? A devastated place with devastated people?” – Bia Saldanha, health 28 July 2011??

Through Bia’s hesitant English – impressively peppered with the vocabulary of her respective fields – there was a message, a mantra, that seemed to resonate from her core with every sentence she spoke. The message? That as people, as a united force of humanity, we must end the selfishness, stop the excuses and start acting on the fact that our Earth cannot bear the brunt of our reckless lifestyle choices much longer. ??I was sitting at the far back of the still, woody space of The Hub, King’s Cross, looking on at Bia, eco journalist Lucy Siegle and novelist Ed Siegle’s discussion unraveling.

If there’s one thing I learnt on that warm Thursday evening, it’s that when a lady like Bia Saldanha gives out such a message from across the room, you sit up straight, strain your ears and listen. Living in the heart of the Amazon rainforest for 20 years definitely grants you a credible opinion on our Earth’s complex ecosystem and how it can be saved. And it only takes a minute or two of hearing Bia speak on the subject to get a sense of just how special she really is. A Brazilian woman who’s dedicated her years to both supporting the indigenous rubber farmers of Amazonia and aiding the battle against deforestation, Bia traded in a life running a stylish clothing boutique in Rio de Janeiro to live in the rainforest with her family and help the Seringueiros (the native rubber tappers) overcome their defeat by mainstream industrial production.

Illustration by Michelle Urvall Nyrén

But why should we care? Why should we listen? We all know of the damage upon the rainforest through mass deforestation and, for example, that Brazil lost nearly 150,000 square kilometers of forest—an area larger than Greece – between 2000 and 2006 alone. But the basis of why we should think again before discarding these past few lines as just another statistic lies in the words of Lucy Siegle; that we are in “the last chance saloon” when it comes to saving the rainforest. And, to further quote the fabulous Bia,

“You can’t imagine how strong, powerful and important the rainforest is if you haven’t been there”.

Illustration by Claire Kearns

With a background in the fashion industry, Bia began her pioneering work after a trip into the Amazon to search for new materials for her clothing line. She described how she found the indigenous rubber tappers storing their goods in traditional waterproof sacks. She then relayed her excitement of noticing how the sack material looked remarkably like leather when it was, in fact, cotton canvas covered in the extracted rubber from the trees. Bia took the idea for wild rubber “leather” handbags and had hundreds made, all of which completely sold out in the 1992 UN Earth Summit in Brazil. And so her crusade against the mass producers began. ?

The Amazon is, in fact, the only place in the world where rubber trees grow in the wild. When ecological and fair-trade brand Veja began their essential collaboration with Bia in 2007, they were already buying wild rubber from the rubber tappers. Veja are a French brand known for their ultra-cool sneakers and luxe accessories, whose products are sourced and produced solely in Brazil. They now work with Bia and use her independent, direct means of extracting wild rubber to produce their bags and footwear.

VEJA – CAOUTCHOUC SAUVAGE D’AMAZONIE from Veja on Vimeo.

In what can only be seen as a triumph in the fight for sustainable fashion, Bia Saldanha has also worked with Hermès, using her ‘vegan leather’ made of wild rubber to collaborate on an accessories collection for the luxury French fashion house.

Despite the dedication and ground-breaking work that’s been recognized the world over, however, Bia hasn’t received the support she justly deserves. In the discussion, she spelt out the level of sheer power and influence that Brazil’s central bank has over what is and isn’t permitted to function in the country. After struggling against many financial disagreements, Bia even faced being shut down completely, despite the continuous funding to unsustainable companies and projects, including the vast amount of cattle ranches that make up 60-70% of deforestation in the Amazon today.?

“I’ve now devoted 16 years to this,” said Bia. “It’s more than a business; it’s a cult.”

Illustration by Charlotte Hoyle

It’s not that she aims to trade with the giant companies, however. “There’s not enough wild rubber to supply the big companies. We don’t want to trade with anyone in particular but we do want to ask those companies, where does your rubber come from? These companies are just looking for marketing, they don’t care.”

Ed Siegle, author of new book Invisibles which is partially set in Brazil, contributed stating “With a lot of these issues, we’re all aware of them but we don’t do anything about it.” Lucy intervened – “That’s because we don’t know what the options are.”

To me, Lucy Siegle made an invaluable contribution to the event. She spoke of writing her latest book ‘To Die For” (Harper Collins; 2010) which she described as “engaging with the producer’s story”, and how she felt about the “contrast between her and the mainstream industry”, recounting fashion as a “vacuum that we know nothing about”. “We are now so distant from the producer,” she said “that the degradation of the consumer, the producer and the place is now inevitable.”

Photographs courtesy of Veja

She went onto ask the frustrating question, something I’d never put my mind to, of “Who are these people telling us what to wear? Telling us to buy this fast, discount fashion?” She feels that we are “told to shop for the economy”. Her answer to this has been to find a few brands that she can “rely on”.

The discussion moved on to the debate of ‘design and production – which should come first?’. Lucy Siegle, naturally, spoke in favour of production, upholding it as the healthier method in place of paper designs being sent across the world for the fastest and cheapest production possible. She believes instead that we need to be taking inspiration from the methods of Bia, who at the outset went into the forest – to the source – in search of materials, from which she then created her designs. This, she says, is a solution.

Photographs courtesy of Veja

Bia declares that her long-standing mission is to “protect the rainforest through economic alternatives”. And I say we need more ground-breaking fashion entrepreneurs like her. In the constant clash between nature and human demands, the more Bias we have in the world today, the brighter our future will be.

And with this mantra that seemed to beam from Bia’s every sentence; she most certainly wasn’t aiming it at the big logger companies or sweat shops or factories, definitely not. It’s US she meant. All of us. It’s you who sits right there wearing clothes that you really know nothing about. Someone’s hands, somewhere in the world, grew that cotton and dyed that fabric and stitched that pocket and, thus far, to you in your life it has made no difference. We’re all perpetrators and I’m most certainly one too. But after last Thursday, I’ll definitely be doing two things – reading Lucy Siegle’s book “To Die For” and taking a long, hard look at me and my wardrobe. And may I suggest you do the same.

Written by Georgia Takacs on Friday August 5th, 2011 4:44 pm

Categories ,Amazon, ,Amazonia, ,Bia Saldanha, ,brazil, ,Ed Siegle, ,environment, ,ethical, ,fashion, ,Invisibles, ,Lucy Siegle, ,rainforest, ,review, ,Sustainable Fashion, ,Talk, ,The Hub, ,To Die For, ,Veja

Amelia’s Magazine | Veja launch ‘Projet Numero Deux’ – satchels and sacks, ethical style

Shannon_Natasha_untitled
Shannon_Natasha_children

Take a look at Shannon’s website, there her Flickr or Tumblr, this web and you’ll get to peek into a world of ‘almost’ – almost grown up, almost ready, almost on your way. I feel I should apologise to Shannon in case that sounds patronising, but I mean this in the best way possible. Looking at Shannon’s photos brings back a feeling of being on the verge, excited and nervous at the thought of everything ahead. Right now, the 17–year-old is finishing her high school exams at home in Australia, and has to choose whether to go on to study photography full time or do something else. Almost entirely self-taught, she’s worried that taking her photography to a more professional level could take the fun out of it. But for one more summer, in a place infinitely more sunny than Britain, she is still free to roam around with friends and her camera.

Shannon_Natasha_selfportrait
Shannon Natasha: self portrait.

Shannon’s photos have a fresh and uninhibited feel, with a playful and sometimes dreamy streak. As her self portrait demonstrates, she knows a thing or two about technique and lighting too, and a browse through her work shows she has a good eye for intriguing detail. I think this is what they mean when they talk about talent.

What is it that you love about photography?
I love having the ability to focus on different points, pinpointing something specific you want people to be drawn to. I love creating stories and dreams in my photos, documenting events and recording emotions. I love being able to alter reality, spinning it whichever way I feel.

What sparked your interest in picture-taking?
I’ve actually had an interest in cameras since I was very young, receiving my first one as a birthday present when I was about five. I really developed my love for photography around the age of 14, and I delved further into the art by purchasing my first DSLR camera last year. This gave me much more manual freedom, which I had desired for so long. Previous to this I would often borrow the DSLRs from my school, or use my friend’s. I also used film SLRs. I’m mainly self taught, although I did learn a little more in choosing digital photography as an elective at school two years ago.

Shannon_Natasha_CF_VII

You have some great fashion-themed shots in your collection, but my favourites are probably the more ‘quiet’ photos, such as the wire hanger and the rose-painted doorknobs. Which style of photography do you like best?
My favourite shots are often the simple ones, although my different styles of photos all appeal to different parts of me. I love fashion and that’s why I love taking fashion shots. I also adore story telling, the ability to evoke emotion in others through art, and sometimes just having something pretty to look at, something that will sweeten my eyes and hopefully the eyes of others who see my photos. This is one thing I love about taking photos as a hobby, I take them for me. I don’t have any photos that other people have dictated.

Shannon_Natasha_hang_on
Hang on

You seem to be doing more and more fashion shoots. Is this the direction you’d like to go as a photographer?
I don’t think I could ever decide on one direction. I’m definitely interested in shooting fashion but I’d never want to limit myself. One thing I love about photography is the freedom and having the ability to capture my own visions. Sometimes I may have the intention of shooting a fashion-styled set of photos and end up getting carried away with more abstract or conceptual shots.

Shannon_Natasha_i_see_the_light_surrounding_you
I see the light surrounding you.

From where do you draw inspiration? Who are your favourite photographers?
I often draw inspiration from magazines, websites like Tumblr, amazing artists on Flickr and in the world, through music, through relationships, books and my family and friends. Many of my favourite photographers are not necessarily world-renowned. I absolutely love work by Alison Scarpulla, Jeannine Tan, Mary Robinson, Muszka, Tamara Lichtenstein, Nirrimi Hackanson and Evan Hawke. Their photos just catch my breath.

Do you spend a lot of time getting the settings and light right, or is it a more impulsive process? Do you do much post-production?
It’s becoming much more impulsive now, although I do remember when it would take me four or five shots to get the settings right. Now it only takes one or two. Crazy weather in Australia, when the sun can’t make up its mind, doesn’t help. I don’t edit much if I’m shooting fashion or would like the photos to look more realistic, but if I’m going for something a little more magical I tend to spend a bit of time editing.

Shannon_Natasha_140410

With school over, what’s your plan?
The next thing for me will be university or possible an art college, where I will major in photography. At the moment I’d like to do both photography as well as something like law or psychology, but I may not even pursue photography in future study. I enjoy it very much as a hobby, so pushing money and survival into the equation may take some of my love from photography and replace it with nerves and fear which would ultimately be negative.

Shannon_Natasha_black

Other than photography, what makes you happy?
Other than taking photos, my passion is dancing. Mainly hip hop. Definitely dancing.

Shannon_Natasha_children

Take a look at Shannon’s website, this her Flickr or Tumblr, and you’ll get to peek into a world of ‘almost’ – almost grown up, almost ready, almost on your way. I feel I should apologise to Shannon in case that sounds patronising, but I mean this in the best way possible. Looking at Shannon’s photos brings back a feeling of being on the verge, excited and nervous at the thought of everything ahead. Right now, the 17–year-old is finishing her high school exams at home in Australia, and has to choose whether to go on to study photography full time or do something else. Almost entirely self-taught, she’s worried that taking her photography to a more professional level could take the fun out of it. But for one more summer, in a place infinitely more sunny than Britain, she is still free to roam around with friends and her camera.

Shannon_Natasha_selfportrait
Shannon Natasha: self portrait.

Shannon_Natasha_untitled

Shannon_Natasha_hang_on
Hang on

Shannon_Natasha_i_see_the_light_surrounding_you
I see the light surrounding you.

Shannon_Natasha_140410

Shannon_Natasha_black

Other than photography, what makes you happy?
Other than taking photos, my passion is dancing. Mainly hip hop. Definitely dancing.

Shannon_Natasha_children

Take a look at Shannon’s website, more about her Flickr or Tumblr, and you’ll get to peek into a world of ‘almost’ – almost grown up, almost ready, almost on your way. I feel I should apologise to Shannon in case that sounds patronising, but I mean this in the best way possible. Looking at Shannon’s photos brings back a feeling of being on the verge, excited and nervous at the thought of everything ahead. Right now, the 17–year-old is finishing her high school exams at home in Australia, and has to choose whether to go on to study photography full time or do something else. Almost entirely self-taught, she’s worried that taking her photography to a more professional level could take the fun out of it. But for one more summer, in a place infinitely more sunny than Britain, she is still free to roam around with friends and her camera.

Shannon_Natasha_selfportrait
Shannon Natasha: self portrait.

Shannon_Natasha_untitled

Shannon_Natasha_hang_on
Hang on

Shannon_Natasha_i_see_the_light_surrounding_you
I see the light surrounding you.

Shannon_Natasha_140410

Shannon_Natasha_black

Other than photography, what makes you happy?
Other than taking photos, my passion is dancing. Mainly hip hop. Definitely dancing.

The Darkroom on Lamb’s Conduit Street, drug illustrated by June Chanpoomidole

A little while ago (read: ages ago and I’m only just getting around to writing this) I went along to the launch of Veja‘s new luggage line. I’ve digged Veja for ages – purveyors of neat trainers that are totally ethical in production and manufacture. They add a je ne sais quoi to the Shoreditch plimsoll trend, doctor in a host of vibrant colours and fashion-forward designs.

So when I heard they were to develop a line of bags I was over the moon. The launch happened at the Darkroom– the latest hipster shop on Lambs Conduit Street, with its achingly cool dark interior stocking some fabulous products that are hard to find elsewhere. A great atmosphere ensued due in large to cocktail after cocktail, which is brave of Veja considering their new range was dotted around the shop. I always have an acute fear of throwing a flirtini over an over-priced frock extremely over-priced artwork when I attend these functions.

Illustration by Katie Walters

The new line of bags is, quite simply, brilliant. In a range of a cool colours including dark blues, browns and creams, the bags come in a variety of shapes and sizes- from rucksacks to larger luggage styles. They’re al quality crafted, whether it be a canvas day bag or satchels in soft leather. And, as always, they’re totally ethical. The pure cotton canvas is always organic, the leather is vegetable-tanned and they’re all produced in Brazil using skilled workers who are paid well and looked after. So, not only do you look super-stylish, you can swagger guilt-free.

Illustration by Stacie Swift

Since the bag launch, Veja have released their latest season of trainers, which I reckon is the best range yet. Vegetable-tanned suede and wild Amazonian rubber make up this delicious new footwear range, called the Indigenous. You can watch the video of the shoot right here:

Veja — LOOKBOOK INDIGENOS from Veja on Vimeo.

Here are some photographs from the event for your delectation:

The best thing about Veja is that their ethical products won’t break the bank. Find out more about them on their website, and you can read more about ethical labels in Amelia’s new book.

Enjoy!

Written by Matt Bramford on Friday November 12th, 2010 5:01 pm

Categories ,Amazon, ,Bags, ,brazil, ,Darkroom, ,ethical, ,fashion, ,Lambs Conduit Street, ,leather, ,Rucksacks, ,Satchels, ,Veja

Amelia’s Magazine | MAC Semi-Precious Collection: New Mineral Make Up Range from the Mata Atlantica Coast of Brazil

MAC Semi Precious range by AntoniaParker
MAC Semi-Precious range by Antonia Parker. Her lady wears Hint of Sapphire on eyes, case Geo Pink on lips, sildenafil Warmth of Coral blush. The background is inspired by Blue Sheen eyeshadow.

Now, I don’t generally get that excited about the launch of a new make up range, but I was most intrigued when I learnt (on the grapevine) about the new MAC Semi-Precious Collection. Why, you may well ask? Well, this large new beauty range boasts plenty of semi precious mineral ingredients and the final products are intriguing – a swirly shimmer of glistening particles that reflect the source of their creation. Time to find out a bit more….

MAC semi precious range collection review 2011

Over at MAC HQ Jennifer Balbier and Nick Gavrelis are the brains behind the collection, inspired by trips to Brazil where the use of natural minerals in make up is much more commonplace. The minerals are pulverised into very small particles and then baked into the marbleised finishes that typify the collection. They were helped in their knowledge of the Brazilian beauty arena by Fabiana Gomes, who grew up in Curitiba and has worked with MAC since they opened their first store in Brazil in 2002. Beauty is super important in Brazil, so the launch of the Semi-Precious Collection clearly sees MAC with one eye on this huge emerging customer base.

MAC semi precious by Lorna Scobie.

But what about the really interesting stuff? The ingredients themselves? The finely milled gems which have been chosen for the Semi-Precious range are Bronzite, Black Tourmaline, Gold Pyrite and Lilac Lepidolite – each of which create beautiful jewel-like colours and are also believed to have some interesting properties.

MAC semi precious range collection review 2011

Bronzite, the Stone of Courtesy, is a deep chocolate colour with golden swirls, believed to be energised by the Earth, thus improving metabolism and oxygenation at a micro level (wow, all that from wearing a pretty eye shadow!)

Black Tourmaline is iron rich and known as the Electric Stone because it conducts a gentle current – for this reason it’s believed to neutralise negative energies and enhance happiness in the wearer.

Gold Pyrite is very bright and metallic as anyone will know who has marvelled at Fool’s Gold. It’s the Fire Stone, sparking when struck against iron and steel. For this reason it’s associated with stamina and transforming intuition into logic and reasoned action. It also aids concentration and fosters open communication.

Lepidolite is a member of the Mica family. It is the Peace Stone, used to encourage openness and honesty. It is believed to dissipate pain when placed on the body, to relieve allergies and stabilise mood swings. If wearing a pretty lipstick can do this I’ll be damned, but there’s nothing like a bit of folklore to encourage sales.

MAC Semi Precious by Sally Jane Thompson.

Research was done by the MAC team in Canada and the minerals were mined by Solabia International – slogan Between Nature and Technology – then put together to echo the beauty of the Brazilian landscape in their laboratory just outside Milan. Solabia mines on the Mata Atlantica coast of Brazil where the four precious stones are found, following an ethical code of practice laid out by DNPM the Brazilian National Department of Mineral Production. I am assured that the process does not use large quantities of water.

MAC semi precious range collection review 2011

The Semi-Precious stones are used in Mineralize eye shadow, blush and lipstick, though the new range also features body lotions as well as mascara and foundation. With names like Pure Magnificence, Natural Flare, and Geo Pink the geographical nature of the ingredients is always at the fore. I’ve been wearing the Golden Gaze on my eyes over the past few days and the way that the gold particles are swirled together with black gives a multi-layered finish that is very different to your average eye shadow: think sultry charcoal grey with a glinting hint of gold once on the eyelid – a subtle look that is totally suitable for daytime. I’ve also tried the Feeling Flush blusher, which is a perky pink colour on the skin. Be warned though, I needed very little of this to achieve a strong effect.

Mac Semi Precious by Claire Kearns.

MAC Semi-Precious was launched in the US & UK last week so it should be available at make-up counters near you very soon….

Written by Amelia Gregory on Monday July 11th, 2011 5:18 pm

Categories ,Antonia Parker, ,Beauty, ,Between Nature and Technology, ,Black Tourmaline, ,Blue Sheen, ,Blusher, ,brazil, ,Brazilian National Department of Mineral Production, ,Bronzite, ,canada, ,Claire Kearns, ,Coast, ,Curitiba, ,DNPM, ,Electric Stone, ,eye shadow, ,Fabiana Gomes, ,Feeling Flush, ,Fire Stone, ,Folklore, ,Fool’s Gold, ,Geo Pink, ,Gold Pyrite, ,Golden Gaze, ,Hint of Sapphire, ,Honesty, ,HQ, ,Intuition, ,Jennifer Balbier, ,Jewel, ,Lepidolite, ,Lilac Lepidolite, ,Lipstick, ,Logic, ,Lorna Scobie, ,Mac, ,Make-up, ,Mata Atlantica, ,Metabolism, ,Mica, ,Milan, ,Mineralize, ,Minerals, ,mining, ,Natural Flare, ,Negativity, ,Neutralise, ,Nick Gavrelis, ,Peace Stone, ,Pure Magnificence, ,Sally Jane Thompson, ,Semi-Precious, ,Solabia International, ,Stamina, ,Stone of Courtesy, ,Warmth of Coral

Amelia’s Magazine | Osklen at Sao Paulo Fashion Week- Exclusive Report

Reclaim Power Climate Justice Action at Cop15

On Wednesday the 16th of December the Reclaim Power! demo was due to hit the streets surrounding the Bella Centre (where the Cop15 was being held). The highlight of the Climate Justice Action calendar, here visit it was towards this that the majority of British activists who had travelled as part of Climate Camp were working over the preceding days and with this in mind we retired to bed in a slightly wary frame of mind the night before. I’ve been the subject of a midnight raid before, and let me tell you, it’s pretty discombobulating to be woken by someone screaming in your ear “POLIIIIIIIIICE” as you scramble to take stock of the situation whilst pulling together some decent happy-to-be-arrested-in clothing (I was one of the 114 people arrested in the Iona School in Nottingham last April). This time I wasn’t so worried as we’d seen nothing of the police out at Voldparken, but when I awoke before daybreak and wandered bleary eyed betwixt bed and portaloo in my sexy checked pyjamas I was greeted by some friendly coppers at the exit, who had been sent to search everyone as they left the building. “Where are you going today?” “Oh, you know, just off to hang out in Copenhagen for a bit.” At 6am. There were plenty of ways we could have escaped without being checked if we’d wanted to, but it seems that coppers everywhere are, well, just a bit thick really.

Being searched before leaving Voldparken school on December 16th

It was a long cold ride into Copenhagen with my Bike Bloc affinity group (a trusted collective of people who have agreed to stick together and look after one another through an action), and from there onwards to the island where the Bella Centre is located. Unfortunately part of our group had decided to go on ahead without us and whilst we were waiting for them on a corner in a vaguely interest-arousing manner we were stopped and searched. This was not exactly unexpected, but one of our members had rather stupidly brought a map with him that had segments drawn onto it around the Centre, and for this he was detained immediately – a short day for him, straight to the holding cells.

Being searched on the way to the Bella Centre

Definitely not a suspicious map officer, definitely not.

The rest of us quickly cycled onwards and were soon turning in circuits around the residential backstreets near the Bella Centre, at first trying to evade the many many police vans patrolling the streets (a Netto supermarket proved a good venue to hide in at one point, the bemused staff unsure how to react), but eventually just giving ourselves up to the patrols – thereby delaying the police and hopefully preventing them from harassing other activists, particularly those in the Green Block who would be using more direct means to scale the fences of the centre. (So the theory went, we later learned they were all arrested long before they got anywhere near the perimeter.) One *lovely* officer even offered to kiss me, as you can hear in my audiocast here.

Just as the police decided that they had had enough of our tactics the Blue March drew up to the main gates and suddenly the Bike Block was there to get ahead of them and blockade the road, giving them space to breath on one side. It’s quite hard to provide an overall analysis of what happened next as there was so much going on at once and even though I did my usual mad dashing about the place, of course I couldn’t cover it all. As the marchers formed a blockade and attempted to breach the gates we continued to hold the space on one side. I witnessed a man climb on top of a police van, only to be beaten with a baton then hauled down, and I repeatedly saw people being pulled from the crowd with reddened faces, weeping from the pepper spray that was being squirted with abandon at peaceful protestors on the front line. At our end there was far less aggression from the police, who seemed fairly bemused by our tactics, especially the ‘Santa Block’ who cycled in circles chanting “ho ho ho”. Between this a group of Climate Camp activists launched what looked like a large inflatable lilo over their heads towards the Bella Centre perimeter and indeed there was soon a ‘lilo bridge’ angled across the moat into the scrubland surrounding the Bella Centre. Unfortunately this highly inventive approach to getting inside was destined to be thwarted by circumstances, as those who reached the other side were promptly arrested by a squad of riot cops. There was poetry, dancing in the street and even a call for the cops to give an activist a hug – all as we waited (since we couldn’t get in ourselves) to hear whether the delegates inside the Cop15 would be able to march out and join us for the planned Peoples’ Assembly. It looked increasingly unlikely that they would be able to do so: we were later to find out the extreme lengths to which the police went to prevent them from leaving the Bella Centre – for shocking footage of the bassist in my band Green Kite Midnight being beaten with a baton see this Guardian video. At about 7 minutes in Tim can clearly be seen mouthing the words “peaceful protest” as he is whacked. He has had his fractured arm in a cast since then.

Instead activists from all over the world sat in circles on the cold road, discussing in groups of a dozen or so, how real life grassroots solutions could be applied to the crises that we face. For video footage of this see here. But the light was failing and all too soon it was over and the decision made to march back into central Copenhagen. By this point I was seriously cold and had a very wet foot due to running around in the scrubland and stepping into an icy cold bog. As the sky turned into a beautiful orange haze over the Bella Centre the Bike Block attempted to decide on a course of action, but a lack of clarity about how or what we should do led to a random diversion for some back onto the scrubland where we were immediately met by police on horseback. I decided to call it a day and together with Dave headed back towards the Klimaforum in search of a hot cup of tea and a radiator on which to dry my socks and shoes.

The following day a few Climate Campers decided that we should not leave Copenhagen without holding some kind of camp (since that’s what we’ve become so well known for), so in the evening about 50 of us rocked up to Hopenhagen, where we popped open a few tents and stood around thinking, ho hum, what shall we do next? Having been autonomously organised it wasn’t exactly the most considered of actions, but it was an interesting experiment in seeing how the police would react to a completely impromptu non-violent occupation. They started off on quite an aggressive footing, with one snatching a tent and ineffectually putting it into the bin, from whence it was speedily retrieved. The brainchild of the action declared his ambition to stay put through the entire night (before popping open a can of beer) – not a desire shared by the majority present, what with the sub zero temperatures and lack of planning. However first there was some fun to be had in disrupting a television programme being broadcast from inside one of the alien green boxes – where a smarmy looking presenter caked in make up with slicked back hair (a man, I might add) steadfastly ignored the Caution: Greenwash banner being held up behind his head. I wasn’t sure what exactly this action was meant to achieve but was assured that this particular TV channel had been misrepresenting activists in its coverage, and that since they were talking about the Cop15 it was an ideal place to get our message across. By this point the cops had relaxed and we got into some entertaining conversations with them about the efficacy of our actions. Suddenly Tim was at my shoulder, one-handedly suggesting that we do a ceilidh, since Green Kite Midnigh has always held ceilidhs at Climate Camp actions. But, there was only the two of us out of a band of six, no instruments and no amplification. Not a problem. Tim whipped out his harmonica, and laughing, I managed to call several dances, yelling from atop concrete pillar holding aloft the giant Hopenhagen balloon above our heads. You can see footage here, but be warned, I’m loud – filming whilst calling being an up close and personal affair.

It was then back to an amusing last evening at the Voldparken School, what with an impromptu music video shot in one of the disused laboratories and a full on rave held in one of the air-locked antechambers far into the night, where I espied our ambitious young activist in the wee hours. The police gave him a lift all the way back to the school, keen to see both him and his tents dispatched safely back to the far reaches of the suburbs!

One of the final things I did in Copenhagen was to visit their most famous landmark; the mermaid, of course. It was beyond bitingly cold, and as I admired her temporary cohorts, some frozen penguins, I considered the probability of losing both my fingers and my toes to frostbite. Visitors from all over the world clearly saw this spot as the most emblematic place to stage a protest and during the short time we were there they came in their dozens with placards held aloft, cameras at the ready. Behind the Little Mermaid another special Cop15 sculpture reared out of the grey waves, a grotesquely oversized woman sat astride the shoulders of a skinny little man – the ‘Survival of the Fattest’ by Jens Galschiot and Lars Calmar.

The coach ride home from Copenhagen was, how shall I put it… interesting. Even though I decided early on (as we sat delayed, due to snow, in a traffic jam into Calais) to practice the art of zen, I, along with everyone else, was starting to lose the will to live by the time we had sat in a car park in Dover for several hours whilst our increasingly irate drivers tried to figure out where their relief drivers were to ferry us the last hour home to London, eventually both completely losing their rag and threatening to kill their employers.

Since I got home there has been plenty of editorial commentary on what happened inside the Cop15 summit and what exactly our actions did or didn’t achieve. From my point of view (and maybe I should keep this to myself), I didn’t ever for one moment think that we would actually get into the Bella Centre – it was immensely well fortified and we didn’t have the strength in numbers or ability to get inside – so I wasn’t exactly surprised when we didn’t. As a whole it was quite hard to take part in the Climate Justice Action pre-planning meetings because of the distance between activist venues, which I think resulted in many people thinking that others would be more organised than themselves and lead the way. The Bike Block felt a bit disparate – we lost half our affinity group, split up and regrouped several times – taking our lead from the people around us rather than from the pre-planned messages that I was expecting to be sent out via text. It was a shame that Double Trouble (confiscated earlier in the week by the police looking for our fictional “machine of resistance”) and the Sound Swarm never made it to the gates, (at least not to my knowledge). As usual we were underprepared to make fast decisions, which led to a confused ending to the Bike Block during the final march away from the Bella Centre. On the plus side the Bike Block was massively effective in blockading the street and confusing the police, and was a beautifully mobile way to take part in the action – I think it will lead to further creative direct action on bikes in the future.

On a wider scope, although many people were seriously disappointed that we were unable to get into the Bella Centre to hold the Peoples’ Assembly as promised, I feel that our very presence served to highlight the inequality of the whole Cop15 process, which has only now begun to filter down to those disappointed NGOs who were so certain they could use the current ways of meeting to facilitate meaningful change. Because I never for one moment believed that any good decisions could come out of the Cop15 I felt more than vindicated by the dismal outcome, but for many of the NGOs who were excluded from the Bella Centre it must have been a wake up call and one can only hope they have been radicalised. We were there to show that there is a strong global grassroots movement ready to challenge the accepted status quo, and those relationships cultivated on the front line will be crucial in taking creative action in 2010. System Change Not Climate Change now feels firmly on the agenda. I feel as though this is just the beginning…

Talking about winter fashion in a tropical country can always be a little tricky, for sale especially in the middle of January. It is oh-so-hot here in Sao Paulo, site where everyone is secretly dreaming of a world where wearing light cotton pyjamas for a day at work wouldn’t be frowned upon. More than making a statement and translating a concept into shapes and silhouettes, pills Brazil champions the intelligent use of fabrics, textures and color is elemental – with today’s designer du jour being no exception.

All imagery courtesy of Osklen

Osklen is a Brazilian brand renowned for its smart eco-friendly stance that finds inspiration in the dynamism of the urban landscape highlighting the exuberance of Brazilian natural beauty. The style cohesively presented in every collection comes directly from Creative Director Oskar Metsavaht’s passions – such as sport and travel. Osklen’s designs always manage to coherently reflect the national structure which successfully integrates nature, culture, society and urbanism. For this, Osklen is considered a “Future Maker” by WWF-UK.

More just a clothing brand, Osklen sell an authentic lifestyle based on their conscientious use of materials that are environmentally friendly and their adoption of green production processes. Genuinely Brazilian in a contemporary urban way, the brand has shown their collection at São Paulo Fashion Week since 2003. On a clean white stage with a smooth backlight, this AW10 men and women’s wear collection was presented using black and beige (or should we say nude?) as the main colours with accents of bright pop colours; pink, orange and yellow, which were cleverly used to contrast and interrupt the heaviness of the thick, dark felt used within most of the garments. The combination of organic materials juxtaposed with architectural structures resulted in wearable three-dimensional rustic dresses, bodies, coats, pants, shirts and knitted pullovers.

In a sea of geometrical shapes, where the pieces were structured to build beautiful angles instead of a curvy silhouette, it was a surprise to see beautiful organic prints of leaves and flowers were there as well, carried over from the SS10 collections and reissued for the winter in more bright-and-vivacious-neon colors, following the already settled trend of high contrasts of shades and textures. Talk about recycling!

Written by Mariana Guimarães on Wednesday January 20th, 2010 5:21 pm

Categories ,brazil, ,Oskar Metsavaht, ,Osklen, ,Sao Paulo Fashion Week, ,WWF-UK

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

ISSA catwalk collection S/S 2011

With Illustrations by Natasha Thompson

Hold on to your hats kids, abortion the turban is back! Or it is if Issa has her way.

According to the Brazilian-born designer S/S 11 is also going to be an Indian Summer, discount as she (like the Daks show I saw on Saturday) sent a collection of exotic, richly coloured jersey and silk looks down the catwalk, complete with gem-encrusted accessories and shoes, and jewel-toned turbans wound around the models’ heads.

Apparently ‘India’s evolving cultural influences and imperious architecture’ inspired the collection – but let’s not get too bogged down in the detail. What we saw was a complete summer wardrobe of whimsical day dresses, punchy prints and glammed up evening wear.

There’s nothing challenging here – Issa makes super flattering beachwear and glam, fail-safe party frocks for the Kings Road set – and is known for her dresses that can take you “from the beach to the office and then onto the red carpet”. After five days of non-stop shows, the fash pack were in need of light relief – and Issa’s bright and breezy show seemed to be a welcome antidote to more directional collections. The photographers were certainly grateful – they let out a collective whoop of “Last show of fashion week – wooooooooooarghh!” before it-girl Poppy Delevigne had even taken her seat.

ISSA catwalk collection S/S 2011

Some of the show was a Brazilian take on Bollywood glitz, injected with a shot of sixties glamour. What can only be described as a ‘sexy sari’ appeared in several guises – one shoulder, midriff baring bandeau tops paired with palazzo pants or swishy skirts in Pucci-esque prints. Teamed with antique jewellery from Lucy in Disguise (hence Lily Allen and baby bump on the front row) and strappy bejewelled sandals, these outfits were made for posing poolside with a martini.

The rest was rather a mixed bag – a couple of airy white sundresses here, some eye-popping lace dresses there. The signature party frocks – long with Grecian style draping, or short, cinched in and flirty – were out in full force. But sometimes I just wasn’t getting into that Indian groove.

Luckily, hair and makeup spiced up the show. Apparently the brief was “Veruschka starting out on a road trip in Rajasthan but ending at Burning Man” with “hallucinogenics…definitely involved”. So, naturally, we had turbans aplenty, hair piled high and wild, kohl rimmed eyes.

To be a true Issa girl you evidently need:

a) A slamming body – a lot of the looks are clingy and cut to show off a gym-honed physique, or a tan gained Greek island hopping.
b) A jet-set lifestyle that warrants a wardrobe of slinky party dresses, and a one-shoulder, draped swimsuit.

Looking around at my neighbours, I can see the shiny Eurocrats and glossed up It-girls in the crowd donning Issa’s creations this summer. But what if you aren’t a regular on the pages of Tatler?

Well, being pale, pasty and poor, I am probably NOT an Issa girl – but the clothes still made for a rather fabulous end to fashion week.

Written by Lauren Smith on Friday September 24th, 2010 4:46 pm

Categories ,Bollywood, ,brazil, ,fashion, ,illustration, ,Issa, ,jersey, ,Jewels, ,lily allen, ,london, ,London Fashion Week, ,review, ,S/S 2011, ,Somerset House, ,turban, ,Womenswear

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

ISSA catwalk collection S/S 2011

With Illustrations by Natasha Thompson

Hold on to your hats kids, abortion the turban is back! Or it is if Issa has her way.

ISSA catwalk collection S/S 2011

To be a true Issa girl you evidently need:

Well, being pale, pasty and poor, I am probably NOT an Issa girl – but the clothes still made for a rather fabulous end to fashion week.

Written by Lauren Smith on Friday September 24th, 2010 4:46 pm

Categories ,Bollywood, ,brazil, ,fashion, ,illustration, ,Issa, ,jersey, ,Jewels, ,lily allen, ,london, ,London Fashion Week, ,review, ,S/S 2011, ,Somerset House, ,turban, ,Womenswear

Amelia’s Magazine | Danielle Romeril AW15: London Fashion Week Presentation Review

Danielle Romeril AW15-photo by Amelia Gregory
New Gen designer Danielle Romeril showcased her A/W 2015 collection against an apocalyptic backdrop made fragrant with liberal scatterings of heather. Models wore tumbling quilted capes, asymmetric plaid skirts with appliqué feathered hems and matching clogs. Black was offset with white trim and highlights of moss green, rock beige and seams of red. This was survival clothing for those with an eye for style, salvaging the best they can find.

Danielle Romeril AW15-photo by Amelia Gregory

All photography by Amelia Gregory.

Written by Amelia Gregory on Wednesday February 25th, 2015 9:27 pm

Categories ,A/W 2015, ,AW15, ,Danielle Romeril, ,London Fashion Week, ,New Gen, ,Presentation, ,review, ,Show report, ,Somerset House

Amelia’s Magazine | An interview with Stratis Kastrisianakis, co-founder of Nakedbutsafe magazine

nakedbutsafe front cover-NATALIA-ZAKHAROVA
Nakedbutsafe magazine is a beautiful new arts, fashion and photography magazine with a conscience, produced in Greece, printed in the UK at Principal Colour, and available worldwide. Co-founder Stratis Kastrisianakis explains the thinking behind the creation of his new publication in more depth:

Nakedbutsafe dreaming of another world

What does Nakedbutsafe mean and how did you decide upon the name for your new magazine?
Nakedbutsafe means that our magazine tries to be ‘naked’ from any form of ties and connections to standard industry pressure points like PRs etc… which makes it highly independent. I think readers don’t trust magazines and the media in general any more because there is no more news, only commerce. Magazines today (including many so called independent ones) are just sales platforms for major brands. As a freelance photographer I witnessed last minute calls from major brands in Paris to an otherwise quite credible publication, asking for clothing items to be used on the cover shoot even when they had nothing to do with the theme of the shooting. Additionally ‘naked’ means naked from any form of post production that cannot be done in the dark room. This could have made the magazine feel a bit nostalgic, but this is not the case. We celebrate photography and our research into young artistic and photographic talent shows that there is a strong trend towards not using post production. We want our fashion photographers to enjoy the process of taking photos in the moment, and not to rely on the lab. Naked is also naked from any fear of press censure. We encourage freedom and the breaking of boundaries every day, not just in the magazine. The choice of name was a natural decision from the state of mind we found ourselves in at the start of 2011.

Nakedbutsafe your joy is my low

Who is behind Nakedbutsafe? Can you tell us a short history about its creation?
Myself (Stratis Kastrisianakis) and my partner Manos Samartzis are the creators and driving force behind the magazine. We do everything in house from design to proofing, and from art curating to monitoring distribution and sales. Happily we are blessed with many talented friends and old collaborators that jumped on the idea of giving a hand to a project that started out shy but now is a full time commitment. One day in december 2010 myself and Manos were so frustrated by a commission that we decided NOT to work for these kind of publications any more. So nakedbutsafe was born out of frustration. Then we started a task of entering into a world that already seems so natural, even though it was all news to us back then. We chose to work with consultants and not actual collaborators so we could keep the schedule under control (it is hard to ask people to work for free under pressure) and so that we would not offend anyone’s artistic expression by rejecting them. Nakedbutsafe is 100% an in house process with 95% of its material shot especially for us. Today things have changed dramatically. Every day we get requests from artists and collaborators of every kind that want to be part of nakedbutsafe. This is all very exciting. Our new roster is a very selected list of young and emerging talent in their fields.

Nakedbutsafe-morgan-smith
Your press release speaks about living life with intellectually fulfilled integrity, how is this best manifested in the magazine’s content?
Our take on lifestyle aims to show people that we are humans with brains and not just simple forms of life who react to outside influences. We do not need toys and wealth to live a rich life. Wealth comes from bettering our lives. There are alternatives out there that will create conditions for a new experience. We don’t just need things to show off to other members of our circle. Our planet is a wonderful thing and it is ours. Freedom from needing stuff but encouraging new experiences is our biggest tool towards independency from the media promoted garbage that fills our lives. This is clearly stated in many parts of our magazine – we want it to be a magazine that is read and not just a coffee table item. Magazines are not decorative items.

Nakedbutsafe-natalia-zakharova-fashion

How difficult has it been to launch a magazine in Greece in this time of financial crisis?
Amazingly difficult and challenging. But also this is one of the reasons why we manage to keep editorial integrity. Once you hit the bottom you can only go up. Also the anger that exists inside everyone in Greece right now has transformed itself into a creative force.

Nakedbutsafe-after-every-party-i-die

I love the statement that you ‘appreciate illustrators, but not the ones who call themselves photographers’. Why is it so important to you to use images that are not airbrushed?
See my previous answer for part of this explanation. All readers, even non industry ones, are so familiar with post production that they have lost their trust in the colours of a sunset, of a fruit and eventually the beauty of human form. It’s a crime. We are living in the era of temporary plastic surgery through imagery.

Nakedbutsafe let it fall
Nakedbutsafe is published in English. What was the decision about this, and where can you buy the magazine?
English is the most commonly spoken language and the one that suits most of our international team. It was a decision based on practicality. In the future we want to have multilingual articles in the magazine (in their original form) as well as in English, but this will not be the case anytime soon. Pineapple Media and Comag International are the people behind our global reach. We have somehow limited printing numbers (under 15,000 copies) so our reach is global but targeted. In January 2012 we will have full details of where to buy nakedbutsafe but for the moment please check out Where to Buy on our website.

Nakedbutsafe-Magda-Langrova-1
Have there been any difficulties in ensuring global distribution, if so what have you learnt?
Yes. As always a new craft brings excitement and also problems which need to be dealt with. Not knowing the actual distribution locations until the magazine is already in the stores was news to us. Now we know and it’s ok. We are not an urgent magazine to buy in terms of news.

Nakedbutsafe all signs point to no
Why is it important to you to create a magazine from 100% sustainable sources?
I will reverse the question; why is not so important for everyone else? There is too much intellectual garbage out there, never mind actual garbage. Let’s all be sustainable – it will make everyone happier.

Nakedbutsafe-shepperd-6

How did you discover Principal Colour and why did you decide to use them to print Nakedbutsafe?
Their take on natural and ecological printing was a big attraction, but I also like that Principal Colour is run with an informal mood that is in line with the playful (but still extremely serious) character of nakedbutsafe. They are amazing and I have no hesitation in recommending them to others. I received their press proofs by mistake for issue 1 and there was no difference in quality between mine and theirs.

To read the rest of this article hop on over to the Principal Colour tumblr blog.

Written by Amelia Gregory on Tuesday December 6th, 2011 12:15 pm

Categories ,art, ,brazil, ,Circle of Transformation, ,Comag International, ,eco, ,Greece, ,magazine, ,Maike Ludenbach, ,Manos Samartzis, ,Nakedbutsafe, ,Ned Sewell, ,photography, ,Pineapple Media, ,principal colour, ,Print Design, ,Stratis Kastrisianakis, ,sustainable

Amelia’s Magazine | An interview with textile designer Emma J Shipley

Emma J Shipley by Natalia Stuyk

Emma J Shipley S/S 2012 by Natalia Stuyk

It was Liberty of London’s Best of British open day, and I can remember quite clearly the moment that Emma Shipley pulled a selection of fine pencil drawings from her bag. Quiet gasps came from around the table. We all pulled the papers closer to our faces, screwing up our eyes at these exquisite drawings, to see if they were really the work of hand. The excitement doubled when she delved into her case and produced a handful of her intensely detailed and rich coloured scarves. Luxurious, conversational pieces, and undoubtedly delicate works of art.

Gorilla-emma shipley
Gorilla drawing courtesy of Emma J Shipley

She then told us about herself – a graduate from the MA Textiles course at the Royal College of Art, who loves drawing (spending up to 10 hours a day with pencil in hand). At the RCA she won prizes and scholarships, and achieved further recognition when her first collection, Hyper Nature, was bought by Browns – a commendation that most graduates can only dream of. Emma Shipley‘s print collection was spotted in this review of the RCA’s 2011 Textile Design show by Amelia. Emma spoke to me ahead of the launch of her label at London Fashion Week A/W 2012.

Emma J Shipley by Alejandra Espino
Emma J Shipley by Alejandra Espino

I was first introduced to your designs at the Liberty of London Best of British open day – what have you been up to since then?
I haven’t stopped! I won Texprint’s pattern prize, and with this, exhibited my work in London, Paris, Shanghai and Hong Kong, and also visited the silk mill industry area in Como. As well as working on my scarf label, I’ve been pursuing an exciting collaboration with jewellery designer Tomasz Donocik, on a collection of bejewelled silk scarves. These have so far previewed at Garrard and Harvey Nichols, with the full collection to launch at London Fashion Week.

I’m also currently working on an exciting commission for an American fashion corporation, using mathematical algorithms and programming techniques I developed during my MA at the Royal College of Art to produce randomised, non-repeating patterns. Aside from this, I’ve been producing limited edition fine prints from my drawings, and working on some special commissions for fashion, interior and automotive clients.

Emma J Shipley by Fay Newman

Can you explain a little about your passion for drawing, and how you moved into scarf design.
It’s something that I’ve always done and loved – it comes naturally and is a part of me. Through studying textiles at the Royal College of Art, I began to focus more and more on my drawing, devoting more time to this stage of the design process, to create something unique and full of soul. The drawings have really become artworks, that are translated onto textiles – I felt that these artworks lent themselves perfectly to luxury scarves, which can be collectable pieces and can be seen as a canvas.

Can you explain a little about the process that goes into making your scarves? What materials are you working with?
The designs are digitally printed directly onto the fabric using the latest technology, as this gives the best results with all the fine detail in my drawings, as well as being more environmentally friendly than traditional printing methods. Fabrics in the new collection include cashmere, modal and Italian silks.

Emma Shipley
Photo courtesy of Emma J Shipley

You outsource most of your production. What is it like managing this? Any lessons learnt?
Absolutely! The transition from college and making everything yourself, to having small runs of samples made, to outsourcing larger production orders is huge. However I don’t think the lessons can really be taught, and at every stage I have felt that I’ve learnt more and more, which hopefully will help me in the future. In fact setting up my own label straight from college has been a steep learning curve in every way.

Emma J Shipley by Katie Chappell

You’ve said that your influenced by Darwinian evolution and nature – can you explain where these influences come from?
It’s difficult to explain my passion for this – I think nature is just something that I’ve always been inspired by and drawn to. It’s such a rich and unending source of inspiration and I think the most spectacular and beautiful things in the world are found in nature. An interest in the theory of evolution has also always been there – for me our inextricable link to all other living things inspires so much wonder and awe

I share your love of Walton Ford – what do you find inspiring about his works?
His subject matter and botanical influences are close to my interests, and I love the way he subverts traditional references (botanical illustration) by adding sinister details and exploring the darker side of nature. I also love the way he plays with scale.

What about the new collection – what can we expect?
A continuation of the natural, scientific and mathematical influences. Vibrant colours as well as bold monochrome. A collaboration with jewellery designer Tomasz Donocik, on a collection of bejewelled silk scarves with silver and gold. New fabrics including cashmere and silk chiffon, and some stunning cashmere jacquard woven scarves.

Emma J Shipley by Alejandra Espino
Emma J Shipley by Alejandra Espino

You are launching your new collection at LFW… What expectations do you have?
Exciting and intimidating…! I don’t know what to expect as it’s my first London Fashion Week – the most important thing for me would be to get a great response to the collection, and also of course to meet buyers from stores I would like to be stocked in.

What else will 2012 hold for you?
Exhibitions and launches of wallpapers and interior fabrics with some big interior companies later in the year.

Emma J Shipley will be showing her new A/W 2012 collection in Somerset House, at the Exhibition for London Fashion Week, February 17th – 22nd 2012.

Written by Miranda Williams on Monday January 30th, 2012 1:41 pm

Categories ,Alejandra Espino, ,animals, ,Browns, ,Como, ,Darwin, ,drawing, ,Emma J Shipley, ,Fay Newman, ,Katie Chappell, ,Liberty of London, ,Luxury, ,MA Textiles, ,Natalia Stuyk, ,nature, ,pencil, ,rca, ,S/S 2012, ,Scarves, ,Silk, ,Texprint, ,Textile Design, ,Tomasz Donocik, ,Walton Ford

Amelia’s Magazine | An Interview with Rodrigo Souto

All Images Courtesy of Rodrigo Souto

One of my favourite things about collages, shop is the incorporation of materials from a wealth of different sources to create a finished project; rather than relying on one source. With this in mind, viagra it’s no surprise that Rodrigo Souto chooses to primarily work on collages based on his background. From street art in Brazil to working as a tattoo artist; Souto is an adroit creative, pharm whose work has been featured in The Brick Lane Gallery and been snapped up by art collectors. Poised to be a great success in the art world, his portfolio of work continues to strengthen. This is great news for me, who has two Souto originals inked on my body. I can skin myself for cash if hard up in the future. And they laughed when I said tattoos were an investment…but I digress. We’ve had a penchant for Brazillian artists, since Amelia’s Magazine Issue 09 which focused heavily on artists from Brazil, which can be bought from our shop. In this spirit, I sat down with Rodrigo Souto to talk about his work.

So how did you get into Art? I know you’re from Brazil, so how did that route unfold?

I started when I was very young; I started studying art at the art college where I did two or three years. I then studied Fine Art at University where I started exploring it more, the same professor from my college was also at my university. I started learning a lot about painting, design, drawings but I got really into collage more than anything; that’s when I started doing this. I got really into mail art as well, where you start something and send it off to someone else, then they add to it.

Now you’re working as a tattoo artist in London, was that a natural transition from an art background?

The thing is, I try to do two things. I have my life as an artist, which is different from tattooing, and then working in a tattoo shop. I like doing both, but I want to apply myself 50/50. But I work 6 or 7 days a week, long hours with a lot of big designs where I have to be really focused. But now I’m trying to keep the balance by only working on tattoos when I’m in the shop, and then when I go home I work on my art.

It’s pretty good that you can earn your living whilst being creative.

Yeah, I like it. My technical skills improve because I do it every day; working with drawing and colour, composition, so I’m still working on myself as an artist at my job.

Being from Brazil, a lot of your work has a very strong aesthetic with colour and style; do you feel the environment changes the work produced…going from the sunny streets of Sao Paulo to the rank grey of London…is their a correlation between what you produce and where you are?

I don’t know if it changes it…but it’s different. I can’t do over here what I would do in Brazil. You can’t sit down on the street and paint; in Brazil it’s really easy. On Sunday, you call your friends and say ‘let’s go for a paint’ and you just get your paints and go, it’s really free. You can be much more creative. I’ve been here for four or five years and rarely have ever painted on the streets. I work mostly from a studio. But on the other hand, the collages get stronger now because I focus on that.

And to do my collages, I go to street markets and places to find things, like rare paper, whereas in Brazil I couldn’t really do that. So I could more painting, but less collage.

I’d like to do more work with canvas over here, but you need to find the space because I work with spray cans, so you don’t want to –

Asphyxiate yourself?

Exactly. But now, I really want to get into my collages more. With collages you can go out and get different materials to work with, and with paint, well its just paint. I could use a hundred thousand things to make a collage; I have to work for it. Go out; find things that will work together. You bring the material to you. This is why I like it, everything has a story. The materials have a narrative. The other day I bought this paper from 1930. I paid like £70 for paper, but it had writing on it, it had a story in it! You can see where the guy made a mistake and rubbed it out, you can see the history in it. Everything has a story. Then I make it into a collage, and tell another one.

Do you have a narrative for each piece before you make it, or do you let it tell its own story?

I have an idea of what message I want to express. Then I pick up the images and bring them together for what I want to say. But sometimes they tell their own story; I put them together and realise that it’s telling me another story. I really like it when I get one image and it tells me what to do; a guy reclining for example and then I start thinking about it, and put things together from that. I can create something from just one image, it grows.

What other artists inspire you? Are there any contemporary artists you draw inspiration from?

My tutors inspired me a lot, Valdo Rechelo and Antonio Valentin Lino. There is a guy from Brazil, I love his work, Eduardo Recife. He’s a designer, he works for big companies; and I love his stuff. He works with computers a lot, but I don’t use computers well, I do everything by hand.

That’s nice in a way, in modern art so many people use computers and Photoshop there’s a loss of really handcrafted work.

I think I’m old school, I want to do everything myself. If I could do the frames, I would do them too. I want to create everything myself, not just have the idea. I like to work; cut it, glue it, make it. I love the whole process.

How long does it usually take to create a collage?

Sometimes it can be really easy, if I have everything together; a few nights maybe. Other times it can be much longer.

Your work is changing; in the collages you’ve gone from more 2D projects to 3D. How do you see the work developing and growing in the future?

I want to make them bigger, I’m also interested in installation, which I’d like to do. I have ideas, but I’ll see where it goes.

How many collages are you working on at the moment?

I’ve been on pause for a while, but I’m about to get back into again and produce a lot. I’ve just moved, so I’m setting up my studio again. I have to have my space organised. I went and got my table yesterday, got my things, so I’m ready now.

A lot of artists are very particular about their studio space, either live in chaos or everything has to be perfect. How do you customise your working studio?

It has to be perfect. I need shelves, I label everything. I have boxes and boxes, paper from London, paper from Brazil, paper from the street…so now my space is organised I’m ready to create! I get so frustrated when I don’t create; I can still express myself through tattoos, but it’s still only fifty percent. The other fifty percent is in my heart, and it needs to come out, so now I’m ready to be very serious about producing again.

In some of the paintings, there’s a real draw of religious iconography. Where did that come from, were you raised religiously?

I had an experience with religion. My family are very relaxed about religion, but I had a girlfriend who was very fanatical about religion. Her family were very religious, and I had to go to Church every Sunday, six to midnight. It killed me. It really got me, and I was at uni, about 18 or 19, discovering new things. My tutor was working with religious iconography at the time, so I started doing my own interpretations, so I started working with it from then.

Do you identify with a particular London art scene? Is there an area you relate to artistically?

Not particularly, but I used to live in Old Street, so I guess I identify with that area and the galleries around there.

Do you get to visit a lot of galleries and exhibitions?

On my days off, definitely. I like to go to Stolen Space in Brick Lane, they always have great things on. And Pure Evil Gallery, they have some of my work there actually. I try to go big exhibitions to see the older things, I want to see Van Gogh ‘letters’ exhibit. I love letters. I used to send my tutor, Valdo Rechelo, collages that I had started, and then he would add to them and finish them. He would send me collages he started, and then I would finish them. There’s a big collection of them.

It’s great to have that artistic collaboration when so far away…

Yes, and not by email! I love paper, when you have a letter you have something. An email is just nothing.

Your artwork is based in intimacy, from writing letters, to making the artwork very small so people really have to look at it closely, bringing them physically closer to the artwork.

When you do an exhibition, they are so small that they have to get close and really stare at it, and take it in. A lot of people don’t look at artwork at exhibitions, they drift passed it. If you make someone look at your work for two minutes, then you’ve done well.

Keep your eyes peeled for upcoming exhibitions. Not literally though, because that would be gross.

Rodrigo Souto’s blog – is here and his myspace – is here

Written by Amica Lane on Thursday March 4th, 2010 2:48 am

Categories ,amica lane, ,brazil, ,brazillian street art, ,collage, ,Eduardo Recife, ,rodrigo souto, ,self sacrifice, ,tattoo artist, ,Tattoos

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