Looking for that perfect last minute gift for the fashion illustrator in your life, or someone who aspires to become one? Then look no further than the inspirational new offering from the Illustration Now! series by Taschen, the leading publisher of art books. This is a chunky hard back volume full of beautiful illustrations by 90 contemporary illustrators working in a diverse range of styles. The artists are drawn from across the world, and all of them are working commercially in this genre, but the prominence given to personal work serves to emphasise the importance of experimenting, no matter what stage of your career you are at. The book opens with a must read essay on the history of fashion illustration and plenty of quotes by experts from the world of fashion are scattered throughout. Illustration Now! Fashion will have the aspiring fashion illustrator salivating with an envy that should push them on to produce wonderful artwork of their own. There are too many highlights to mention on a blog but here are some of my favourite finds to whet your appetite:
New York based Katie Rodgers draws whimsical half naked girls in Day of the Dead make up and flower headdresses.
American born Nicole Jarecz lives and works in Paris. This personal work entitled Bubbles just fizzes with energy.
Zé Otavio is a Sao Paolo based artist and counts many top magazines amongst his clients.
LULU* includes birds in this deceptively simple piece that is full of motion.
Bil Donovan is one of the older illustrators included, and his work displays a timeless elegance, as shown in this creation for Dior Beauty, where Bil is artist in residence.
FInally, Lina Boden is one of the many leading Swedish fashion illustrators working today. Like many of my favourite fashion illustrators she presents clothing within the context of detailed imagined worlds.
Released just in time to make the perfect gift for an illustrator this Christmas: the excellent new book from AOI gurus Derek Brazell and Jo Davies. Making Great Illustration is a big squarish yellow affair with a careful choice of scratchy type on the cover, thereby avoiding the need to pick any one illustration as a defining image of the volume. Inside the pair have picked out some best examples of illustrators working on a variety of different types of projects, including fiction, decorative, children’s, editorial, typographical, fashion (hurrah) and political (very timely).
What’s really nice is the concentration on personal studio practice, with the authors visiting the featured artists in their studios. Whilst it’s improbable that you will like all the work in this book (I don’t) this ensures that for any burgeoning illustrator or intrigued long time practitioner there is still plenty to learn. Of particular note are the chapters on fashion illustrators Tanya Ling and David Downton – perfect for fans of ACOFI.
Of course no contemporary illustration book would be complete without a section devoted to wonderboy Rob Ryan, who is single handedly responsible for the world’s reignited love of paper-cutting, and it’s also nice to see the work of Hvass&Hannibal, who’ve long seduced me with their colourful abstract artworks. Catalina Estrada is the famed Spanish illustrator who has successfully made a cross over into fashion textile design and you are bound to discover some exciting new artists: for me this included the bold perspectives of late starter Yuko Shimizu and the evocative children’s illustration of Kitty Crowther.
Amongst some of the newer upstarts you will also find the legendary Ralph Steadman and the doyen of children’s publishing, Quentin Blake. Ah, memories of childhood.
Making Great Illustration is a must buy book for anyone who wants to learn more about illustration, created with great attention to detail by insiders who are immersed in this wonderful world. Read more on the dedicated Making Great Illustration website. The book is published by A & C Black, part of Bloomsbury Publishing. If you like the sound of this don’t forget to check in with my two illustration books Amelia’s Anthology of Illustration and Amelia’s Compendium of Fashion Illustration, both of which feature the personal work practice of a whole host of up and coming illustrators.
Written by Amelia Gregory on Tuesday December 20th, 2011 12:07 pm
Released just in time to make the perfect gift for an illustrator this Christmas: the excellent new book from AOI gurus Derek Brazell and Jo Davies. Making Great Illustration is a big squarish yellow affair with a careful choice of scratchy type on the cover, thereby avoiding the need to pick any one illustration as a defining image of the volume. Inside the pair have picked out some best examples of illustrators working on a variety of different types of projects, including fiction, decorative, children’s, editorial, typographical, fashion (hurrah) and political (very timely).
What’s really nice is the concentration on personal studio practice, with the authors visiting the featured artists in their studios. Whilst it’s improbable that you will like all the work in this book (I don’t) this ensures that for any burgeoning illustrator or intrigued long time practitioner there is still plenty to learn. Of particular note are the chapters on fashion illustrators Tanya Ling and David Downton – perfect for fans of ACOFI.
Of course no contemporary illustration book would be complete without a section devoted to wonderboy Rob Ryan, who is single handedly responsible for the world’s reignited love of paper-cutting, and it’s also nice to see the work of Hvass&Hannibal, who’ve long seduced me with their colourful abstract artworks. Catalina Estrada is the famed Spanish illustrator who has successfully made a cross over into fashion textile design and you are bound to discover some exciting new artists: for me this included the bold perspectives of late starter Yuko Shimizu and the evocative children’s illustration of Kitty Crowther.
Amongst some of the newer upstarts you will also find the legendary Ralph Steadman and the doyen of children’s publishing, Quentin Blake. Ah, memories of childhood.
Making Great Illustration is a must buy book for anyone who wants to learn more about illustration, created with great attention to detail by insiders who are immersed in this wonderful world. Read more on the dedicated Making Great Illustration website. The book is published by A & C Black, part of Bloomsbury Publishing. If you like the sound of this don’t forget to check in with my two illustration books Amelia’s Anthology of Illustration and Amelia’s Compendium of Fashion Illustration, both of which feature the personal work practice of a whole host of up and coming illustrators.
Written by Amelia Gregory on Tuesday December 20th, 2011 12:07 pm
I had a quick scout through the Middlesex University Illustration degree show and discovered a few wonderful illustrators, viagra approved two of whom will be well known to Amelia’s Magazine readers…
Emma Block showed off her wonderful collaged and delicately painted designs in muted colours, but sadly there were none of her fabulous brightly coloured fashion illustrations in evidence, many of which you will have seen on these pages and which appear in Amelia’s Compendium of Fashion Illustration. By all accounts this was a case of fashion illustration being considered a lesser art by tutors, something which drives me to utter distraction. Why should this be so? Good fashion illustration is like any other kind of illustration – it should tell a story and create a forceful, inspiring or intriguing narrative which makes the onlooker want to know more. Plus it should be beautiful to look at to boot. Why is this different to other types of illustration? Grrrrrrrrrrrrr *wrings hands in despair*…..
Collaging is a technique much favoured by some of the other Middlesex illustrators. Fortunately it’s a style which I like a lot, possibly because it’s similar to the way that I have worked over the years, Sara Fanelli having been a big early inspiration for me. Claire Francis (above) does lovely autumnal coloured illustrations that feature squirrels in the woods.
Samantha Griffiths (above) has a similar collaged style which looks somewhat 70s in her choice of colours. Cute animals and sweet scenarios.
But girls, where are your websites? I’m not getting much when I plug in the addresses you have given on your business cards. Blimey. *rolls eyes*
On a different kind of tip Gemma Travis is somewhat obsessed with chihuahuas and she had created some fun images which made me giggle.
Carousel illustration by Stacie Swift.
It was also contributor Stacie Swift‘s degree show but for some reason I missed her display. Apologies Stacie, I was racing through in quite a hurry and didn’t know to look for you. Instead I shall leave you with one of Stacie’s colourful images (below) for Amelia’s Magazine, created for a review of Flesh and Blood & Fish and Fowl.
I had a quick scout through the Middlesex University Illustration degree show and discovered a few wonderful illustrators, viagra approved two of whom will be well known to Amelia’s Magazine readers…
Emma Block showed off her wonderful collaged and delicately painted designs in muted colours, but sadly there were none of her fabulous brightly coloured fashion illustrations in evidence, many of which you will have seen on these pages and which appear in Amelia’s Compendium of Fashion Illustration. By all accounts this was a case of fashion illustration being considered a lesser art by tutors, something which drives me to utter distraction. Why should this be so? Good fashion illustration is like any other kind of illustration – it should tell a story and create a forceful, inspiring or intriguing narrative which makes the onlooker want to know more. Plus it should be beautiful to look at to boot. Why is this different to other types of illustration? Grrrrrrrrrrrrr *wrings hands in despair*…..
Collaging is a technique much favoured by some of the other Middlesex illustrators. Fortunately it’s a style which I like a lot, possibly because it’s similar to the way that I have worked over the years, Sara Fanelli having been a big early inspiration for me. Claire Francis (above) does lovely autumnal coloured illustrations that feature squirrels in the woods.
Samantha Griffiths (above) has a similar collaged style which looks somewhat 70s in her choice of colours. Cute animals and sweet scenarios.
But girls, where are your websites? I’m not getting much when I plug in the addresses you have given on your business cards. Blimey. *rolls eyes*
On a different kind of tip Gemma Travis is somewhat obsessed with chihuahuas and she had created some fun images which made me giggle.
Carousel illustration by Stacie Swift.
It was also contributor Stacie Swift‘s degree show but for some reason I missed her display. Apologies Stacie, I was racing through in quite a hurry and didn’t know to look for you. Instead I shall leave you with one of Stacie’s colourful images (below) for Amelia’s Magazine, created for a review of Flesh and Blood & Fish and Fowl.
The lovely Antonia Parker has contributed artwork to several of my books now. This time she was inspired by the multitude of lanterns that adorn her house to create a beautiful colouring page for Amelia’s Colourful Colouring Companion. She tells us about her current work practice and fitting creativity around motherhood, a challenge I can well relate to.
What is your double page inspired by?
I have all these gorgeous lanterns at home that I adorn the house with for parties and Christmas and I thought it’d be nice to sit down and paint them. They’re so bright and colourful and ‘zang-y’! I thought about putting them outside and fireflies having a flutter about, so I’ve got all these insects having a sneaky after-party!
How did you put the artwork together?
I used gouache, collage and colouring pencils for my full-colour illustration and had a great time using different widths of nib for my colouring-in page. I planned out the picture in pencil first to make sure I was using the space how I wanted. I love drawing in detail in pen, so using different nib-widths was fun. It’s not often I get the opportunity to make a black and white illustration. With the colouring-in page, I used gouache and colouring-in pencils.
You are a multi-disciplinary artist – what are you favourite mediums to use and why?
I like to make things. It might be organic forms painted in gouache, wonky drawings in my travel sketchbook, glossy fashion illustrations, lumpy ceramics, cutting up and collaging together old polaroids or creating props for my day job. Artwork-wise I’m in a time of transition. I used to mainly work in acrylic paint on acetate, and that is mostly what people ask me for, but it is such a structured way of working that I felt like I was just churning them out. So I have moved more recently into gouache and pottery, and less people and more organic forms, because I wasn’t sure I was stretching myself enough. Sometimes they’re great, and I think ‘why did I limit myself to people for so long?‘ and other times I see how far I have to go. I never studied ceramics or gouache at art college, which is possibly why they are so fascinating now – making pottery is such a different process, and uses my brain in a different way! I love it! I still have so much to learn, and it is a bit challenging not knowing how the work will look at the end of the firing process – but it’s an excellent excuse to keep making and produce better batches every time. My degree was graphic design, specialising in illustration, but I’m not a naturally neat person – so I think pottery suits me much better – getting messy and crossing my fingers about what comes out after a firing. It’s relaxing in a way that I don’t often find drawing is anymore – although I suppose that is the flip-side of trying to make a career out of a passion.
Since becoming a mum, how has your approach to art and creativity altered?
I also had a baby a few months ago, so I’m settling into a new stage of life. Whilst she’s small, so far I’ve found I need to be slow for all of us. When she was 10 weeks old, amongst a few other things, my husband and I found out that we were losing our jobs at the end of the year, and it threw off what had been quite a lovely start to parenthood. I needed to put myself apart from it and be in tune with my baby, which has meant taking more time out than I had originally intended. In January I’ll restart classes at my local adult education centre so I have access to a kiln again. My concentration span is much lower at the moment. It was a challenge to make this piece, and made me realise that at this moment in time, I just want/need to go at my baby’s pace. With this project I had to really make something I wanted to make, (getting to paint in my favourite shades of gouache and delicious line-drawing) as I felt guilty making her sit watching me and her toys and just getting on. She was grumpy, and I just had to stop sometimes and be with her. It’s a frustrating pace to work at…. I can manage balancing house jobs and picking up the threads of things I was doing in the times I get, but sitting down and working is very challenging! I have so much admiration for mothers who are actually focussing on and achieving things besides their babies; I do not feel like one of them at the moment! It is sort of easier now she can crawl and occupy herself for a few moments, but then you have to run and check they’re playing with something safe. There is a reason that childcare exists! Currently I take my sketchbook around with me, and draw the odd thing when I get the opportunity.
What have been some of your most recent projects, can you tell us more about them?
Most recently I created desert and cacti scenery for New Wine conference, six 1.2 x 2.4m paintings. These were a huge undertaking as my baby was 3 months old, but with the help of Lily, James and Becky, we made them happen! When I’m painting like that, I try to take quite a relaxed ‘we’ll just see how they turn out!‘ approach, but you have to know what’s happening so your team can help you! I did a lot of drawing, mixing paint and painting by numbers so that it could carry on when I was feeding or getting her off to sleep. My logo for The Mucky Hound (one of my first forays into animal drawing) has been translated into vinyl and is driving around Tunbridge Wells as they pick up local dogs for walks. In my own work, I have also been making cacti in gouache and clay. When working with clay, I like to make small sculptures and slabs to illustrate using underglaze. I’m inspired by the things that excite me – so with this piece beautiful, colourful lanterns, things which are interesting to draw e.g. cacti variety of shapes and detail to draw, pottery: just a different way of working from how I have before and loving growing my understanding of it.
You’ve been involved in a few of my books now, what is it about them that keeps you coming back?
They tend to be interesting briefs: after I graduated, I made mostly fashion illustrations, and having always been interested in the environment, how could I not get involved in promoting sustainable fashion? Your last book ‘That Which We Do Not Understand‘ was inspired by your miscarriages – I had lost two babies myself and finally understood the grief. If we’re all silent about our losses, we’re part of the loneliness you might feel afterwards. I was pregnant at the time and was able to create something that hopefully, cautiously-optimistically spoke to others.
Where do you live and what else excites you besides art?
I live in Tunbridge Wells with my husband and daughter and I’m lucky to know some fantastic local artists and makers. I love gardening (currently I am waiting for the rain to stop so I can plant my spring bulbs!) I am also very interested in rights issues, like genital mutilation and female sexuality, and now of course all of the work/family balance things that I’ve always followed are becoming more of a reality for me! I try not to bore on about my baby’s reusable nappies, but I love them! I have quite a nurturing day job focussed on children and their communities, but I find that I am also interested in women and their lives as mothers-to be and parents, and then of course fathers and how they find their way to fatherhood without the biological changes women go through, and also, how they support mothers. Can you tell that I’m spending my Maternity Leave doing a lot of thinking?!
There are just a few hours left to secure your copy of Amelia’s Colourful Colouring Companion, featuring the work of Antonia Parker and over 40 other international artists. Visit my Kickstarter page here.
Written by Amelia Gregory on Monday November 23rd, 2015 1:06 pm
Commission which came about from Amelia’s Magazine feature, by Faye West.
Faye West‘s whimsical watercolours first came to my attention nearly four years ago when she had just graduated from university. Since then a lot has changed, but her unique take on fashion illustration remains the same – beautiful, timeless and finally gaining the recognition it deserves. Since appearing in Amelia’s Compendium of Fashion Illustration 2011 has been a busy year for Faye and 2012 looks set to be even more so, with a big move to London imminent. Time to check in with one of Amelia’s Magazine’s most prolific and delightful contributors…
You first came to my attention several years ago when you delivered some gorgeous (and yummy) hand decorated cupcakes to my door – what prompted the idea and what persuaded you to get in touch again last year?
My London College of Fashion friends finished their Fashion Journalism degree with a bit more of a clue in what was going on than I had (Faye studied at Fashion Promotion and Illustration at University for the Creative Arts), and knew Amelia’s Magazine was highly illustrative so we devised a plan to woo you with illustrated cupcakes. I had always meant to follow it up with some illustrations, but it was before I was twitter-conscious and the next brief I happened to see was in fact the ACOFI, or Amelia’s Compendium of Fashion Illustration open brief.
Those infamous cupcakes! I wish I had taken a better photo… alas they have long since been demolished…
How has producing fashion illustrations for Amelia’s Magazine and ACOFI developed your perception of the fashion and illustration worlds?
It has basically been a way to stay working to briefs, in the way you do as a student. It’s very hard to stay motivated without someone else setting you a brief because you are only doing self-authored work which tends to get a bit stale. The variety of images you then produce are so wide and interesting that your work just evolves through all the experimentation. Amelia’s Magazine is almost like a giant spider gram of illustration opportunities.
Finalist entry for V Magazine Lady Gaga competition.
You’ve just launched a sexy new website, what prompted the redesign?
I wanted to get a website up and running that was a bit more of a platform for my pieces, almost as though someone had decorated a Faye West shop for all of my work to be displayed or sold in. It was also a little challenge to myself to get to grips with the creative side to website building.
Sketchbook Magazine image by Faye West.
What was behind your decision to create Edit Collective, and can you describe a bit more about the project?
I had just spent a while contacting galleries, local to Devon and London and had a very negative response. Which is all part of the business but having graduated over 6 years ago, exhibiting was a goal that was proving unobtainable. So I thought I’d see if anyone else was having the same issue and the idea of a group exhibition started. Edit Collective is basically to show off the work we have produced over the last year, all the JPegs sat on computer desktops, and original pieces filling up portfolios not seeing the light of day. I was so bowled over by the interest from other artists that it involves near to 30 artists. I hope to continue expanding this number each year, keeping to the proviso that it is editorial work. Fellow ACOFI featured illustrator Gemma Milly is partnering my venture and the majority of artists have come to know each others work through contributing to magazines such as Amelia’s Magazine.
How did you get involved with Think Act Vote, and can you give us a taster of what you’ve produced?
I was sent a lovely email asking if I would like to take part in their upcoming publication. As a student I was away with the fairies, I had no political view point at all which seemed to vex my tutors a bit. But in my old age I am starting to become very interested and unfortunately angry at the current state of affairs. This is what drew me to to illustrate Katherine Hamnett‘s piece in particular. I have illustrated something playing on her infamous slogan tshirts, mixed with the idea of a figure representing Democracy in the same vein as the Statue of Liberty.
Illustration for Ballad Of by Faye West.
What is the VV Collective and what you have done for it?
This is Vivian Vile, a collective put together by two artists who feel that young female artists can often be overlooked. I am always drawn to the feminine, and feel quite proud to be alongside some wonderful artists and photographers in the ‘Members Lounge‘ They were involved with Ladyfest this year which was something I had wanted to get involved with since being a student interested in Riot Grrls and the like. They have just launched a competition to submit a self portrait which, if successful will be exhibited at Cultivate on Vyner Street. I decided to really set myself a challenge and paint on canvas with acrylic which was a little more time consuming and frustrating at times compared to my usual water colours.
You’ve built up quite a friendship with Ukraine based illustrator Daria Hlazatova, recently creating Lupine Osmunda together – how did this come about – both meeting and doing a project together?
I am her number one fan. I just loved her work so much, it makes me feel like a child starting at fairy tales again! So basically I commissioned her to illustrate me scenes from the Twelve Dancing Princesses because it was a story book I had as a child with illustrations which fascinated me. We often chat on twitter and email and our discussions would turn to the bizarre dreams we were having so we decided to illustrate each others and turn it into a project.
Apparently you have some exciting news, that you will be will soon be in-house illustrator for Ballad Of. How did this come about and what will you be doing?
Yes, it’s all very new so not started anything yet. But I really enjoyed doing some pieces for the girls for their last issue. They have a two submission limit to give everyone an opportunity to have their work showcased. It was the last submission for me which I was rather sad about! So I asked them to consider me if they were ever looking for someone to help out with little illustration jobs. They liked the idea and agreed to have me on board, so I am looking forward to their next issue and to start writing some of the Illustration blogs for them. Ballad Of is one of the things I found through fellow Amelia’s Magazine illustrators on their blogs and through twitter; a wonderful example of how many doors have opened from the advice you gave me to get some internet presence!
Ballad Of tote bag by Faye West. Photo courtesy of Lindsey and Claire.
GLITTER love by Faye West.
What has been the most exciting thing to happen because of your involvement with Amelia’s Magazine and ACOFI?
Has to be seeing my work on printed silk dresses for Beautiful Soul and finding out that I was one of the 30 illustrators going in to Amelia’s Compendium of Fashion Illustration! Also I designed an exclusive limited edition tote for Ballad Of‘s last launch party and I had a special Courtney Love commission (see above) from a blogger who like the image I did of the singer for Topshop Boutique a few years ago.
Zarina Liew at work
My wonderful girls, rx Rosie and Harriet of Tatty Devine, sick who created the lovely Cutlass Necklace for my party.
Zarina Liew looked oh so casual during the afternoon launch party – every time I turned around there she was, chatting away, charming the guests in expert fashion. But if I thought she was shirking I could not have been more wrong – she churned out the most amazing bunch of illustrations in record time, all in stunning watercolour fashion plates – every single one of them. Wowser. This lady has so much talent it’s painful… behold her beautiful illustrations. So delightful, every single one.
Presenting the lovely Katie Antoniou of London Plinth – sometime Amelia’s Mag contributor and general all round fabulous fashion gal. Here’s her review of the night.
Holly Springett wrote an absolutely fabulous blog about the launch, with some of the very prettiest photos to accompany it – go check it out here.
Here’s Josephine and Sarah from Somerset House, who I hope very much will be in contact soon to talk about a possible collaboration…
Alice of Tatty Devine sports some very fabulous jewellery indeed – by Tatty Devine of course.
Gabby Young with her boyfriend Stephen. What a lovely couple!
Sarah of Fab Sugar – anyone catch her last name? I don’t think we met.
Laura and Courtney of Forward PR. Lovely lovely women, who helped me in the run up and on the night most immensely. Say hello if you see them around at LFW.
Tara and Louise of Cent Magazine – I did an interview with the lovely Louise, so fingers crossed that will be available soon.
Matilda of the Ecologist – likewise they should be running a review of the book – keep an eye out and let me know if you spot it before me.
You can follow Zarina Liew on twitter on @cobaltcafe and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Find out just how Zarina made the leap from the corporate marketing world into the creative arms of illustration: amazing inspiring stuff in this Skype interview on youtube.
My wonderful girls, cialis 40mg Rosie and Harriet of Tatty Devine, symptoms who created the lovely Cutlass Necklace for my party.
Zarina Liew looked oh so casual during the afternoon launch party – every time I turned around there she was, check chatting away, charming the guests in expert fashion. But if I thought she was shirking I could not have been more wrong – she churned out the most amazing bunch of illustrations in record time, all in stunning watercolour fashion plates – every single one of them. Wowser. This lady has so much talent it’s painful… behold her beautiful illustrations. So delightful, every single one.
Presenting the lovely Katie Antoniou of London Plinth – sometime Amelia’s Mag contributor and general all round fabulous fashion gal. Here’s her review of the night.
Holly Springett wrote an absolutely fabulous blog about the launch, with some of the very prettiest photos to accompany it – go check it out here.
Here’s Josephine and Sarah from Somerset House, who I hope very much will be in contact soon to talk about a possible collaboration…
Alice of Tatty Devine sports some very fabulous jewellery indeed – by Tatty Devine of course.
Gabby Young with her boyfriend Stephen. What a lovely couple!
Sarah of Fab Sugar – anyone catch her last name? I don’t think we met.
Laura and Courtney of Forward PR. Lovely lovely women, who helped me in the run up and on the night most immensely. Say hello if you see them around at LFW.
Tara and Louisa Lau of Cent Magazine – I did an interview with the lovely Louisa, so fingers crossed that will be available soon.
Matilda of the Ecologist – likewise they should be running a review of the book – keep an eye out and let me know if you spot it before me.
You can follow Zarina Liew on twitter on @cobaltcafe and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Find out just how Zarina made the leap from the corporate marketing world into the creative arms of illustration: amazing inspiring stuff in this Skype interview on youtube.
My wonderful girls, pharmacy Rosie and Harriet of Tatty Devine, tadalafil who created the lovely Cutlass Necklace for my party.
Zarina Liew looked oh so casual during the afternoon launch party – every time I turned around there she was, chatting away, charming the guests in expert fashion. But if I thought she was shirking I could not have been more wrong – she churned out the most amazing bunch of illustrations in record time, all in stunning watercolour fashion plates – every single one of them. Wowser. This lady has so much talent it’s painful… behold her beautiful illustrations. So delightful, every single one.
Presenting the lovely Katie Antoniou of London Plinth – sometime Amelia’s Mag contributor and general all round fabulous fashion gal. Here’s her review of the night.
Holly Springett wrote an absolutely fabulous blog about the launch, with some of the very prettiest photos to accompany it – go check it out here.
Here’s Josephine and Sarah from Somerset House, who I hope very much will be in contact soon to talk about a possible collaboration…
Alice of Tatty Devine sports some very fabulous jewellery indeed – by Tatty Devine of course.
Gabby Young with her boyfriend Stephen. What a lovely couple!
Sarah of Fab Sugar – anyone catch her last name? I don’t think we met.
Laura and Courtney of Forward PR. Lovely lovely women, who helped me in the run up and on the night most immensely. Say hello if you see them around at LFW.
Tara and Louisa Lau of Cent Magazine – I did an interview with the lovely Louisa, so fingers crossed that will be available soon.
Matilda of the Ecologist – likewise they should be running a review of the book – keep an eye out and let me know if you spot it before me.
You can follow Zarina Liew on twitter on @cobaltcafe and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Find out just how Zarina made the leap from the corporate marketing world into the creative arms of illustration: amazing inspiring stuff in this Skype interview on youtube.
Susie Bubble needs no introduction and I absolutely adore Rachel’s rendition of this infamous fashion blogger. She’s been a great supporter of Amelia’s Magazine so it was an honour to see her at the launch party. You can read her write up here. Thanks Susie!
Rachel de Ste. Croix has developed a unique style that suits both childrens’ book illustration and fashion illustration a treat. Working from life she sketches a likeness of her subject and then transfers into into her computer through a painstaking process involving a light box and lots of black felt markers. From there she messes around in photoshop to achieve a beautiful handmade look that in fact makes the most of digital special effects – something which I talked about when I mentioned her in my Digital Arts interview. Here’s her fabulous ACOFI launch party output:
Katie Wright writes Style My Wardrobe and she managed to grab a little bit of my time to ask a few questions at the launch – you can read her great write up here.
Tigz Rice is actually a friend of Rachel’s – I’ve now had the pleasure of working with more than a couple University of Westminster graduates, who are all super talented. Can’t think why. Maybe it’s because one of my bestest mates the wonderful illustrator Simone Lia teaches there. Or else it’s something in the water.
I cheekily asked Rachel to illustrate me. Well, she did such an amazing job with everyone else I really didn’t want to be left out. Here I am wearing my Joanna Cave earrings (new season darling) and Beautiful Soul cape-let made out of an upcycled kimono. You can buy similar Beautiful Soul pieces (they’re all different obviously) at the V&A shop.
Rachel hard at work drawing Susie behind a curtain of hair. Photography by Matt Bramford.
Lily Vanilli ACOFI launch cake by Abby Wright. This must be the most lovingly photographed and illustrated cake ever!
Ah, sicknessAbby Wright. Where to begin? She has grabbed the proverbial illustration bull by the horns and run with it, big time. Never has someone still at university so inspired me. Some people just get it you know? And she’s one of them. If you’re reading this and you’re still at university wondering how you will ever get noticed, then read on and learn. I’m serious. This girl has got it going on.
Firstly – she’s all over twitter chatting to fellow illustrators up and down the country all the time, encouraging them and swapping advice. She’s so switched on she even instigated the Tea and Crayons illustration collective. Secondly – she just keeps on creating. Day after day she volunteers illustrations for Amelia’s Magazine. She’s not afraid of making mistakes in public, she puts it out there and learns, and it is a joy to watch her work developing all the time. Students all over should be inspired… just take a look at how many followers she has on twitter! Abby Wright is going places.
Which is why I asked her along to be at my ACOFI afternoon launch party. And here are the results of her doodlings:
Johann Chan, art editor of Digital Arts – no doubt grinning ear to ear because he came down for the fabulous cakes (see above).
Adorngirl, otherwise known as Ashanti Jason, who wrote this lovely blog about the event.
Emma Davenport is an old friend of mine who. Inspired by a life long love of the charity shop – snap! – she has been researching the history of ethical dress and fashion at the RCA. She has a blog called Frock Conscious and you can read her party piece here.
And finishing up with socialite Prince Cassius. Oh yes, he of the dapper clothing and super fro – a delight for both illustrators and photographers alike. What a gent.
Rider to the sea starts. With slow, deceasetroche sensuous notes, stuff running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, viagra sale her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes.Visually her red lips, sculpted cheekbones and feline eyes adding to the passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business, because she loves it, for her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe, as she is only riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My i tunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, viagra buy sensuous notes, doctor running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business, because she loves it, for her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe, as she is only riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My i tunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, cure sensuous notes, information pills running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, treat sensuous notes, information pills running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, approved sensuous notes, running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, drug sensuous notes, running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Anna Calvi‘s Album is Out Now on Domino Records
ACOFI launch party invite for Friday 28th January 2011.
Well, capsule dear readers, link today is finally the official launch day of Amelia’s Compendium of Fashion Illustration, which you have no doubt seen me banging on about on Facebook and Twitter for months now, especially under the hashtag #ACOFI (it’s an abbreviation, geddit, for which I have illustrator Antonia Parker to thank). The book has been in shops since late December, but the party will bring together almost all of the featured illustrators, many of the featured ethical fashion designers, and some of the best journalistic and blogging talent under one wonderful roof: that of 123 Bethnal Green Road, an eco fashion store that is profiled in the book.
During the afternoon I shall be hosting a Pukka herbal tea party for VIP guests in the new Bunker Cafe. We’re going to have a giant ACOFI inspired centre piece and lots of delightful scones and biscuits to accompany it, all baked by the fabulous Lily Vanilli, baker extraordinaire… better still Lily promises me there won’t be a cupcake in sight.
Afternoon guests will be invited to sit for their very own fashion illustration with one of my crack team of illustrators, all of whom who are featured in the book. They will also be able to view my online Skype videos with all the featured illustrators, which just today have gone live on my Amelia’s House youtube channel (go check it), perhaps whilst having a soothing hand massage from lovely ethical skincare brand Dr.Hauschka.
Reclaimed leather key rings made using fobs found in the shop that now houses 123. A wee gift for party-goers.
On the second floor of 123 they will be able to take a look through a selection of the featured ethical designers, who are taking part in a two week Eco Pop Up shop which will be instore until the 13th February. Make sure you get down and take a look – there’s a whole host of talent in there, and if you haven’t already visited 123 this would be the perfect opportunity.
A blurry pic of me trying on my Beautiful Soul shrug. I will try to look more elegant in it today…
The utterly brilliant Courtney at Forward PR is looking after my PR for today so it looks like I’m going to be busy with interviews almost all afternoon… look out for more in depth coverage in the coming weeks on lots of other websites and blogs. Come 7pm the party proper begins in the newly converted Scout Hut, kicking off with a live gig from Amelia’s Magazine favourite 6 Day Riot, fronted by the glamourous Tamara Schlesinger. We’ll be drinking lovely Spindrift and carbon neutral East Green beers from my favourite beer company, Adnams, alongside Vodka O, a pure Australian spirit.
I’m then planning to cut the big Lily Vanilli cake and hand it out in a gloriously sticky manner, hopefully in a way that isn’t too reminiscent of a five year old’s birthday or a wedding with no groom.
I’m going to be wearing these fabulous Nina Dolcetti shoes.
From there on in it’s going to be a big old dance party once The Pipettes hit the decks…. followed later in the evening by my TOP SECRET special DJ… who I will now reveal is none other than Will of the Mystery Jets… it’s going to be a good one.
ACOFI in the Tate Modern.
And of course there will be lots of copies of ACOFI around to browse through… and possibly the most fantastic goodie bag EVER to accompany all purchases of the book on the night, containing gifts created exclusively for the occasion from Tatty Devine, Moleskine, Dr.Hauschka, 123 Bethnal Green Road and Pukka Teas – all presented in a specially designed #ACOFI bespoke tote bag. It don’t get better than that.
My special bespoke ACOFI Moleskine, with a holographic imprint of the logo on the front cover.
Dr.Hauschka goodie bags at The First To Know launch party for Lida Hujic’s new book earlier this week: I haven’t unpacked/packed our goodie bags yet.
So that’s the plan. But it will all probably be fabulously disorganised mayhem. Make sure you bring your camera if you’re coming! And I feel I should state apologies at this point that this party is invite only… but there just isn’t enough room (or drink, or cake) to accommodate any more people. It’s principally a party to promote the book, so I’ve invited the illustrators and fashion designers who features in it, and lots of bloggers and journalists.
All packed in the lovely limited edition ACOFI tote bag, designed to complement the cover by Andrea Peterson.
And please go buy the book… cos the future of this website kind of depends on it… For a sneaky 10% off use the discount code ACOFI LAUNCH – vald for one month only until the 28th February 2011 (coincidentally my birthday… just thought I’d drop that in)
Right, I’m off to get my hair blow-dryed by Shine on the Green… I hope they will be able to tame it into something suitably sophisticated. See you on the other side…
Written by Amelia Gregory on Friday January 28th, 2011 9:16 am
