Amelia’s Magazine | Simeon Farrar, The Great British Summertime: New S/S 2012 Season Preview Interview

Simeon Farrar Spring/Summer 2012 by Madi Illustrates
Simeon Farrar S/S 2012 by Madi Illustrates

What began as an ‘art experiment’ by London-based Simeon Farrar has now turned into a successful fashion label; winning not only international acclaim but also the prestigious NEWGEN award three times along the way. Despite being crowned a fashion buyer favourite with stockists such as Liberty in the UK and many more in Paris, Tokyo, and Sydney (to name a few), Simeon hasn’t lost sight of his Fine Art training gained at the University for the Creative Arts in Farnham. Every collection begins with a philosophical root from which the designs and drawings develop and each one-off piece is then created with Simeon’s trademark dash of humour delivered through experiments with colour and print, done by hand in his Shoreditch studio.

Simeon Farrar
Simeon Farrar, all photographs courtesy of Iroquois PR

As someone who trained as a fine artist, what was it that made you want to turn your hand from canvas and paper to fabric?
I’ve always been into printmaking and I used to use a lot of screen-printing in my paintings. I would load them up with all sorts of images and paint over them to form multiple layers. I started putting some of these images on to t-shirts purely as another surface rather than as fashion. The first t-shirts were so loaded with paint like the canvases that they could never be worn. I got so into this that it soon evolved into fashion.

Simeon Farrar Spring/Summer 2012 by JL Illustration
Simeon Farrar S/S 2012 by Jason Lear

As a ‘non-fashion’ person, did you expect to make such a big impression when you first exhibited at London Fashion Week?
Absolutely not. I had no idea what people would think of me. I didn’t even have an order book so I guess I didn’t expect to write any orders. Suddenly I had all these people wanting to order this junk I’d made which I found all a bit weird. It was still an art experiment at that point.

Simeon Farrar Spring/Summer 2012 by Abi Hall
Simeon Farrar S/S 2012 by Abi Hall

What’s the most important lesson you’ve learned about being a designer and the way the world of Fashion works?
As an artist you develop a certain degree of snobbery towards anything that isn’t ‘Art’. I can safely say that I have been cleansed of that snobbery after being welcomed so openly into the fashion world. I’ve learned that it’s all a load of rubbish and an artist just does what ever he/she feels is the most honest path for their creativity and it doesn’t need a label to make it valid.

Neon Butterfly Chiffon Maxi
Butterfly Chiffon Maxi

Your ‘Kate Mouse‘ illustration has become a widely recognised and coveted t-shirt graphic. Why do you think it’s had so much success?
For me it was one of those magical moments when an image just works perfectly. I’d drawn the image for a nursery rhyme collection we were doing at the time and I wanted to do Three Blind Mice. So, to name the file on Photoshop I used ‘Kate Mouse’ so I would recognise it. Then it just clicked, like a light bulb coming on above my head. I think it’s been a success for the same reason. It’s not forced or contrived, just simple and genius. There’s been such a demand ever since her birth that she’s featured in every collection since, with various additions. She gets pimped up every season. Except this forthcoming A/W 2012.

Simeon Farrar Spring/Summer 2012 by Alia Gargum
Simeon Farrar S/S 2012 by Alia Gargum

What personally inspired you to create a ‘Kate Mouse’ t-shirt with Net-A-Porter especially for the Japan Earthquake relief appeal?
Two of my staff are Japanese and they have been with me for years so due to that I feel a certain closeness with Japan. We sell a lot in Japan, and since I began the label the Japanese have been so supportive and loyal to my brand that when the earthquake hit it felt like an opportunity to repay some of that. The Kate Mouse print was our obvious big hitter, so I thought it would make the most money if we offered it for the appeal. We did it by ourselves at first, offering a free t-shirt with every donation to Save The Children. That went very well but as we were paying postage we had to limit it to the UK only. My PR company Iroquois and I approached Net-A-Porter so we could take it further. They were amazing with how they took it up and offered so much percentage of the profit to the appeal. I was very impressed with their instant generosity.

Simeon Farrar Spring/Summer 2012 by Dana Bocai
Simeon Farrar S/S 2012 by Dana Bocai

Your current S/S 2012 collection not only has your own charming take on the uniquely temperamental British summer through neon colours, raindrop prints and a nod to the new Royalty, but a uniquely feel-good quote that runs throughout. How did the slogan ‘You Are My Silver Lining’ form in your head?
There is always a sense of romance in my collections, and no matter what the theme I always like to bring that in. I like the idea of someone being your Silver Lining. No matter what happens in life there is someone who’s very presence brings with it a sense of hope or a way out of darkness.

Slogan Print Tote with Leather Handles
Slogan Print Tote with Leather Handles

Simeon Farrar Spring/Summer 2012 by Alejandra Espino
Simeon Farrar S/S 2012 by Alejandra Espino

What are your favourite colours to print in (at the moment) and why?
I loved using the neon colours in the S/S 2012 collection. I like printing images in neon then overlaying that with a black print and washing it all out so the greys defuse the neon a bit.

Simeon Farrar Spring/Summer 2012 by Mitika Chohan
Simeon Farrar Spring/Summer 2012 by Mitika Chohan
Simeon Farrar S/S 2012 by Mitika Chohan

What can we expect for A/W 2012 from Simeon Farrar?
For S/S 2012 we had a ghost print that did very well, so I’ve built the next collection round that. So I guess it’s a Haunted House collection. We’ve got lots of ghost drawings, howling wolves, that kind of thing. But, there’s also a romantic side to it. I’ve always been interested in the tragic side of vampires and the sense of undying love that runs through it. So I’ve brought a lot of that in to the collection. And for the first time, NO KATE MOUSE. I didn’t want to cheapen her and put some fangs on her or something. Kate Mouse is dead, you heard it here first.

Cloud Print Tote Bag
Cloud Print Tote Bag

Simeon Farrar Spring/Summer 2012 by Gareth A Hopkins
Simeon Farrar S/S 2012 by Gareth A Hopkins

Simeon Farrar’s current S/S 2012 collection is available to buy in store and online at a variety of stockists, and his forthcoming A/W 2012 collection will be exhibited at Tranoi this March.

Categories ,Abi Hall, ,Alejandra Espino, ,Alia Gargum, ,Autumn/Winter 2012-13, ,british summer, ,canvas, ,Creativity, ,Dana Bocai, ,drawing, ,Fine Art, ,Gareth A Hopkins, ,Haunted House, ,illustration, ,Iroquois, ,Jason Lear, ,Kate Mouse, ,liberty, ,london, ,London Fashion Week, ,Madi Illustrates, ,Mitika Chohan, ,Neon, ,Net-A-Porter, ,Newgen, ,painting, ,paris, ,Romance, ,royalty, ,Save The Children, ,screen-printing, ,shoreditch, ,Simeon Farrar, ,Spring/Summer 2012, ,sydney, ,T-shirts, ,tokyo, ,Tranoi, ,University of Creative Arts Farnham, ,Vampires, ,You Are My Silver Lining

Similar Posts:






Amelia’s Magazine | Pick Me Up 2012 Special: An interview with fashion illustrator Jason Brooks

Jason Brooks Pick Me Up 2012 by Alia Gargum

As a self-proclaimed lover of illustrating and in particular illustrating fashion, I eagerly made my way to this year’s Pick Me Up Contemporary Graphic Art Fair at Somerset House. Pick Me Up is a massively important date for anyone interested or involved in Illustration and Graphic Design, and was excellently reviewed by fellow Amelia’s Magazine illustrator Emma Block this year, most definitely worth a read, here as well as of course by Amelia herself.

Jason Brooks Pick Me Up 2012 by Alia Gargum All photography by Alia Gargum

It was it a perfectly sunny London day, and I had an extra little spring in my step as Fashion Illustrator legend Jason Brooks was going to be illustrating live alongside the other guest artists and designers. You might not immediately recognise Jason Brook‘s name but you will surely know his slick, feminine style. He now has an impressive and growing client list, including Virgin Atlantic, L’Oréal, Vogue, Elle, and The Sunday Times Style Magazine, where I first remember seeing his work in print.

Jason Brooks Pick Me Up 2012 by Alia Gargum

Jason Brooks Pick Me Up 2012 by Alia Gargum

I immediately approached the friendly-looking Jason Brooks who was chatting to visitors while illustrating, hanging up his work to create a makeshift gallery. I don’t know what I was expecting, but I certainly wasn’t expecting him to be so open and easy to speak to, willing to give his time and simply chat. While we talked favourite materials to use and the loveliness of ink, I noticed that he was looking at me very carefully, which is when he confessed that he was illustrating me. Moments later, a beautiful ink illustrated version of me was produced, created on a page from an old french dictionary. He had been illustrating visitors all day, drawing inspiration from them and selling the portraits to those who wished to take an original Jason Brooks portrait home. I cannot thank him enough for the long chat, and the questions he answered so well, the best of which are written here.

Jason Brooks Pick Me Up 2012 by Alia Gargum

You’re one of the first modern-day Fashion Illustrators I remember seeing in print just as illustration made it’s massive (and continuing) comeback. What was your first big commission?

My first big commission arrived when I was in my early twenties studying Graphic Design at Central St Martin’s, which at the time was in Longacre in Covent Garden. It was an exciting place to be and every day there had an almost party-like atmosphere, buzzing with creative energy, conversation and ideas. One day a message arrived from Vogue (before e-mail) for me to come in with my portfolio as I’d recently won an illustration competition they were running. I was immediately commissioned by Vogue to illustrate a story about New Orleans which ran over about six pages and included a whole double page spread. I remember buying a copy from a newsstand as soon as it came out, feeling on top of the world. I used coloured oil pastels on black card for this first important commission, giving the work a very direct and vibrant look. I then became a regular contributor to Vogue under the wonderful art direction of Paul Eustace. I used it as an opportunity to experiment with different media and styles in print, including some early computer illustrations, so I was the first to use a computer to illustrate for Vogue back at the very beginning of the nineties.

Jason Brooks Pick Me Up 2012 by Alia Gargum

You’ve drawn at Paris Couture shows for The Independent, which led to more catwalk illustrating for a range of publications like Elle and Visionaire magazine. What do you love most about drawing at the shows?

Backstage is the most interesting place to draw at a fashion show. Not only is everything much closer, but the variety of poses and activities going on provides a whole range of Degas-like subjects. Models sitting in front of mirrors being carefully made up, impromptu fashion shoots going on, camera crews, interviews and striking people are everywhere as subjects. Drawing directly from the catwalk is more difficult to do well because outfits are only visible for a limited time, but nowadays it’s easy to take lots of digital photographs and work up drawings later. I love the drama and art front of the catwalk at fashion shows too, the crowd is always fascinating. The fact that every catwalk show is a one off performance, with high stakes for those involved as well as ever-increasing production values can create really intense theatre, so I love that too.

Jason Brooks Pick Me Up 2012 by Alia Gargum

What advice would you give to a graduate who wants to get some experience in illustrating from the catwalk?

I started off by working for magazines who would give me accreditation and passes to go to shows as a photographer, after a little prompting from me. I would then simply take my sketchbook instead of a camera. I think when you are starting out it’s all about first of all putting together a portfolio that you feel confident to show people, and then making appointments and really pushing your work out there. I would speculatively arrange lots of ‘go sees’ and then jump on a plane to New York or Paris and try to get work, but perhaps business was more often conducted in a face-to-face way at that time. Going to the Paris couture shows with the Independent began because their editor Marion Hume approached me after I left the Royal College of Art. Luckily, I had work and sketchbooks from travelling to different places that I was able to show, so I would also say that travel drawing is a great foundation for drawing fashion. As a graduate, or anyone for that matter, some catwalk shows are much easier to get access to than others, so if you are interested in drawing at shows it might be best to start with more accessible fringe and off-schedule designers at fashion week and then work up from there.

Jason Brooks Pick Me Up 2012 by Alia Gargum

Thanks to the rise of digital design, a lot of Fashion Illustration has a slick, smooth, and sharp look to it. You were doing this long before it became popular. What drew you to this technique?

I was striving to create a look from using areas of flat colour for a long time before I started using computers on a regular basis. As with my Vogue commission, I used oil pastels to try to achieve this but I also really liked collage, cutting up books and magazines and experimenting with very flat gouache paint. Computers first came to my attention as a way of making pictures in the late 80′s and early 90′s, and once scanning drawings became an option I was able to combine my familiar drawing on paper with computer colouring techniques, and that particular look was born.

Jason Brooks Pick Me Up 2012 by Alia Gargum

Your style is undoubtedly feminine and luxurious. Has this always been the case or did it develop gradually?

The luxurious aspect perhaps is just from my idea of drawing things that are well designed and have an aesthetic appeal to me, so it was never a grand plan, just something that has happened quite by accident. I suppose it has developed over time to a certain extent because my taste has changed as I’ve learned more about architecture, fashion, design, film and so on. Looking back, I think my work has also been a reflection of a glamorous time for the western world where mid-century modernism has really come back and been reinvented through magazines like Wallpaper and through the activities of a whole generation of tastemakers in all areas of design. I happen to love drawing women because I think they can create powerful images, so in all it has been fun for me to reflect our culture’s interest in luxury and design through my illustrations.

Jason Brooks Pick Me Up 2012 by Alia Gargum

What are your favourite materials to work in and which digital techniques do you find yourself using again and again?

I love good old pen and paper. Biros are actually very subtle drawing tools, but I also use 4B pencils to draw out ideas and sketches which I then scan into my computer. I mainly use Photoshop and Illustrator to create my pictures digitally so I definitely still combine very basic old school technology – the dip pen, the pencil, etc. with the latest computer programmes. They are however all just tools, and I would be equally happy working in clay or building a sculpture out of sand on a beach.

Jason Brooks Pick Me Up 2012 by Alia Gargum

This year was your first as a guest artist at graphic design fair PIck Me Up at Somerset House. What did you enjoy and what surprised you about the whole experience?

It was a great chance to simply play with inks and coloured pencils. I made about 30 pictures or so, scribbling in an old french dictionary and on pieces of coloured paper throughout the day, which made me really enjoy the experience creatively. What surprised me was meeting so many new people who were interested in what I was doing, it was really rewarding to have direct contact and chat to them about their creativity too.

Jason Brooks Pick Me Up 2012 by Alia Gargum

You’ve had an impressive career so far, what do you think has been the reason(s) for your success?

Thank you, although I really don’t see myself as being successful yet. I guess any success I’ve had so far could be because I started at a very young age and have put a lot of effort and practice into my illustration because I enjoy it so much. I was fortunate in a way to have had a childhood without the modern phenomena of ‘screen time’ so I was able to immerse myself in my imagination through drawing worlds of my own instead of exploring ones created by other people. This lead on to college when creating work on paper was still very important, giving me the benefit of a ‘traditional’ academic art college experience with very little modern technology available unless I sought it out. I’ve always loved experimenting with all kinds of art forms and media, so when the digital revolution arrived in illustration and art I was very open to it and in a lucky position to be able to ride that particular wave from the beginning.

Jason Brooks Pick Me Up 2012 by Alia Gargum

What can we next expect from Jason Brooks?

I’m just finishing my first book called ‘A Paris Sketchbook’, which is due out in 2013. It is an eclectic collection of my own drawings and illustrations and a homage to a city which I love, published by Laurence King. My dream is that it will be the first in a series of travel sketchbooks covering different iconic cities. Aside from this I’m involved in a number of commissions with different companies and brands around the world, which is a part of my work that I really enjoy because it gives me the chance to collaborate with so many interesting people, adding a sometimes unexpected variety to what I do. I’ve also just signed with a new agency in New York called Traffic, so that’s exciting. Recently, I’ve completed a new collection of artwork for sale on my website called ‘The Gelato Series’ – all about girls eating ice cream in retro, sexy colours.

Jason Brooks Pick Me Up 2012 by Alia Gargum

It’s fascinating to hear from someone who has managed to carve such an astonishing career in fashion illustration. What a lovely guy. Be inspired! See more of Jason Brooks’ work online hereAmelia

Jason Brooks portrait

Categories ,2012, ,80s, ,90s, ,Alia Gargum, ,Amelia’s Magazine, ,catwalk, ,Central St Martins, ,collage, ,couture, ,Covent Garden, ,Creativity, ,Degas, ,Digital Art, ,Elle Magazine, ,Emma Block, ,fashion, ,Fashion Illustration, ,Feminine, ,gouache, ,illustrator, ,Jason Brooks, ,L’Oreal, ,Luxury, ,Marion Hume, ,New Orleans, ,new york, ,paris, ,Paul Eustace, ,Photoshop, ,Pick Me Up, ,portrait, ,Royal College of Art, ,Somerset House, ,The Independent, ,The Sunday Times, ,travel, ,vogue, ,Wallpaper

Similar Posts:






Amelia’s Magazine | Jessica Simmons’ Vintage Cake Diet!

Popular education is based on values such as a commitment to transformation and freedom.  This means that rather than learning about the world and climate/social issues, pharmacy participants empower themselves to actually transform their environment.  Unlike traditional education, historical learning is focused on the history of the majority of the world (often socially excluded), and not just that of political and military leaders.

Popular education also aims to blur the relationship between teachers and students, instead creating an equal level at which everyone is learning from and supporting each other.  Social change is encouraged through developing critical awareness about the world and promoting social and environmental justice over economic gain, but debate is stimulated by encouraging free-thinking rather than dictating facts.

Past Trapese workshop topics have included: Migration, Food (history of industrial agriculture and understanding food crisis), Climate justice, Consensus decision making and non-hierarchical organising, Reclaiming space (setting up a social centre and keeping it running), DIY and Understanding the Economy (exploring the meaning of capitalism, recession and realistic alternatives).

TOOLSFOR SOCIAL CHANGE COURSE
diytrapesecollective

Providing an educational answer to the need for more grassroots social/ climate justice activity, Trapese have organised a weeklong course starting in March.  The course will aim to answer the questions: how we can move towards a more effective climate justice movement, how can we build more resilient communities and how can we achieve system change instead of climate change?

The course will provide training in grassroots organising, including tools for direct democracy, facilitation, using consensus, popular education techniques and how to plan, communicate and implement effective campaigns. It will explore how these tools can be used to set up community initiatives and ecological and social projects. 

No previous knowledge is necessary, but organisers ask that participants be committed to working co-operatively and respecting diversity.  Time to share ideas, work on practical technology projects around the farm, discuss current political debates, watch films and enjoy food together are also planned as part of the week.

The course draws on the ‘Do It Yourself Handbook’  and Trapese’s work since 2004, including their events at KlimaForum in Copenhagen.

Facilitators will include  Paul Chatterton, (MA Activism and Social Change, Leeds; www.paulchatterton.com) Kim Bryan, (Press Officer, Centre for Alternative Technology) Alice Cutler, (Freelance teacher/ activist, Bristol).

 To register interest or with any questions email trapese@riseup.net and they will send you further information.

Essential details:
Applications must be received by 12 noon Saturday February 27th 2010 at the latest.
Deposit of £50 to secure a place will be requested with full amount payable before the start of the course.
Cost range from £175 – £350 depending on income

 For more information about Trapese or to download a chapter of the book see www.trapese.org
Who:  Trapese Popular Education Collective
When:  27th March 2010  to 3rd April 2010
Where:  Ragman’s Lane Farm, pilule Forest of Dean, viagra near Gloucester.
Applications must be received by 12 noon Saturday February 27th 2010 at the latest.
Cost:  Deposit of £50 to secure a place will be requested with full amount payable before the start of the course.
Cost of course ranges from £175 – £350, hospital depending on income.

——————————————————————–

Trapese is a not-for-profit UK-based popular education collective.  Through workshops, film nights and training they aim to enable people of all ages to explore social and climate issues and develop practical alternatives and solutions. 
trapeseeimage2

Popular education is based on values such as a commitment to transformation and freedom.  This means that rather than learning about the world and climate/social issues, participants empower themselves to actually transform their environment.  Unlike traditional education, historical learning is focused on the history of the majority of the world (often socially excluded), and not just that of political and military leaders.

Popular education also aims to blur the relationship between teachers and students, instead creating an equal level at which everyone is learning from and supporting each other.  Social change is encouraged through developing critical awareness about the world and promoting social and environmental justice over economic gain, but debate is stimulated by encouraging free-thinking rather than dictating facts.

Past Trapese workshop topics have included: Migration, Food (history of industrial agriculture and understanding food crisis), Climate justice, Consensus decision making and non-hierarchical organising, Reclaiming space (setting up a social centre and keeping it running), DIY and Understanding the Economy (exploring the meaning of capitalism, recession and realistic alternatives).

TOOLSFOR SOCIAL CHANGE COURSE
diytrapesecollective

Providing an educational answer to the need for more grassroots social/ climate justice activity, Trapese have organised a weeklong course starting in March.  The course will aim to answer the questions: how we can move towards a more effective climate justice movement, how can we build more resilient communities and how can we achieve system change instead of climate change?

The course will provide training in grassroots organising, including tools for direct democracy, facilitation, using consensus, popular education techniques and how to plan, communicate and implement effective campaigns. It will explore how these tools can be used to set up community initiatives and ecological and social projects. 

No previous knowledge is necessary, but organisers ask that participants be committed to working co-operatively and respecting diversity.  Time to share ideas, work on practical technology projects around the farm, discuss current political debates, watch films and enjoy food together are also planned as part of the week.

The course draws on the ‘Do It Yourself Handbook’  and Trapese’s work since 2004, including their events at KlimaForum in Copenhagen.

Facilitators will include  Paul Chatterton, (MA Activism and Social Change, Leeds; www.paulchatterton.com) Kim Bryan, (Press Officer, Centre for Alternative Technology) Alice Cutler, (Freelance teacher/ activist, Bristol).

 To register interest or with any questions email trapese@riseup.net and they will send you further information.
Good-housekeeping-biscuitsAll photographs courtesy of Camilla Blackie except where otherwise stated

I’ve just spent a snowy weekend in my friend’s country kitchen, page elbow deep in flour, cost spice and all things nice. It’s for my vintage cake-spot. Here, I bake and blog, throwing some of the best and most well-loved cake recipes of the last century into the mixing bowl.

Lemon-Buns-in-spotty-case

I mixed my ingredients for a classic marmalade pudding (sourced from The Constance Spry Cookery Book,1956) in a small, glass basin. After wrapping this in a clean tea-towel, I left it to gently steam on top of the Aga. Three hours later the pud was a picture of dome-shaped perfection; all steaming suet and glinting orange rind. This was going to be a good baking day.

Lemon-Buns

Constance Spry, described as the ‘Martha Stewart of mid-century Britain’ joins a long list of bakers, homemakers and celebrated authors who’ve left a lasting legacy in the culinary world. As a girl who’s partial to the sweeter side of life, I became fascinated by one legacy in particular – the cake.

Small-jess

As writer for the Women’s Institute membership magazine, WI Life,  my research began in earnest. Lunch breaks were spent in the national archives, dusting off leather-bound periodicals dating back to 1919. Economy cake, plum pudding, and gingerbread were just some of the suggestions listed in the H.H.H. (handy household hints); a modest few lines of recipes printed in the then WI membership magazine Home and Country.

Flapjacks

By the time I’d test-baked a batch of spiced buns, my mind was made up. My good friend Camilla came on board as cake-spot photographer and we haven’t looked back. If I’ve got the nose for burning crumbs, she’s got the eyes to weigh up a perfect cake shot.

Valentines-Biscuits-2

Baking, and blogging about it, is fast becoming my number one past-time – not forgetting the odd ‘tweet’ as part of the global PR cruise. Yes, I was inspired by Julie and Julia – who wouldn’t be charmed by a French-talking Meryl Streep? – but the vintage cake-spot is more than show and tell. These are real cakes using classic, trusted recipes. And they’re tasty, too.

Tiled

Jessica-6

The good news is, everyone loves cake. But while the red-velvet iced delights of Portobello Road still cause a stir for hungry Londoners, I must stay true to my recipe books. If a slice of dripping cake’s not to your fancy, look away now. This is no time for counting calories.

Small-Yorkshire-teacakes

The blog has opened my eyes up to a new London. East-end antique stores and charity shops have taken on a whole new dimension, many harbouring the battered old cook-books held so precious for women now and during the last century.

Small-baking-equipment

Cake is one of life’s pleasures and I don’t think there’s ever been a better time to celebrate the fact. If my blog can inspire anyone to grab an apron, some pantry essentials and get baking, I’m a happy girl.

Coffe-cake

JessicaJessica Simmons photographs courtesy of Peter Schiazza

What Jessica likes:

Places: Whitby in North Yorkshire. It’s got high cliffs, a beautiful old abbey and probably the best fish and chips you’ll ever taste (www.magpiecafe.co.uk). There’s also a fun caravan site called La Rosa and you can get your fortune told in a little shack on the pier

Food: A nice fish pie (see above)

Drink: Chambord and lemonade, whisky macs

Website: Find delicate hand-picked teas and a very inspiring lady

Music: Blondie, Moloko, Pink Floyd, Jay-Z, the Doors

Books: Shadow of the Wind’ by Carols Ruiz Zafon. I’m currently reading ‘The Short Life and Long Times of Mrs Beeton’ by Kathryn Hughes for inspiration

Film: Far from the Madding Crowd

Shop: Hemswell Market in Lincolnshire. It’s an antiques wonderland. I also can’t resist cos on Regent Street for a bit of office-glam.

Small-dripping-cake

Categories ,Antiques, ,cakes, ,charity shop, ,Cooking, ,craft, ,Creative Review, ,Creativity, ,Culture, ,cupcakes, ,Entrepreneurship, ,film, ,handicraft, ,handy household hints, ,Home and Country, ,Jessica Simmons, ,Meryl Streep, ,photography, ,vintage cake-spot, ,women

Similar Posts:






Amelia’s Magazine | Jessica Simmons’ Vintage Cake Diet!

Popular education is based on values such as a commitment to transformation and freedom.  This means that rather than learning about the world and climate/social issues, pharmacy participants empower themselves to actually transform their environment.  Unlike traditional education, historical learning is focused on the history of the majority of the world (often socially excluded), and not just that of political and military leaders.

Popular education also aims to blur the relationship between teachers and students, instead creating an equal level at which everyone is learning from and supporting each other.  Social change is encouraged through developing critical awareness about the world and promoting social and environmental justice over economic gain, but debate is stimulated by encouraging free-thinking rather than dictating facts.

Past Trapese workshop topics have included: Migration, Food (history of industrial agriculture and understanding food crisis), Climate justice, Consensus decision making and non-hierarchical organising, Reclaiming space (setting up a social centre and keeping it running), DIY and Understanding the Economy (exploring the meaning of capitalism, recession and realistic alternatives).

TOOLSFOR SOCIAL CHANGE COURSE
diytrapesecollective

Providing an educational answer to the need for more grassroots social/ climate justice activity, Trapese have organised a weeklong course starting in March.  The course will aim to answer the questions: how we can move towards a more effective climate justice movement, how can we build more resilient communities and how can we achieve system change instead of climate change?

The course will provide training in grassroots organising, including tools for direct democracy, facilitation, using consensus, popular education techniques and how to plan, communicate and implement effective campaigns. It will explore how these tools can be used to set up community initiatives and ecological and social projects. 

No previous knowledge is necessary, but organisers ask that participants be committed to working co-operatively and respecting diversity.  Time to share ideas, work on practical technology projects around the farm, discuss current political debates, watch films and enjoy food together are also planned as part of the week.

The course draws on the ‘Do It Yourself Handbook’  and Trapese’s work since 2004, including their events at KlimaForum in Copenhagen.

Facilitators will include  Paul Chatterton, (MA Activism and Social Change, Leeds; www.paulchatterton.com) Kim Bryan, (Press Officer, Centre for Alternative Technology) Alice Cutler, (Freelance teacher/ activist, Bristol).

 To register interest or with any questions email trapese@riseup.net and they will send you further information.

Essential details:
Applications must be received by 12 noon Saturday February 27th 2010 at the latest.
Deposit of £50 to secure a place will be requested with full amount payable before the start of the course.
Cost range from £175 – £350 depending on income

 For more information about Trapese or to download a chapter of the book see www.trapese.org
Who:  Trapese Popular Education Collective
When:  27th March 2010  to 3rd April 2010
Where:  Ragman’s Lane Farm, pilule Forest of Dean, viagra near Gloucester.
Applications must be received by 12 noon Saturday February 27th 2010 at the latest.
Cost:  Deposit of £50 to secure a place will be requested with full amount payable before the start of the course.
Cost of course ranges from £175 – £350, hospital depending on income.

——————————————————————–

Trapese is a not-for-profit UK-based popular education collective.  Through workshops, film nights and training they aim to enable people of all ages to explore social and climate issues and develop practical alternatives and solutions. 
trapeseeimage2

Popular education is based on values such as a commitment to transformation and freedom.  This means that rather than learning about the world and climate/social issues, participants empower themselves to actually transform their environment.  Unlike traditional education, historical learning is focused on the history of the majority of the world (often socially excluded), and not just that of political and military leaders.

Popular education also aims to blur the relationship between teachers and students, instead creating an equal level at which everyone is learning from and supporting each other.  Social change is encouraged through developing critical awareness about the world and promoting social and environmental justice over economic gain, but debate is stimulated by encouraging free-thinking rather than dictating facts.

Past Trapese workshop topics have included: Migration, Food (history of industrial agriculture and understanding food crisis), Climate justice, Consensus decision making and non-hierarchical organising, Reclaiming space (setting up a social centre and keeping it running), DIY and Understanding the Economy (exploring the meaning of capitalism, recession and realistic alternatives).

TOOLSFOR SOCIAL CHANGE COURSE
diytrapesecollective

Providing an educational answer to the need for more grassroots social/ climate justice activity, Trapese have organised a weeklong course starting in March.  The course will aim to answer the questions: how we can move towards a more effective climate justice movement, how can we build more resilient communities and how can we achieve system change instead of climate change?

The course will provide training in grassroots organising, including tools for direct democracy, facilitation, using consensus, popular education techniques and how to plan, communicate and implement effective campaigns. It will explore how these tools can be used to set up community initiatives and ecological and social projects. 

No previous knowledge is necessary, but organisers ask that participants be committed to working co-operatively and respecting diversity.  Time to share ideas, work on practical technology projects around the farm, discuss current political debates, watch films and enjoy food together are also planned as part of the week.

The course draws on the ‘Do It Yourself Handbook’  and Trapese’s work since 2004, including their events at KlimaForum in Copenhagen.

Facilitators will include  Paul Chatterton, (MA Activism and Social Change, Leeds; www.paulchatterton.com) Kim Bryan, (Press Officer, Centre for Alternative Technology) Alice Cutler, (Freelance teacher/ activist, Bristol).

 To register interest or with any questions email trapese@riseup.net and they will send you further information.
Good-housekeeping-biscuitsAll photographs courtesy of Camilla Blackie except where otherwise stated

I’ve just spent a snowy weekend in my friend’s country kitchen, page elbow deep in flour, cost spice and all things nice. It’s for my vintage cake-spot. Here, I bake and blog, throwing some of the best and most well-loved cake recipes of the last century into the mixing bowl.

Lemon-Buns-in-spotty-case

I mixed my ingredients for a classic marmalade pudding (sourced from The Constance Spry Cookery Book,1956) in a small, glass basin. After wrapping this in a clean tea-towel, I left it to gently steam on top of the Aga. Three hours later the pud was a picture of dome-shaped perfection; all steaming suet and glinting orange rind. This was going to be a good baking day.

Lemon-Buns

Constance Spry, described as the ‘Martha Stewart of mid-century Britain’ joins a long list of bakers, homemakers and celebrated authors who’ve left a lasting legacy in the culinary world. As a girl who’s partial to the sweeter side of life, I became fascinated by one legacy in particular – the cake.

Small-jess

As writer for the Women’s Institute membership magazine, WI Life,  my research began in earnest. Lunch breaks were spent in the national archives, dusting off leather-bound periodicals dating back to 1919. Economy cake, plum pudding, and gingerbread were just some of the suggestions listed in the H.H.H. (handy household hints); a modest few lines of recipes printed in the then WI membership magazine Home and Country.

Flapjacks

By the time I’d test-baked a batch of spiced buns, my mind was made up. My good friend Camilla came on board as cake-spot photographer and we haven’t looked back. If I’ve got the nose for burning crumbs, she’s got the eyes to weigh up a perfect cake shot.

Valentines-Biscuits-2

Baking, and blogging about it, is fast becoming my number one past-time – not forgetting the odd ‘tweet’ as part of the global PR cruise. Yes, I was inspired by Julie and Julia – who wouldn’t be charmed by a French-talking Meryl Streep? – but the vintage cake-spot is more than show and tell. These are real cakes using classic, trusted recipes. And they’re tasty, too.

Tiled

Jessica-6

The good news is, everyone loves cake. But while the red-velvet iced delights of Portobello Road still cause a stir for hungry Londoners, I must stay true to my recipe books. If a slice of dripping cake’s not to your fancy, look away now. This is no time for counting calories.

Small-Yorkshire-teacakes

The blog has opened my eyes up to a new London. East-end antique stores and charity shops have taken on a whole new dimension, many harbouring the battered old cook-books held so precious for women now and during the last century.

Small-baking-equipment

Cake is one of life’s pleasures and I don’t think there’s ever been a better time to celebrate the fact. If my blog can inspire anyone to grab an apron, some pantry essentials and get baking, I’m a happy girl.

Coffe-cake

JessicaJessica Simmons photographs courtesy of Peter Schiazza

What Jessica likes:

Places: Whitby in North Yorkshire. It’s got high cliffs, a beautiful old abbey and probably the best fish and chips you’ll ever taste (www.magpiecafe.co.uk). There’s also a fun caravan site called La Rosa and you can get your fortune told in a little shack on the pier

Food: A nice fish pie (see above)

Drink: Chambord and lemonade, whisky macs

Website: Find delicate hand-picked teas and a very inspiring lady

Music: Blondie, Moloko, Pink Floyd, Jay-Z, the Doors

Books: Shadow of the Wind’ by Carols Ruiz Zafon. I’m currently reading ‘The Short Life and Long Times of Mrs Beeton’ by Kathryn Hughes for inspiration

Film: Far from the Madding Crowd

Shop: Hemswell Market in Lincolnshire. It’s an antiques wonderland. I also can’t resist cos on Regent Street for a bit of office-glam.

Small-dripping-cake

Categories ,Antiques, ,cakes, ,charity shop, ,Cooking, ,craft, ,Creative Review, ,Creativity, ,Culture, ,cupcakes, ,Entrepreneurship, ,film, ,handicraft, ,handy household hints, ,Home and Country, ,Jessica Simmons, ,Meryl Streep, ,photography, ,vintage cake-spot, ,women

Similar Posts:






Amelia’s Magazine | Made You Look Kickstarter Campaign

Made you Look-Work by Anthony Burrill 5
Made You Look is a documentary about the contemporary DIY graphic arts scene in the UK, lovingly put together by Anthony Peters of Imeus Design. Via candid interviews with top British creatives, publishers and agency owners the film explores how people are turning towards analogue means of creating things, even though we are living at the height of the digital era. The film is due for limited theatrical release in 2015 and will be premiered at a major UK Arts festival. I asked Anthony to write me an exclusive piece about his project, so read on, be inspired, and back the project here: this is a film that deserves to do well.

Made You Look is a documentary that began life in mid 2013 as a film about the DIY scene in UK graphic design and illustration. We take the rich graphic arts scene for-granted now but back in the early 2000’s there were very few key figures, and many of those people are now held in high regard.

Made you Look-Work by Ben The Illustrator 2
Ben The Illustrator.

Made you Look-Work by Anthony Burrill4
Made you Look-Work by Anthony Burrill stickers
Anthony Burrill.

Made you Look-Work by Nobrow Books
Nobrow Books.

Along the way a different story began to emerge, there seemed to be an unusually large amount of artists using traditional methods of making things. Letterpress, linocuts, screenprinting, live drawing, riso, papercraft… all these methods and many more were now increasingly popular.

Made you Look-Work by Helen Musselwhite
Helen Musselwhite.

Made you Look-Work by Ed Cheverton
Ed Cheverton.

Made you Look-Work by Brecht Vandenbroucke print for Nobrow
Brecht Vandenbroucke print for Nobrow.

So our subtext became our core story, and using candid interviews with artists such as Anthony Burrill, Hattie Stewart, Helen Musselwhite, members of Peepshow collective, Ian Stevenson, Ben O’ Brien and Kate Moross we managed to create a story which discusses the perils and pitfalls of creativity in the digital age.

Made you Look-Work by Andrew Rae
Made you Look-Andrew Rae
Andrew Rae.

Made you Look-Print Club London 2
Print Club London.

So many of us are living our lives skipping from screen to screen, viewing the world through a pixelated filter, creating things that only ever exist on hard drives. It’s the height of the digital era, yet many cultural movements are taking things back to basics, we have slow culture movements and craft based movements popping up all over the place. These movements aren’t really about nostalgia, rather a way to stay connected to the tactile, real world that exists beyond the screen.

Made you Look-Will Hudson It's Nice That
Will Hudson, It’s Nice That.

Made you Look-Pete Fowler
Pete Fowler.

We do live in an incredible age. Regardless of what medium an artist uses, its fair to say that very few contemporary creatives could have a career without the trappings of the internet, and this is where the tension lies in the film.

Made you Look-L&Y 2004
Look & Yes 2004.

Made you Look-kate Moross
Kate Moross.

Its beautiful to hear the surprising responses from some artists when asked seemingly naïve questions such as ‘how would you feel if the internet was switched off forever tomorrow?

But of course we won’t spoil the film by sharing any of these answers yet!

Made you Look-Hattie Stewart
Hattie Stewart.

Made you Look-Ben The Illustrator
Ben The Illustrator.

We have had an incredible response to our trailer, with over 30,000 views, and have had invitations to film festivals and to educational Q&A screenings across the globe.

We are now running a Kickstarter campaign to be able to find the resources to finish the film. We have a few final bits of filming to do, plus post production tasks like Grading and audio post work. We would also love to be able to license music from artists like Bibio, CFCF, ISAN & Zoon Van Snook as well as having a score composed by Mathieu Karsenti.

Look us up if you would like to be part of the film!

Made you Look-Anthony Burrill _ Adams of Rye 2
Anthony Burrill, Adams of Rye.

Made you Look-Adrian-Johnson
Adrian Johnson.

So what are you waiting for? Get involved and help make Anthony’s film a great one.

Categories ,Adrian Johnson, ,Andrew Rae, ,Anthony Burrill, ,Anthony Peters, ,Ben O’ Brien, ,Ben the Illustrator, ,Bibio, ,Brecht Vandenbroucke, ,CFCF, ,Creativity, ,diy, ,documentary, ,Ed Cheverton, ,film, ,Hattie Stewart, ,Helen Musselwhite, ,Ian Stevenson, ,Imeus Design, ,ISAN, ,It’s Nice That, ,Kate Moross, ,Kickstarter, ,Kickstarter Campaign, ,Look & Yes, ,Made You Look, ,Mathieu Karsenti, ,Nobrow Books, ,Peepshow, ,Pete Fowler, ,Print Club London, ,Will Hudson, ,Zoon Van Snook

Similar Posts: