Central Saint Martins – Page 7

Amelia’s Magazine | Hellen van Rees: London Fashion Week S/S 2013 Catwalk Review

Hellen Van Rees S/S 2013 by Kristina Vasiljeva.

I was most delighted to read that Dutch designer Hellen van Rees uses recycled materials to create her innovative tweeds, which are hand crafted into sculptural garments. The Central Saint Martins graduate rounded off this season’s Ones to Watch with easily the most conceptual collection of the four.

Ones to Watch hellen van rees SS 2013 photography Amelia Gregory

Square2: Exploring Excitement melded the commercial and the avante garde in clever harmony: the squares of the title appearing as boxy protrusions on otherwise wearable cute tweed mini dresses. Using a colour palette of lemon, grey, dirty white and pale blue, the wilder creations with box hems or jutting shoulder pieces were surely not meant for everyday wear but I could imagine just about getting away with dresses decorated with smaller plastic appliques. Glossy plasticised tweed and raw edging provided contrasting textures, whilst cocks comb headdresses added further architectural interest. Designers such as Hellen van Rees are particularly exciting to follow, as they traverse the tricky line between artistic brilliance and the wearability that will make their fashion label a success.

Ones to Watch hellen van rees SS 2013 photography Amelia Gregory

Hellen van Rees S/S 2013. All photography by Amelia Gregory.

<a target="_blank" href="http://www.vimeo.com/49505744" rel="noopener">http://www.vimeo.com/49505744</a>

Written by Amelia Gregory on Monday September 24th, 2012 12:09 pm

Categories ,Central Saint Martins, ,dutch, ,eco, ,Fashion Scout, ,Hellen van Rees, ,Kristina Vasiljeva, ,lfw, ,Ones To Watch, ,S/S 2013, ,Square2: Exploring Excitement, ,sustainable, ,Tweed

Amelia’s Magazine | Hiroko Nakajima: Fashion Scout Ones to Watch, London Fashion Week A/W 2014 Catwalk Review

Hiroko Nakajima A/W 2014 by Emma Farrarons

Hiroko Nakajima A/W 2014 by Emma Farrarons.

Japanese born London based knitwear designer Hiroko Nakajima is another Central Saint Martins graduate with an intriguing approach to fashion design. Her philosophy is that ‘The human body takes a backseat to the graphic, but upon wear, reappears as one with the artwork.’ Her new collection of bodycon cashmere dresses worn with bright tights and classic stilettos was a wonderfully bold celebration of graphics as worn on the body, inspired by the Bauhaus.

Hiroko Nakajima by Slowly The Eggs aka Maria Papadimiriou

Hiroko Nakajima by Slowly The Eggs aka Maria Papadimiriou.

Hiroko Nakajima AW 2014-red dress

Hiroko Nakajima AW 2014-handbag

Hiroko Nakajima AW 2014-green top

Hiroko Nakajima AW 2014-pink bag

Hiroko Nakajima AW 2014-red bag

Hiroko Nakajima AW 2014-red hat

Hiroko Nakajima AW 2014-yellow skirt

Hiroko Nakajima AW 2014-back view

Hiroko Nakajima A/W 2014 by Emma Farrarons

Hiroko Nakajima A/W 2014 by Emma Farrarons.

I love the way that Hiroko Nakajima employs intarsia to create big asymmetric shapes and eye catching slashes of colour. Great curves of knit that draped artfully around the shoulders like Delauney shawls were particularly successful, as were the mini geometric clutch accessories and pointy knitted hats, which could have looked ridiculous but somehow worked beautifully. This is what all knitwear should be like: totally wearable, flattering and so much fun. I had no shortage of illustrators volunteering to draw this collection, and I can see the appeal!

Hiroko Nakajima by Kimberley Ellen Hall

Hiroko Nakajima by Kimberly Ellen Hall.

Hiroko Nakajima AW 2014-portrait

All photography by Amelia Gregory.

Written by Amelia Gregory on Thursday February 20th, 2014 11:32 pm

Categories ,A/W 2014, ,bauhaus, ,bodycon, ,Cashmere, ,Central Saint Martins, ,Emma Farrarons, ,Fashion Scout, ,Hiroko Nakajima, ,Intarsia, ,Kimberly Ellen Hall, ,knitwear, ,Maria Papadimiriou, ,Ones To Watch, ,review, ,Slowly the Eggs, ,Sonia Delauney

Amelia’s Magazine | Hobbs AW10 Fashion Collection Press Day Preview

Hobbs-Press Day AW2010

Now, page I don’t normally write blogs about high street clothes shops. But I’m gonna break my rule this time. Earlier this week I went along to the Hobbs press day in their flagship store in Covent Garden – basically just because I was invited and I’ve never been to one of their press days before. I had absolutely no expectations of it, drug since I’ve rarely set foot inside a Hobbs store since I developed a bit of a Bertie shoe fetish in my teen years (the late 80s if you must know). Bertie was once associated with the Hobbs brand, but I’m not sure if it is anymore.

Hobbs-Press Day AW2010

I managed to sashay confidently past the girl on the door girl, “where did you say you were from?” said she, eyeing up my haphazard approach to dressing with curiosity. Then I manoeuvred myself away from what promised to be a lengthy guided tour through each garment in the collection, nearly sending a mannequin crashing in my eagerness to reach the back of the room. And, I was how shall we say it… pleasantly surprised. Straight away I made a beeline for a lovely gold pine cone necklace, taking in the general fruity folk colours of the NW3 collection. Accessories are one of Hobbs’ strongpoints and there was a nice display of cute jewellery and coloured patent bags.

Hobbs-Press Day AW2010

But I was anxious not to waste too much time, so when one of the immaculate PR ladies glided over (I always feel like a bedraggled mess by comparison) I quickly explained that I was only looking for either designer led collaborations or ethical ranges. AHA! She led me towards a young man, standing in front of a rail and eager to pounce on journalists. I was introduced; this was Dean Thomas, designer of the high end Artisan collection, which sources all of its materials and is manufactured within the UK.

Hobbs-Press Day 2010-Dean Thomas

Dean Thomas describes the Artisan collection.

Dean was chosen straight out of Central Saint Martins precisely because he found all the materials for his final collection from within a 50 mile radius of his home town in Somerset. He held up a few pieces from the AW10 collection for me and I have to say, it was absolutely gorgeous. He’s created a stunning pleated evening dress out of the most unlikely of materials: a waxed cotton similar to the type that gets used in Barbour jackets. Then there’s a lovely stripy mohair coat and a super long evening dress with an elegant train. All the wool comes from Jacob sheep in Scotland and a pretty print was manipulated digitally from a photo of virulent purple Scotts thistles. I was pretty impressed I tells thee. Apparently in 2008 Hobbs was given a good shake up with the appointment of Sandy Vernon as creative director (she used to work at Next and Jaeger), and if this is what she’s doing then she’s onto a winner.

Hobbs-Press Day AW2010

I then got pulled over to meet Karen Boyd, formerly of Boyd & Storey, and shown through her domain; the Limited Edition collection. She too has moved over from Jaeger, where her trademark style – elegant tailoring mixed with feminine details such as faux embroidered prints and little lace collars – was given credit for turning around the once fusty label. This collection is beautiful too, but sadly only the goat skins used in the long haired cape are sourced locally. “They’re a by-product of the meat industry, we don’t use fur.” Most of the clothes are of course made in the far east. As, no doubt, is the pine cone necklace that I had so admired earlier, but I was nevertheless a super happy bunny to discover the very same necklace in my press goodie bag. Comfortingly heavy, it’s been living around my neck ever since, a rare accolade.

Hobbs-Press Day AW2010
Hobbs-Press Day 2010-Karen Boyd
Karen Boyd talks me through the Limited Edition collection.

All in all I left pleasantly surprised. I think it is to be applauded when a large high street retailer such as Hobbs is confident enough to produce a whole range of beautifully made clothes in the UK, at a price point that will still be affordable to many (if not me). Now if only more retailers were to sit up and take note.

Written by Amelia Gregory on Saturday May 1st, 2010 10:47 pm

Categories ,Artisan, ,Barbour, ,Bertie, ,Boyd & Storey, ,Central Saint Martins, ,Dean Thomas, ,Hobbs, ,Jacob Sheep, ,Jaeger, ,Karen Boyd, ,Limited Edition, ,Local, ,Next, ,Press Day, ,Press Gift, ,Sandy Vernon, ,scotland, ,wool

Amelia’s Magazine | Huishan Zhang: London Fashion Week A/W 2013 Catwalk Review

Huishan Zhang A/W 2013 by Dom & Ink.

New twitter mini film app Vine was embraced by the more social media savvy end of the fashion crowd at London Fashion Week: the six second looping films proving perfect to give an immediate moving idea of the shows that a static picture sometimes struggles to put across. Bright catwalk lights tend to wash out un-metered image creation, so I found Vine worked best at the more inventive presentations that I attended. One such show was that put on by Central Saint Martins graduate Huishan Zhang, a Chinese born designer who has interned within the hallowed atelier of the Dior couturiers. Take a peek below:

Huishan Zhang A/W 2013 by Gemma Cotterell.

Huishan Zhang A/W 2013 by Shy Illustrations.

Huishan Zhang A/W 2013 by Sylwia Szyszka.

Huishan Zhang A/W 2013 by Dom & Ink.

For A/W 2013 Huishan Zhang melded Eastern and Western influences in a supremely subtle and modern way: Mondrian-esque stripes and colour blocks were merged with delicate overlays of lace and glitter panels to create 60s inspired A-line shift dresses. These shapes echoed the Chinese Mao suit that was worn by everyone in 60s China, but the sparkling addition of Swarovski sponsored panels of crystals made them dinner party desirable for now. High waist tapered trousers felt modern paired with swing back crop jackets, whilst contrasting lace appliqués and peek-a-boo pleats provided additional interest. This was a wonderfully clever collection; definitely one of my new designers to watch.

Huishan Zhang A/W 2013 by Sylwia Szyszka.

Huishan Zhang A/W 2013. All photography by Amelia Gregory.

Huishan Zhang A/W 2013 by Sylwia Szyszka.

Written by Amelia Gregory on Tuesday March 5th, 2013 9:56 pm

Categories ,60s, ,Central Saint Martins, ,Chinese, ,Dior, ,Dom & Ink, ,Gemma Cotterell, ,Huishan Zhang, ,lace, ,London Fashion Week, ,Mao suit, ,Mondrian, ,Shy Illustrations, ,Swarovski, ,Sylwia Szyszka, ,Vine

Amelia’s Magazine | Ikebana AW15: An interview with fashion designer Sadie Williams

Sadie Williams by Bonaramis.

Fashion designer Sadie Williams was inspired by the 1962 Best of Ikebana book on Japanese flower arranging to create a bold and innovative AW15 collection that features multiple textile techniques and a glorious mash up of fabrics. Here she tells us more…

Sadie Williams AW15
Where did you study on BA and MA and what were the best aspects of your courses?
BA in Fashion Design at Brighton. Best aspects were the technical training this gave you, and the amazing tutorship of Jane Shepherd, who introduced us young, clueless first years to many many brilliant and inspiring aspects to this vast industry. She also and helped us to develop into stronger designers, and taught us that we should be unafraid of creating something extreme, bizarre or seemingly ‘anti-fashion’.

Sadie Williams AW15
MA on the ‘Textiles For Fashion’ pathway of the MA Fashion course at Central Saint Martins. This is where I finally felt like I found ‘my thing’, through lots of learning through mistakes! It was tough, but the best thing I have ever done. I feel honoured to have been taught by my textile tutor Fleet and the late great Louise Wilson.

Sadie Williams AW15
You’ve been much feted since your MA collection caught imaginations, what has been the best outcome of this?
Being able to continue working creatively and express myself and my vision, sometimes this is in collaboration with another brand or project and more recently under my own label. I have also loved being able to travel and meet so many brilliant people along the way. It’s all still very much a learning curve.

Sadie Williams AW15
Your collections are defined by sleek silhouettes, what is it about such graphic shapes that appeals to you?
For me, I really focus on creating the textiles, often quite laboured (multi-layered, printed, quilted, appliqued, embossed etc). I love clean simple silhouettes and feel that partnering them with my textiles is both cool and necessary way to present my work in a stronger and clearer way, and avoid the danger of fussy garments being overworked or theatrical.

Sadie Williams AW15
How do you source so many different types of metallic fabrics?
Always on the look-out! But also, I create a lot of different metallic fabrications through altering/re-working existing fabrics using various techniques, for example bonding shimmering transparent fabrics over satins or lurex, weaving metallic ribbons into fabrics, or stiffening flimsy loose-weave lurex by embossing and bonding it.

Sadie Williams AW15
What fabrics are your favourite kind to work with and why?
I think it’s clear that I rather like lurex! But honestly, I just really love working with all sorts of textiles. I love being set a project/job where I have to work with a fabric that I wouldn’t normally select myself, for example, one of my favourite projects form the CSM MA was working with lace, which I doubt I would ever have considered before.

Sadie Williams AW15
I understand you are in the process of moving studios, where is the new one and what would we see if we came to visit?
It’s in East London, Haggerston, right by the canal! There’s a lot of rolls of fabric! Shelves full of books and mags, lots of portfolio boxes, my heat-press, sublimation printer sewing machine, mannequin etc. Lots of crafty things like wire, plasticine, coloured acetates and tons of different kinds of papers (which I often use for making our animations). All the things I need to do what I do!

Sadie Williams AW15
I loved your latest collection, inspired by Ikebana flower arrangements, what was the process of translating the Best of Ikebana books into wearable garments?
It was more the idea of translating the spirit of those beautiful 1960’s images of floral arrangements into my work, rather than a visual translation. I liked the way that they were subtly vibrant, and very playful and fun yet so composed and still at the same time. I hope that makes sense! I worked with my friend Georgina Norris to create accompanying floral arrangements using the leathers that were featured in my collection, so we used these in my installation spaces at London and Paris fashion week, and I always intended to pair them up with imagery of my garments into a printed and digital lookbook.

How did you include techniques such as weaving, quilting and applique?
I wove together some brilliant vintage Indian ribbons that I sourced from a market stall in Shepherds Bush. In fact I bought up all his stock! I appliqued these as decorative patched onto the fronts of tops. I also used applique to apply metallic leather onto fine silk-prganza, which was actually pretty tricky and took a lot of sampling. It’s a multi-step process involving machine-sewing the leather and organza between layers of a specialist translucent quilting paper, which you can then tear away. I quilted a few lurex garments, by sewing around the print design through lyers of wadding and onto a backing fabric.

Sadie Williams AW15
Do you have any other collaborations with your brother Joe Williams on the horizon?
He is currently on a trip travelling for a few months, but we have an agent, and so when the right projects come up and we are both available, then yes! And I would love to work with him again to illustrate some of my own work again in the near future.

What’s next for Sadie Williams, can we expect another full collection next season and if so can you give us a clue about your new inspiration?
I am definitely going to be applying for NewGen sponsorship again for SS16, so fingers crossed! And I am afraid I’m going to keep my lips sealed at the moment!

Written by Amelia Gregory on Wednesday April 8th, 2015 5:59 pm

Categories ,AW15, ,Best of Ikebana, ,Bonaramis, ,Central Saint Martins, ,East London, ,Fleet, ,Georgina Norris, ,Haggerston, ,Ikebana, ,interview, ,Jane Shepherd, ,japanese, ,Joe Williams, ,Louise Wilson, ,Lurex, ,Metallic, ,Newgen, ,Sadie Williams, ,University of Brighton

Amelia’s Magazine | Jasper Garvida: London Fashion Week S/S 2012 Preview Interview, part one

Jasper Garvida S/S 2012 illustration by Aliyah Hussain

There is nothing I love more than a designer that approaches their creations like an artist about to create a masterpiece that’s also flattering and wearable. One designer that does all of this as well as constantly surprise is Jasper Garvida.

A favourite of Amelia’s Magazine with a flurry of adoring reviews such as this last one on his current Autumn/Winter 2011 collection. A graduate of Central Saint Martins and winner of Sky One’s Project Catwalk show, generic Jasper caught the attention of stylists and editors alike. I visited his studio ahead of unveiling his Spring/Summer 2012 collection at London Fashion Week, which is inspired by Fashion Editor legend Diana Vreeland and a painting by artist Frantisek Kupka. We chatted about style, what women want in an outfit and Kate Middleton with a peek at the new collection illustrated by some very talented people.

Jasper in his studio, photograph by Alia Gargum Jasper at the sewing machine by Alia Gargum

You’ve been a real rising star of fashion (with a glowing graduate show review from Hillary Alexander, Fashion Editor of the Telegraph while the complete collection was bought out by Nicola Formachetti, previous editor of Dazed and Confused, and a firm Amelia’s Magazine favourite with your feminine, embellished, yet strong creations. Looking over your career so far and your upcoming Spring/Summer 2012 collection how can you describe the journey of the Jasper Garvida brand?
I was so surprised when Nicola Formachetti, Lady Gaga’s stylist of all people, bought my entire graduate collection. My friend Gareth Pugh introduced me to Nicola, who fell in love with the collection and sold it in Japan as well as using it for different publications at the time, giving my work great exposure that led to bigger things. I was incredibly privileged to have met him and the Dazed team, which made me realise that I wanted to do more. I then started creating collections for Alternative Fashion Week, and as every collection I created sold, I realised ‘there’s something going on here’. So I just kept rolling with the collections, although I originally never had the intention of having my own label.

Past collections hanging in the studio

Studying at Central Saint Martins was an incredible experience, where you are pushed into being more creative, but in terms of commercial design this can’t always be realistic. So I next worked for the high street, designing for different labels such as Evans, Wallis, and Miss Selfridge, creating clothes for different body shapes and age ranges. I took me a while to understand what the average woman looks like and what would flatter them. I learnt about cut, what skirt length that average woman would prefer and things like how a maximum neckline drop of 18cm is sexy, and beyond that is a no-no. I also found out how to flatter a fuller figure, because bigger women need to feel sexy too. This got me into the habit of looking at women on the tube, in the street, asking myself, ‘how can I make it better for them?’ thinking about what they need and what they want. However, working for high street brands made me miss the whole creative process of having your own label, and for a while I felt a little lost as a designer. As you know, the high street relies heavily on trends and I really wanted to do something of my own. I then figured out that the only way to do this was to open my own company and combine all my experiences so far. So I started the brand in November 2008, and it has taken a while to build up the label. In the beginning we thought about figuring out a gap in the market and where we would have liked the label to go, experimenting as we went along. I now feel very positive about S/S 2012 and that this season is our strongest. The collection is the direction in which I want to head and I feel that this is delivering what our customers wanted to see more of.

More previous collections

How does a collection begin in the mind of Jasper Garvida?
I always start a collection based on how I feel at the time, absorbing what’s going on and thinking about what’s going to happen in the future. For some reason I have this intuitive ability to tell what’s going to happen in fashion or what colour will be next. I think you learn that from working in the industry and especially from working for high-street brands where you’ve got to know what the next big thing is. I always ask myself, ‘what do women need now?’ and this is something that always changes, which is good. Fashion is like a cycle, from day to night, always moving. If it doesn’t change it becomes dated, but style is something that always remains.

Jasper Garvida S/S '12 illustrations Illustrations of the S/S ’12 collection by Jasper Garvida.

When I started the S/S 2012 collection I looked at what was happening in fashion at the time, and I noticed a lot of colour. It was also a time in my life where I felt that the absence of colour for summer wasn’t a bad thing, and I felt so strongly about black and white, which isn’t something I’ve done before. For me black and white symbolises purity, and opposites, which has always been a theme in what I do. I never like to be in-between, I always feel like ‘if you’re going to do more, do more, if you’re going to do less, do less’, but never in-between as I feel that it’s average and I like exploring different extremes. Black and white together also create balance, and at this time in my life I’ve found balance. When I came back from Paris, feeling like this, I immediately painted the entire flat black and all my furniture white, so I kind of lived it. I wanted to share that experience with everyone through the S/S 2012 collection. I also find that when I am bombarded with colours it’s hard to think, and sometimes I just want to breathe and have a moment where I can be calm. Afterwards, I can start again and return to colours. So I feel that this collection is not only a reflection of me as a person but me as a designer, and hopefully it is another step forward.

More gorgeously detailed S/S ’12 illustrations by Jasper
There has been an intelligence and depth to every collection you’ve created; inspired by artistic movements, literature, and always a celebration of the female form and femininity. As you have grown as a designer what have you found most inspiring about women?
I grew up with three sisters (six siblings in total) whom I was very close to, as well as my mum, which gave me a great amount of respect for women. And being gay as well, I feel that I have a huge admiration for women, sometimes I want to be one! I feel that the most important thing I discovered about women is that there is strength there. Women have been undervalued for years, and it’s been said that they’re not strong individuals, so I always try to promote the strength of women. For years women have fought for equality with movements like the Women’s Liberation Front and other campaigns towards women’s rights. My mother is such a strong person and is a huge inspiration to me. I didn’t grow up in a rich background; I am from a working class family and I saw my mother bring up my brothers and sisters and me with this incredible inner strength. She’s a real working class woman who managed to look after her family while making the effort to dress up for parties at the same time. I am still in awe of how women find the time to do this; I’m baffled by it. I know as a guy, I wake up, don’t even comb my hair and just throw something on. Women still have a lot of pressure imposed on them to look like they’ve made an effort with their appearance, so my admiration for them continually grows.

Find out more about how the collection came together in the second part of the Jasper Garvida S/S ’12 London Fashion Week preview interview.

Written by Alia Gargum on Thursday September 15th, 2011 6:49 pm

Categories ,Alia Gargum, ,Aliyah Hussain, ,Alternative Fashion Week, ,Amelia Gregory, ,Central Saint Martins, ,Dazed and Confused, ,Diana Vreeland, ,Evans, ,Frantisek Kupka, ,Gareth A Hopkins, ,Gareth Pugh, ,jasper garvida, ,Kate Middleton, ,Lady Gaga, ,lfw, ,London Fashion Week, ,Miss Selfridge, ,Nicola Formachetti, ,preview, ,S/S 2012, ,Sam Parr, ,Spring/Summer 2012, ,Wallis, ,Womenswear, ,Women’s Liberation Front

Amelia’s Magazine | Joanna Cave: London Fashion Week A/W 2012 Collection Preview Interview

Joanna-Cave-by-Gemma-Cotterell-AW12-Collection

Joanna Cave A/W 2012 by Gemma Cotterell

Joanna Cave has become synonymous with both ethical consciousness and beautiful design. Her mother is Greek and her father is English, so after attending an international school in Greece she went onto study jewellery design at Central Saint Martins. Whilst there she interned with designer Scott Wilson. After graduating, she returned to Greece, where she now works from her studio in Athens.

Joanna-Cave-AW12-Atma-Earring

Joanna Cave A/W 2012 Atma Earring

Joanna Cave‘s designs are modern yet classic – created from simple patterns, delicate motifs and refined metals, all created using ethically sourced and recycled materials. She buys her metal from dealers who specialise in recycled silver, and the stones and gems from ethical sellers in Greece.

Joanna-Cave-Jewellery-by-Dana-Bocai

Joanna Cave by Dana Bocai

Joanna Cave AW 2012
Joanna-Cave-AW12-Zeenat-Necklaces

Joanna Cave A/W 2012 Zeenat Necklaces

Joanna-Cave-SS12-by-Elizabeth-Hudson

Joanna Cave by Elizabeth Hudson

She has always been very vocal about her environmental inclinations, and has received a lot of recognition for her hand-made and sensitive work. She is a regular name on the British Fashion Council’s ethical initiative ‘Estethica‘ at London Fashion Week, and was the only jewellery designer to be featured on the A/W 2012 stands. She is of course also profiled in Amelia’s Compendium of Fashion Illustration, as one of the best eco designers working today.

I spoke to Joanna Cave about her passion for jewellery design and the influences behind her new collection.

Joanna-Cave-AW12-Velvet-Hairband

Joanna Cave A/W 2012 Velvet and Metal Hairband

What can we expect from the new A/W 2012 collection?
There are lots of bright coloured tassels combined with gold plating, rose plating and charcoal black. I’ve also used Indian motifs such as paisley patterns, elephants and peacocks.

Joanna-Cave-by-Nicola-Ellen-AW12-Collection

Joanna Cave A/W 2012 by Nicola Ellen

What were the inspirations behind it?
My new collection is inspired by and dedicated to the working women of India. The beautiful and traditional women who labour in the fields, on the roads and building sites doing back-breaking work. They perform these humble tasks with such dignity, and their appearance can take your breath away. Their everyday working clothes are a riot of extravagant colours – pinks, greens, purples and blues. Their bold jewellery is intricate, and worn with pride. For me, these women embody India, they have a powerful and enduring femininity.

Joanna Cave AW 2012
Joanna-Cave-by-Jo-Ley-AW12-Collection

Joanna Cave A/W 2012 by Jo Ley

Can you explain a little about your passion for design, and explain how you moved into jewellery design?
I’m not sure how to explain this too well. I grew up in Greece on a small island in the Aegean where my father (who is English and who moved there when he met and fell in love with my mother) owned a jewellery shop. I grew up among the jewellery. From a young age I watched people trying jewellery on, falling in love with it, purchasing it… I met jewellery makers and designers. Some quite well known in Greece at the time.

When I was 19 (and studying jewellery making) I even opened my own small shop to sell my beaded creations. It was great fun and it funded my summer holidays. Designing jewellery is all I’ve ever wanted to do: I think I inherited my fathers passion for it. It’s always been a big part of my life and I always discuss everything with him.

Joanna-Cave-AW12-Bindu-And-Indra-Necklaces

Joanna Cave A/W 2012 Bindu and Indru Necklaces

Can you tell me a little about the process of your work?
I work in 2D, in flat silver cut out designs. Everything is initially cut out by hand where most people would use a laser cutter or router machine. I think that the hand made prototype is evident in the organic feel of the designs. You can see it’s not perfect. I use recycled silver and ethically sourced pearls at times. And lately I’ve been using artificial silk thread which I’m very into.

Joanna-Cave-by-Nicola-Ellen-AW12

Joanna Cave A/W 2012 by Nicola Ellen

Why is it important for there to be an environmental conscience to your work?
It’s about how I feel; I think it’s important to know how things are made and where they come from… to do as little damage as possible where we can.

You can check out more of Joanna Cave‘s wonderful work in Amelia’s Compendium of Fashion Illustration.

Written by Miranda Williams on Wednesday March 7th, 2012 10:34 am

Categories ,A/W 2012, ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Central Saint Martins, ,conscious, ,Eco fashion, ,estethica, ,esthetica, ,ethical, ,ethically sourced, ,Gold, ,India, ,indian women, ,jewellery, ,jewellery design, ,Joanna Cave, ,London Fashion Week, ,metal, ,motifs, ,recycled, ,Scott Wilson, ,Silver

Amelia’s Magazine | Central Saint Martins: Ba Fashion Graduate Show 2011 review. Womenswear tailoring.

Tracey Wong CSM by Laura Frame
Tracey Wong by Laura Frame.

Womenswear tailoring at Central Saint Martins centred around a classical monochrome base exemplified by James Nolan, malady who opened the whole show with a high collared nanny wielding a giant old fashioned pram. Models with pin rolled hair were lent a strict air with shiny tight leather gloves.

Central Saint Martins Ba Show 2011-James Nolan photography by Amelia Gregory
James Nolan. All photography by Amelia Gregory

Mathilde le Gagneur showed a floaty commercial collection of tie-waisted garments to traditional church music. I liked the twirly number at the end.

Central Saint Martins Ba Show 2011-Mathilde le Gagneur photography by Amelia Gregory
Mathilde le Gagneur.

Li Wai Yin was all about the block coloured tailoring. Pointy hats and overlong sleeves emphasised the strong minimalist shapes.

Central Saint Martins Ba Show 2011-Li Wai Yin photography by Amelia Gregory
Li Wai Yin.

Khrystyna Fomenko presented a strong and highly wearable collection based on golden and pastel shades with wide palazzo trousers and multi height hem lines. We did an interview with Khrystyna Fomenko back in 2009 – why not take a gander and see just how much her style has changed since then!

Central Saint Martins Ba Show 2011-Khrystyna Fomenko photography by Amelia Gregory
Khrystyna Fomenko.

Hannah Barr showed flouncy pleated and backless numbers in lacy blues and coppery knits.

Central Saint Martins Ba Show 2011-Hannah Barr photography by Amelia Gregory
Hannah Barr.

Tracey Wong incorporated jutting beaded ornamental panels onto pastel and black dresses of intriguing proportions.

Tracey Wong by Laura Frame.

Central Saint Martins Ba Show 2011-Tracey Wong photography by Amelia Gregory
Tracey Wong.

Christopher Tai’s collection was a bizarre ensemble of loose fitting pieces and unflattering wired accessories that curled up the arm.

Central Saint Martins Ba Show 2011-Christopher Tai photography by Amelia Gregory
Christopher Tai.

Satoshi Kuwata did ruched and draped pastels with interesting hem lines and button detailing. A very strong collection.

Satoshi Kuwata by Casey Otremba.

Central Saint Martins Ba Show 2011-Satoshi Kuwata photography by Amelia Gregory
Satoshi Kuwata. All photography by Amelia Gregory

Written by Amelia Gregory on Thursday June 9th, 2011 12:56 pm

Categories ,Casey Otremba, ,Central Saint Martins, ,Christopher Tai, ,Graduate Fashion Week, ,Hannah Barr, ,James Nolan, ,Khrystyna Fomenko, ,Laura Frame, ,Li Wai Yin, ,Mathilde le Gagneur, ,Satoshi Kuwata, ,tailoring, ,Tracey Wong, ,Womenswear, ,York Hall

Amelia’s Magazine | Central Saint Martins BA Graduate Fashion Show

Illustrator and Graphic designer – inspired by originality, cost something I always strive towards and look for. I spend my time creatively as often as I can, purchase this is when I am most at peace and get a clear picture of who I am and what I want out of life.
I appreciate the importance of concept as the starting point to the design process and I pride myself in my ability to explore and interpret different styles.

Highlights in my career include illustrating the COS 2010 Spring/Summer collection, check being featured by Grafik magazine and contributing to Amelia’s magazine.

Living in London I find myself in awe with the multitude of talent and creativity which surrounds us and by how the world has become completely saturated with it. I sometimes question whether this is a good thing. But I am fascinated with the task of orientating myself in it.

www.pieterdegroot.com
www.pieterdegroot.blogspot.com

Illustrator and Graphic designer – inspired by originality, viagra approved something I always strive towards and look for. I spend my time creatively as often as I can, this is when I am most at peace and get a clear picture of who I am and what I want out of life.
I appreciate the importance of concept as the starting point to the design process and I pride myself in my ability to explore and interpret different styles.

Highlights in my career include illustrating the COS 2010 Spring/Summer collection, being featured by Grafik magazine and contributing to Amelia’s magazine.

www.pieterdegroot.com
www.pieterdegroot.blogspot.com

Illustrator and Graphic designer – inspired by originality, here something I always strive towards and look for. I spend my time creatively as often as I can, recipe this is when I am most at peace and get a clear picture of who I am and what I want out of life.
I appreciate the importance of concept as the starting point to the design process and I pride myself in my ability to explore and interpret different styles.

Highlights in my career include illustrating the COS 2010 Spring/Summer collection, remedy being featured by Grafik magazine and contributing to Amelia’s magazine.

www.pieterdegroot.com
www.pieterdegroot.blogspot.com

Illustrator and Graphic designer – inspired by originality, capsule something I always strive towards and look for. I spend my time creatively as often as I can, medications this is when I am most at peace and get a clear picture of who I am and what I want out of life.
I appreciate the importance of concept as the starting point to the design process and I pride myself in my ability to explore and interpret different styles.

Highlights in my career include illustrating the COS 2010 Spring/Summer collection, being featured by Grafik magazine and contributing to Amelia’s magazine.

www.pieterdegroot.com
www.pieterdegroot.blogspot.com

Eloise Jephson, seek illustrated by Yelena Bryksenkova

40 graduates showed their work at the Central Saint Martins BA Degree Show this year, combining eccentric creativity with well-mastered skill. From wild African carnival-like ensembles, to upholstered outerwear, and from inflatable swimwear to paintbrush-shaped headwear…

Catwalks ranged from vibrant, quirky, carnival-like processions, to romantic, tailored, and intricate. Having been a bit out of the loop for the last year, to see such vast amounts of creativity under one roof was quite overwhelming, and equally inspiring. The show took place in Bethnal Green’s York Hall, which, for those of you who haven’t been, is rather a grand setting. Built in the 1920s, it’s vastly high ceilings and simple design creates a high-brow feel, and a lovely stage for CSM graduates.

Anne Karine Thorbjoernsen’s Womenswear collection set the scene with some illusory wicker-work creating wonderfully hazy silhouettes, highlighting the female form.

Eloise Jephson’s highly commended collection of elegant silk dresses, kimono-style gowns and turbans, printed with dinosaurs and magical creatures encapsulated wearability, originality and beauty.

Eloise Jephson, illustrated by Lisa Stannard

Catapulting the show to new heights. Sorcha O Raghallaigh’s, also highly commended collection of models- on- stilts made for a show of towering, fabric laden models – bundled with crochet scarves and flowers, for dramatic effect. The last to grace the stage, a towering bride, exaggerating the typical white wedding, with a pale complexion and layers of sheer and knitted fabrics.

Sorcha O Raghallaigh, illustrated by Naomi Law

The Second Runner-Up Award went to Alex Mullins for his quirky, vibrant collection, which included inflatable puffa-style jackets, an eclectic range of head-dresses, from painted symbols and tools to hooded and toggled overcoats in rusty orange hues, and a whole lotta’ layering.

Alex Mullins, illustrated by Farzeen Jabbar

Philip Patterson, whose menswear collection was presented with First Runner-Up Award by Drusila Beyfus, showed a great, skillful collection, with Military influence, and a sense of the outback. Soft linens, neutral cottons and waxy leather combined for a laid-back, stylish collection.

Yi Fang Wan’s sumptuous collection of freshly draped cotton won her the L’Oreal Professional Young Designer of the Year Award. Delicious ivory and dusty pink layers created elegant, romantic silhouettes. Pretty collars, bubble-hem skirting and fabulous layering made this collection stand-out from the surrounding in-your-face flamboyance of the show.

Yi Fang Wan, illustrated by Matt Thomas

Sabina Bryntesson’s worm-like piping weaved through skin tight tops and tube-dresses.

Helen Price’s dramatic knitwear was a treat for the eyes – huge ostrich-like topiary-desses swooped along the catwalk to Cornershop’s ‘Brimful of Asha’.

Moon-like cape cum cloche-hats designed by Liz Black were inventive and flattering. Splattered with pollock-esque ink splats and teamed with drain-pipe jeans.

Kwan Tae Kim showed metallics in all their glory. Spangly tailored jackets, armour-like spacesuits and mirrored embellishment combined, creating a Prince-esque style with some delicate feminine edging to soften the structured silhouettes.

Onez Lau showed inventive. comical knitwear. A model with antlers and an ‘Oh Deer’ knitted dress stalked by a show-horse wearing a wizards hat took to the catwalk, whilst others sported whipped hair-do’s and layers of woolen frivolity.

Onez Lau, illustrated by Donna McKenzie

Tahari Roque’s tape-like swimwear ensembles came to life on stage, inflating into buoyant armbands and waistbands in turquoise and black.

Beautiful feathered millinery from Zoe Sherwood appeared as birds in stages of flight. Teamed with velour, chiffon and an earthy palette, exuding a pagan feel and creating a spirited show with beaded accessories, and peacock feather-printed outerwear.

Hiroko Nakajima took upholstered chairs and turned them into sweeping jackets, paintings became neck pieces and fabrics were used to create button-back effects over volumous velour outerwear.

Isabel Fishlock’s carnival-style collection showed swishing style, silk layers and appliqued flowers. Carrie Hill’s widow- twankie styled ladies with turbans and wicker bags showed refreshing colour combinations, whilst Zoe Cheng’s multi-coloured fabrics tied into oversized bows extended the carnival theme.

As Colin McDowell exclaimed at the end of the show: “Extreme, outrageous, exciting… utterly impossible.’ I couldn’t agree more.

All photography by Matt Bramford

Written by Sophie Hill on Monday June 7th, 2010 10:25 am

Categories ,africa, ,Alex Mullins, ,Anne Karine Thorbjoernsen, ,Bethnal Green, ,Carnival, ,Carrie Hill, ,Central Saint Martins, ,Chiffon, ,Colin McDowell, ,Cornershop, ,Degree Show, ,Drusila Beyfus, ,Eloise Jephson, ,Farzeen Jabbar, ,fashion, ,graduates, ,Helen Price, ,Hiroko Nakajima, ,Isabel Fishlock, ,Kwan Tae Kim, ,L’Oreal, ,Liz Black, ,Matt Bramford, ,Matt Thomas, ,millinery, ,Naomi Law, ,Onez Lau, ,Paintbrushes, ,Phillip Patterson, ,prince, ,Sabrina Bryntesson, ,Sophie Hill, ,Sorcha O Raghallaigh, ,Stilts, ,Swimwear, ,Tahari Roque, ,Turbans, ,Velour, ,Yelena Bryksenkova, ,Yi Fang Wan, ,York Hall, ,Zoe Cheung, ,Zoe Sherwood

Amelia’s Magazine | Central Saint Martins BA Graduate Fashion Show

Highlights in my career include illustrating the COS 2010 Spring/Summer collection, check being featured by Grafik magazine and contributing to Amelia’s magazine.

www.pieterdegroot.com
www.pieterdegroot.blogspot.com

Highlights in my career include illustrating the COS 2010 Spring/Summer collection, being featured by Grafik magazine and contributing to Amelia’s magazine.

www.pieterdegroot.com
www.pieterdegroot.blogspot.com

Highlights in my career include illustrating the COS 2010 Spring/Summer collection, remedy being featured by Grafik magazine and contributing to Amelia’s magazine.

www.pieterdegroot.com
www.pieterdegroot.blogspot.com

Highlights in my career include illustrating the COS 2010 Spring/Summer collection, being featured by Grafik magazine and contributing to Amelia’s magazine.

www.pieterdegroot.com
www.pieterdegroot.blogspot.com

Eloise Jephson, seek illustrated by Yelena Bryksenkova

Anne Karine Thorbjoernsen’s Womenswear collection set the scene with some illusory wicker-work creating wonderfully hazy silhouettes, highlighting the female form.

Eloise Jephson’s highly commended collection of elegant silk dresses, kimono-style gowns and turbans, printed with dinosaurs and magical creatures encapsulated wearability, originality and beauty.

Eloise Jephson, illustrated by Lisa Stannard

Sorcha O Raghallaigh, illustrated by Naomi Law

Alex Mullins, illustrated by Farzeen Jabbar

Yi Fang Wan, illustrated by Matt Thomas

Sabina Bryntesson’s worm-like piping weaved through skin tight tops and tube-dresses.

Helen Price’s dramatic knitwear was a treat for the eyes – huge ostrich-like topiary-desses swooped along the catwalk to Cornershop’s ‘Brimful of Asha’.

Moon-like cape cum cloche-hats designed by Liz Black were inventive and flattering. Splattered with pollock-esque ink splats and teamed with drain-pipe jeans.

Onez Lau, illustrated by Donna McKenzie

Tahari Roque’s tape-like swimwear ensembles came to life on stage, inflating into buoyant armbands and waistbands in turquoise and black.

Hiroko Nakajima took upholstered chairs and turned them into sweeping jackets, paintings became neck pieces and fabrics were used to create button-back effects over volumous velour outerwear.

As Colin McDowell exclaimed at the end of the show: “Extreme, outrageous, exciting… utterly impossible.’ I couldn’t agree more.

All photography by Matt Bramford

Written by Sophie Hill on Monday June 7th, 2010 10:25 am

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