Amelia’s Magazine | Style Tiger on the Prowl!!!!

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Dan Stanley is a London-based illustrator and designer who will soon be launching his new range of greeting cards, buy this web Fluffy Thoughts. He graduated from the London Metropolitan University in 2007 and began setting up Fluffy Thoughts. His fanciful daydreams inspire his designs that are filled with mischievous animals and fuzzy creatures! They mix together a childlike innocence with colourful wit, website like this drawing you deeper into the mysterious world of his characters. Dan has plans to develop his character range further to include soft toys, sildenafil vinyl toys, books and clothing – he invites you now to step into his shiny, cloud-filled universe.

Tell me more about Fluffy Thoughts? ??

Fluffy Thoughts is my range of greeting cards that I designed and are soon to be launched! My initial design ideas were based around a set of creature characters that I put together while completing an Art Foundation course. The range will be available through my online shop and I am currently working towards having them stocked in shops too.

You design many surreal, fun characters. What are the biggest influences on your designs?
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I love Japanese design and animation. I’m a huge fan of anything with cute or crazy characters! So I decided to create my own too and had lots of fun doing so! I had designed and produced a number of soft toy monsters and it’s great to see more of my characters come to life through Fluffy Thoughts. I love illustrators such as Alex Pardee, Bubi Au Yeung, and also illustrated brands such as Ugly Dolls and Tokidoki.?

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What are your thoughts on our homegrown artists at the moment? ? 

?There is a growing interest in hand drawn art and illustration, rather than computer generated art, which is fantastic. It’s shifting away from the accurate images created on computers and has moved onto more irregular and rough styles which I feel gives the artwork more of a personal identity. ? ?There is a great interest in Vinyl toys at the moment which has increased the popularity of characters within a larger age group. This is great news, I’ve always been a huge fan of character based designs which spurred me onto design my creatures. I’m a big follower of illustrated brands such as TADO, NOODOLL and LAZY OAF who are all based in London too.

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?What are your other plans for the future???

Greeting cards are only the beginning. I hope to expand on Fluffy Thoughts with a clothing range and various other products. I would love to expand on some of my characters stories with illustrated books also!
I have been a Madonna fan for years and years. When I was younger it bordered on obssessional, buy information pills but has lessened now due to her ill-advised recent collaboration with super producer, page Timbaland, where she just sounded like a guest vocalist on her own album. To say I’m disappointed doesn’t even come close to an understatement. But let’s not dwell on this, as luckily, this collection does not focus on this period – but on the good old glory days, well decades actually.

Described as a collection of memorabilia, there definitely is a lot of Madonna paraphernalia on show here in the Truman Brewery. In the huge concrete car park of the brewery evidently.
The biggest draw being costumes she wore on stage and in films. However, when looking at them, something wasn’t feeling right. Look at the picture below:

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At first glance you would not think this was part of an exhibition about Madonna. Yes, this collection of outfits come mainly from her conservatively dressed role in Evita, but it’s not just that. The clothes don’t fit properly on the many cheap looking identical mannequins:

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I guess for an exhibition about the notorious perfectionist Madonna, you would expect the same high level of professionalism from a show dedicated to her, and that just was not evident here.
Also, considering there is a disclaimer saying that Madonna had nothing to do with it, they have copies of her record and divorce contracts, her old credit card from the 1980′s and pages from her personal diary. I know you can acquire these through auctions but you are left wondering how they have these items, you are also left wondering if, in fact Madonna is gagged and bound in one of the dark corners of the car park, as the ultimate piece of memorabilia…

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Although fascinating to see on a voyeuristic fan level, there was an unsettling atmosphere to the whole experience. Perhaps it was the sparse venue, or perhaps it was because Madonna is such an icon with so much history, an exhibition dedicated to her could have and should have been spectacular. This sadly, was not.
Between January and April 1996 approximately 360 acres of land including 120 acres of woodland were cleared to make way for the building of a new road, drug the Newbury bypass. The demolition was met by one of the largest anti-road protests in history with over 7000 people directly demonstrating on the site. From July 1995 protesters began to occupy the land, pill living in tree houses and tents. It was a long hard fight and a momentous period of social history that is all the more relevant today with the increasing disparity between environmental legislation and climate deterioration, and the growth of environmental activism. Jim Hindle was in the thick of things and has written a book about his experience, Nine Miles.

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What are your intentions for the book and what do you think it’s
relevance is in our present state of climactic urgency?

On the most basic level I wanted to tell the story of what happened; for history’s sake but also due to the relevance that story has now, in terms of the amount of roads being built today and also for the wider
climatic situation. Road transport in the UK accounts for more than 21% of our total CO2 emmision and is set to rise pretty fiercely without efforts to reign it in. But also, I wanted to convey something of the feeling of those times, of the sense of inspiration that was so strong in the campaigns I’ve described;
there’s a sense that that spirit can inform us now however we choose to act or the environment, or changing the world in general, or even simply how we live our lives.

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How does your life now relate to your life in the 90′s? Are you still involved in activism?

I’ve had to knock activism on the head these days, for reasons that are clearer when you read the book. I did go to the first climate camp and while it was amazingly inspiring it was also pretty stressful, the kind of situation that I’m meant to be avoiding. So I limit myself to talking and writing as a way to influence the world now. I don’t live outdoors but camp and walk as much as I can in the summer. Right now I live on the edge of a small town in a converted outhouse with a firepit outdoors but can see myself back in a house or a flat before too long. Living outdoors isn’t made easy in this country but I am at least gravitating away from the middle of cities as places to be in full time.

I‘m quite interested to find out what everyone is doing now-are you still in touch?

Sarah is in the mountains in Wales with a young child. Badger is living in the West Country working as a carpenter with his wife and three kids. Tami studied maths, got a scholarship to Oxford and is now working as a website designer. Many folks are still activists in one way or another but I think everyone holds precious the memory of what happened. There’s kind of an unspoken bond.

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What are your thoughts on the current wave of climate action?

I think it’s really inspiring. I’ve always felt that to be most effective direct action needs to be as intelligent and discriminating as possible and all the signs are that those involved with Plane Stupid, for instance, share this approach. It carries a big responsibility too. Certainly to see direct action as some kind of cure-all or the way to go about things in the first instance doesn’t seem like the way forward. Martin Luther King said it should only be undertaken as a last resort and it takes it’s place within a bigger picture. There’s many ways to campaign for things but I do think direct action has a vital place.

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I think the climate camps have maybe been a bit gung-ho in declaring intentions to shut down power stations and the like; it kind of guarantees a full on police response but I think to be fair there are many folks involved who would agree. And they’re amazing testimonies to how far everything has come, the organization that goes into the camps is truly something else. And it carries the torch of DIY culture, to be involved; people realizing that it’s not enough to wait for someone else to do something, that we all carry responsibilty for our actions and the actions of our culture.

I do sometimes feel too that it shouldn’t be neccessary, that people shouldn’t have to put themselves through it but it raises the stakes and shakes people out of their apathy and there’s as much need for that as ever; steering society to something more sustainable is like steering some massive tanker and when
change is not apparent there’s the danger of inertia creeping in. So it’s important, if nothing else, to raise our voices on the issue, to remind the politicians that there’s everything to fight for, to help give them license perhaps to act for the climate and certainly to hold them to their responsibilities. And there’s a new generation now getting involved, which is amazing, the whole thing has evolved and there’s a freshness and an urgency, which is what we need in copious amounts…

Jim will be reading extracts from his book on 17th March at 7.30pm at The Hornbeam Centre in London and on 28th March for the Climate Camp benefit at Westhill Music Club in Brighton.
Basso and Brooke was, find without a doubt, THE worst organised show of the week. We arrived a bit late, and squeezing our way into the surging throng, rougher than any mosh pit despite the far greater average of lipstick and high heels, it transpired that they’d reached capacity in the Bloomsbury Ballroom where the show was being held and the 200-strong throng of ticket-holders outside weren’t getting in. All that practice at gigs must’ve come in handy as I proved to be a far more effective pusher and shover than our in-house fashion bitch Jenny. I managed to be the last person admitted to the show and was rushed down the stairs by the totally harassed PR going “I told him to get a bigger venue”. Forget about freebies at this one, I didn’t even get a chair.

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That said, I ended up with a pretty good view of the catwalk meaning I could fully take in the Rococo ambience of the show with its sumptuous, brocaded Jackie O suits and dress and distressed hairdos, somewhere between seventeenth century wigs and sixties helmet heads. This was all sound-tracked by string versions of heavy metal songs, a tongue-in-cheek touch that raised a smile on many a frazzled fashion face. The opening notes of Sweet Child O’ Mine had an appropriately frantic urgency to it when played on a violin.

However, the music at Basso and Brooke was as nothing compared with the brilliant horror soundtrack of Ann-Sofie Back that we went to that evening. Her collection was heavily inspired by horror movies such as Carrie, and models wafted down the catwalk wearing white contact lenses, pale face makeup and wild frizz-bomb hair. Ripped denim, dream-catcher feathers and slogan sweatshirts were the order of the day although my most coveted item was a pair of red tinted aviators that turned into little blood drops at the bottom.

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She was in a double bill with Peter Jensen at the Topshop showspace although I only have vague memories of his show, overshadowed as it was by the gothic offering it preceded. I’ve got a general memory of folksy, ethnic embroidery on over-the-knee white boots and boys in puffy waistcoats. Topshop also laid on a good spread of sausage rolls and champagne, although as my Topshop employee cohort pointed out, perhaps Philip Green could have directed some of those funds towards not firing some of his floor staff. Just an idea. Still, I enjoyed the posh pub spread and the ensuing shows and one thing I am definitely going to try and get hold of for this summer is a reduced-rate pair of bloody sunnies.

I have been left so in awe by the sheer quantity of auspicious talent at the Esthethica stand at London Fashion Week this month that I felt just one article would not suffice in covering this fundamental event in the fashion calender. I felt it all to hard to digest all in one sitting so I embarked on another tour of the stands having already covered Beyond Skin, malady Izzy lane and Ada Zandition.I set out to prowl for more talent. The first to lure me into his stand was sustainable fashion designer Mark Lius, doctor a man that whole heartedly deserves the title of forerunner in ethical production. His collection draws influence from the philosophy entitled ” Singularity Point”. The thesis is that a system after time becomes self aware of its own limitations and eventually devises a structure to rewrite its own rules and push itself further. Mark has miraculously achieved to produce his entire collection without the use of a sewing machine!. Astounding I know!!!

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The collection oozes romance featuring a subtle palette which graduates from muted creams through to pinks and charcoals giving the collection a real sense of fluidity .Each of the dresses is beautifully crafted with such intricacy, delicate and understated prints are complimented perfectly by the elegant cut of the dresses .

The next designer to ensnare me was the pioneering label Good One. Having already worked with I-D magazine and juice magazine, and been finalists for the new designer of the year award, this brand are already making waves in the fashion sphere. Made from locally sourced recycled fabrics, Good One proves using old fabrics in your designs certainly doesn’t have to look like a sack of rags from Oxfam!.The collection exudes colour with block shapes and print to create stylish yet individual dresses.

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The brand offers an online shop, which supplies the entire charity range and with prices starting from £30 it wont leave a significant dent in your pockets. To top it all off all the profits go straight back to charity, double bonus!!.

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With the rise of disposable fashion Good One provides a legitimate solution to waste reduction.The brand are also expanding their knowledge to the rest of the fashion industry and have established their own consultancy to educate existing brands to tackle their own waste issues.

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To summarise, Esthetica this month has been a real tour de force of talent that has left me with an overwhelming feeling of amour for our British ethical talent. Watch this space because I have an excitation that this is just the beginning of a outstanding era of success for this talented bunch………………….

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Climate Rush like to do what it says on the tin, dosage so when the Landmark Hotel closed all entrances apart from one heavily guarded by police, it was obvious that a rush was needed in order to make sure that the UK NO NEW COAL AWARDS went ahead as planned. How inconsiderate of them to lock us out when we had a schedule to keep!

So, at 6.30pm on the dot we stormed through the fire exit and elegantly rushed into the Winter Garden area of the atrium, where we planned to hold our counter awards to the UK Coal industry’s annual pat on the back.

To the total bemusement of men and women in black tie stood by, not to mention the hotel staff, we sat down and began to chant “No New Coal.” Tamsin Omond and Marina Pepper, our favourite ex-page three girl, appeared at the balcony above the hall and started to hand out awards, but this being Tamsin the police were on her like a shot; whisking her off and out of the hotel even as she read out the awards. How undeserved!

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As a huge banner was unfurled, bearing James Hansen’s immortal words: “COAL FIRED POWER STATIONS ARE FACTORIES OF DEATH. CLOSE THEM” by two intrepid climbers on the lintel above, Marina instead gave a rousing speech to the hundred or so present, some munching on beautifully sliced cucumber sandwiches that the crusts had been lovingly cut off.

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Marina was informed that the awards had in fact been cancelled, and that the dodgy emails that Climate Rush had received, one signed by Mark Land (hoho) and one from the silly sounding Buster Gonads, were indeed bona fide missives from the hotel’s staff.

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Thereafter followed some dilema, which was solved in style by consensus, when we collectively decided to politely vacate the building. This led to some milling around outside with a bunch of people in black tie who were trying to get inside, as we tried to decide if the claims were in fact true.

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One guest claimed to be from BP, which led to the conclusion that we had been lied to, and so we rushed around to the back of the building where rumours of another entrance spread like wildfire. Hanging onto the gates with sheer force of will, Climate Rushers attempted to stop the police from closing us out.

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Clearly perturbed by the turn of events, Landmark manager Mr. Green then invited two of our kind in on a tour of the hotel to prove that UK Coal had indeed cancelled the event – believed to have taken place during the day instead.

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Marina then returned to tell us the fantastic news that the Landmark hotel have undertaken a pledge never again to entertain Climate Changing industries, and not only this, but they will attempt to push this policy out across the other 25 hotels in this luxury hotel chain. We fully expect Mr. Green to keep to his word!

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With our bike sound system now powered up it was time to complete our rollcall of awards, handing out our fantastic (some might say faintly ridiculous) coalmine canaries (at least, those that hadn’t yet been confiscated by the police – paper mache can be very dangerous) So here, in no particular order, are the UK No New Coal Awards

Science Fiction award 
goes to the most unbelievable technology not yet available to stop CO2 emissions, Carbon Capture and Storage.

Financial Fool award 
goes to the Royal Bank of Scotland, for helping to raise $16 billion in loans to finance the worldwide coal industry over the past two years.

LIfetime Achievement award 
goes to Drax coal fired power station, for the Greatest Emissions in the UK, equivalent to that of the 54 poorest countries in the world.

Best Supporting Role 
goes to the biggest Climate Coward, Gordon Brown, for putting business interests before Climate Change.

Best Newcomer 
goes to the next likely “factory of death”, Kingsnorth coal fired power station in Kent.

and finally…

UK Coal Personality of the Year  
goes to Paul Golby, CEO of energy company E.ON, for outstanding services to Greenwash (whilst plotting to build Kingsnorth)

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We then danced on down the road to a local Wetherspoons (yuk) as recommended by the police, where all celebrated in red sashes, to the amusement of the other punters.

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Remembering that we still had a room available in the hotel, some of us returned to continue celebrating in five star luxury, whilst we crafted a press release and uploaded our pictures. Well, it would be a shame to waste such style!

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Today I woke with my heart singing, for what Climate Rush did yesterday was really rather wonderful. The power of many makes us strong – long may our adventures in stopping Climate Change continue.
Not a Feminists Art Show!
Sixteen artists will exhibit a collection of multi media art work that focuses on women without using the word Female, drug the main focus being how to create modern works of art without it being labeled as feminist especially when its regarding one genre.

Private Viewing will take place on Wednesday 4 March 19:30 – 22:30 and the Exhibition is on from 5 till the 10th of March 11:00am – 18:00pm, viagra dosage Taking place at the electrician’s shop Trinity Buoy Wharf Orchard Pl, Tower Hamlets, London E14, UK

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Picasso: Challenging the Past
The National Gallery has put together an exhibition exploring Picasso’s artistic interpretation and investigation of past masters of art and their subjects, from the female nude to portraits and the female sitter.

Visitors to Trafalgar Square will be treated to spectacular illuminations covering the front of the National Gallery from 25th of February till the 4th of March. The exhibition takes place from the 25th February – 7 June 2009, room 1, admission free

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First Thursdays
On the first Thursday of every month over 100 galleries and museums in east London open until 9pm, giving visitors a chance to see some amazing art work.

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Laura Oldfield Ford: Drifting through the ruins
Hales Gallery, London 2013,
30 Jan – 14 Mar 2009

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Barbara Steinberg: Panoply
Signal Gallery
96a Curtain Road, Hoxton, London, EC2A

Rufus Miller: Sex N’ Death
An exhibition based around the London based artist’s reflections of life.
The Sassoon gallery, 213 Blenheim Grove Peckham
6th- 11th March
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Featured Illustrator

Cristina Petrucci

After a degree in Costume Design for the Performing Arts at The London College of Fashion Cristina began to explore costume design and illustration, she retrained as an illustrator at Camberwell College of Art and Design and as since showed and taken part in various exhibitions.
Her works are dreamy fairy tale like scenes with sharp echoes of surrealism, Art Nouveau and a touch of feminism as seen in the Illustration bellow.

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Where are you based?
I’m based in North London

What inspires you in your work and why?
I got into art at college. I didn’t do a GCSE in art at school which I always regretted I chose to do a GCSE in Drama instead. I’ve always been torn between the theatre and art. When I came to choosing my A levels at college I thought that there was no way I could choose Art. So I chose psychology. I walked out of the first lesson and went straight to the art department and asked for a place. I got it, but had to prove my ability throughout the first year, before I was put forward for A level examination. It was worth the hard work, as I came out with an A and I guess the rest is history. I went on to do a foundation in art and design at Central Saint Martins, continuing by following the normal route of progression…degree to MA.

Who do you aspire to be like and who inspires you at present?
I aspire to be a great technical draughts person. I’ve always been inspired by illustrators such as Arthur Rackham, Aubrey Beardsley and slightly more obscure illustrators such as Kay Nielsen and Jan Toorop. All influential artists at the turn of the 20th century, their art tied into the arts and crafts and art nouveau movements, perhaps my favourite era in art.

Where do you see yourself in 5 years from now?
In five years from now, I see myself teaching art. I’ve been lucky to have great art teachers and feel like in the future I want to be able to inspire and encourage young people to take up art.

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What advice would you give to someone trying to get into the Art?
Above all my advise to people wishing to take up art is to work hard on your basic art skills, such as colour theory, life drawing and observational drawing.

Do you have a muse and if so why?
My work is strongly emotionally focused. Sometimes my work can be literally depictive of my life events. However most of the time I use theatrical narratives to inspire me in conjunction with my emotional state of mind. I guess that life is my muse.

Stephen Jones is one of the fashion world’s greatest living milliners. His collections span the last three decades and he has collaborated with the majority of fashion heavyweights, price including John Galliano, website like this Rei Kawakubo and Vivienne Westwood.

At the V&A until May, Jones presents one of the first major exhibitions entirely and hopelessly devoted to hats, spanning headgear’s illustrious history over the past 400 years. Every type of head decoration is covered: the cloche, the cap, the head-dress, the beret, the visor, the cartwheel, the bonnet, the top, the stetson, the toque, the breton, the turban, the tricone, the hood, the mask, the tiara, the fedora, the fez… you get the idea.

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The exhibition aims to chart the history of hats and hopes to provoke a revival for fashionable, often whimsical head gear. It begins with a display cabinet devoted to the two hat world staples – the bonnet and the top hat – and features Queen Victoria’s former and Prince Albert’s latter. From here, we’re led around the recently renovated Porter Gallery (fashion fans will have seen the disappointing Fashion Vs Sport exhibition here in 2008). Three sections in the exhibition space reveal hats collected together by inspiration, material or client. In theory, this should work – hats of similar materials and processes can be viewed together ranging as far back as the 15th century alongside hats from the last ten years including, predominantly, those by Jones. In practice, the exhibition is a bit of a mess. There’s actually no feeling of history (apart from a few delicious clips from the 50s during the great Salon days). It’s easy to appreciate the beauty and splendour of each hat but hard to get a feel of how things have developed and progressed.

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In the Inspiration area, hats are grouped together by what has aroused particular designs to create these pieces. There’s London – which includes Piers Atkinson’s reworking of 3 New Era caps tailored to appear like Mickey Mouse ears and aptly titled Dalston. Yawn. There’s Jones’ ‘Underground’ hat that takes the form of a pillar-box hat, where the body is the tube emblem and the elastic fasteners are coloured lines like those of the public transport system. I swear this is the only exhibition ever where you’ll find a Smiffy’s plastic policeman’s helmet (2008) given the same prestige as a 1987 Harris Tweed crown (by Jones for Vivienne Westwood).

For materials, Jones collects hats together to depict how the same material has been used in varying ways over the centuries. This is alluring, but it’s easy for the eye to wander to the more striking pieces from the modern era and miss the qualities of more traditional pieces.

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The Client area doesn’t give much away either, but does include a good collection of hats popularised by celebrity culture and has a voyeuristic feel rather than a studious one. There’s headgear from the hat-wearing contemporaries – JK of Jamiroquai, Sarah Jessica Parker, Camilla Parker Bowles, Erin O’ Connor and Kylie Minogue.

Wonderfully, Jones dedicates a corner of the exhibition to today’s up and coming and established milliners. This small collective with a similar base to that of Jones and Treacy (St Martins graduates, mainly) aim to push the boundaries of millinery even further. There’s Nasir Mazher’s stunning chiffon and satin veil, Justin Smith’s Winehouse-inpired ‘Amy’ creation, and Soren Bach’s pom-pom ensemble famously worn by Björk.

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Hats are displayed atop mannequin heads on poles as high as 6′ – with the number of that hat at the bottom. This might work when cross referencing the hats to the information in the gallery by oneself – a luxury any of us are likely to enjoy. Instead, it’s a constant battle to fight past fellow viewers to find the corresponding card (that is, after you’ve found the bloody number of that hat all the way down). There’s also a distinct lack of imagery to accompany the pieces – our appetites are only slightly satisfied by a tiny slide show of photographs of celebrities from the last decade. It’s also a shame that 95% of the hats are on heads alone – to chart the history and recognise a particular hat’s authority and cultural position it would have occasionally been nice to see a hat presented with clothing from the time (particularly with designer collaborations where the piece has inspired the collection, or vice versa).

See Hats… if you can. It’s a fantastic exhibition which presents what can often be overlooked as a statement piece for any man or woman’s wardrobe. It’s a shame that practical layout has taken a back-seat to make way for over-aesthetic and pretentious exhibition design, but this shouldn’t put you off exploring the splendour of all things hats.
Arriving at the Gagosian on the outskirts of Mayfair feels a bit of a three-way clash. I’m a little scruffy and philosophical-looking today, buy the gallery’s doorman is impeccably dressed with one hammerhead eye out the window looking for any limousined celebs he might open the door to… and then there is the work. Approaching a Haruki Murakami is always a bracing experience. You can never have chewed enough bubblegum, try played enough video games or collected enough Pokemon cards that you might feel you belong in front of a work like Lots, cost Lots of KaiKai and Kiki. Yet, aieeeee!!!!: Here I am.

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The first thing that strikes me about this is that it’s an all-over painting, similar in size and shape to a Pollock. It’s as if Pollock’s paint-stick ejaculations had each germinated into a Kiki or a KaiKai (Murakami’s two principal anime-style protagonists – a cute bunny-eared thing and a kooky tri-clops bundle of mischief). Lavender Mist gone Manga, there are well over a hundred faces here. Not one of them is merely here, however. Each is vying for my attention. Either throwing a cuddly grin at me, pulling a smug smile at me, lunging a bewildered face at me, snorting at me, shouting, screaming and going la-de-da-de-da at me. Always, intensely, insanely at me, at me, at me. The smiley flowers in the background are a little less so, but not much.

There’s either too much or not enough purity in this. Sure, it’s a haribo-overdose headache, a million cartoons at once and, of course, Murakami is a canny capitalist industry now, with a marketing department that would make Benetton long for the golden years. But it’s nice, too. You can really just melt into the superficiality of it all. For a while, I wondered if some of the grimaces on Kiki’s face were chastising the toon-world for it’s bondage, forcing innocent toon-babies to be sugar-buzzingly hyper-kerrazy all the time, but I don’t think so. If Murakami’s embrace of the Hello Kitty and Pikachu universe was ever partly sarcastic, it’s not easy to see that anymore. Especially in the show’s animated video piece. Aside from one character declaring that the city in the sky is “a little clichéd”, some remarks about Yin and Yang and the big monster’s crescendo of farting and pooping, this could be on any of the more ADHD kid’s TV channels right now. In fact, even with those things, it would get on Toonami I suspect. Oh, and the animation is just as slick as the painting, i.e. very, very, eyes-glazed-over slick.

Which is when I decide to get down to The Hayward, to try and re-elevate my IQ. The Russian Linesman is a pretty cerebral show about, so says the subtitle, Frontiers, Borders and Thresholds, curated by Mark Wallinger. Now, here’s a chap hitherto obsessed with class division and racehorses. Also, it seems, a chap who doesn’t like to be pigeonholed. Not a sign of class warfare anywhere. And there’s even a drawing by George “I draw horses” Stubbs – and it’s of a human skeleton. What a tease! So, if the subtitle doesn’t allude to class barriers and finishing lines, then what?

Whatever the answer, it must be a sign of a healthy art culture when artists don’t feel forever bound to their established gimmicks. Oh, the nailbiting back when Gary Hume gave up painting doors. There’s none of that fear here, and eclecticism is happily the show’s most obvious feature. A Durer engraving faces three stretches of conceptual twine by Fred Sandback, James Joyce’s disembodied voice recites part of Finnegan’s Wake next to a Blake, while a ballerina dances on a projected video loop round the corner. In my favourite leg of the show hangs a masterful 17th Century painting of a dead soldier, thought once to be a Velázquez. The wall on which it hangs forms part of Monika Sosnowska’s Corridor, one of those rare conceptual pieces which will have you laugh out loud and have a conversation with the laugher behind you. I really must resist spoiling the joke for you, simple as it is, but Escher would have loved it.

The centrepiece is Wallinger’s own Time And Relative Dimensions In Space, which is a full-sized polished-steel mirror replica of Dr. Who’s T.A.R.D.I.S, from which it gets the profound-sounding title. This is a thing of stunning beauty.

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Part of the gag, by the way, is that as you try to look “into” it, you see an art gallery, yourself, artworks, people, thus it’s… you’ve guessed it kids, “bigger on the inside than on the outside”. Sort of. There’s something about the way the geometry of the room continues through it, that makes it kind of invisible, as though halfway through a sci-fi disappearance special effect (after all, it brings no colours of its own to the room, or geometric discontinuities or bends) but it”s also garishly, chunkily, heavily there. And the punters flock to this one. Wallinger has wisely not put anything too attention-grabbing near it, and it’s the magnet of the show. It’s also just after halfway through, so if you’ve been scratching your head a lot, wondering what’s going on, you can check that your hair’s not too badly messed up on the Tardis. Dead handy.

History creeps into the show quite a bit. Anglo-Germanic relations are central to the show’s title (the Russian linesman being the chap who decided that England’s dodgy 1966 World Cup-winning goal against West Germany was legit, allegedly admitting later that Hitler’s bloody march on Stalingrad in 1943 helped him decide). And a wall full of stereoscopic viewfinder images (how fun!) presents us firstly with the Nazi War Effort (oh…), and ends up with our own Teutonic Queen, greeting Nigerian subjects in the 1950s. Plenty of loose ends there. More impressive, however, is Ronald Searle’s set of drawings showing his experiences in Burma in the Second World War. It’s a bit of a jar perhaps, to have these painful and violent images so close to the fun of Corridor or the Tardis, but maybe that’s just another threshold to cross?

There are many ways that borders, etc come into the show. Political borders that divide people and send them to war, between reality and illusion, lines drawn between species, and poetics-of-space type boundaries, but I don’t think it’s necessary to try and see this as a coherent body of work. It’s a bric-a-brac feast, and better for it. It’s Wallinger the artist-as-curator, but, as the gallery makes clear from the outset, also curator-as-artist. The Russian Linesman is his scrapbook, providing a good deal of fresh insight into his ideas and interests. It may not all fit inside the boundaries imposed but it looks like a decent goal to me.

Murakami is at the Gagosian Davies St, 17-19 Davies St, London, W1K 3DE. The Russian Linesman is at The Hayward Gallery, Southbank Centre, Belvedere Rd, London SE1 8XX. Don’t forget your bubblegum.
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What better way to unwind after a hard day grafting in the big smoke then to retreat back to that quintessential British past time knitting. I think everyone has a fond recollection of their grandma’s knitted jumpers, approved although maybe not appreciated fully at the time.

I knit is a both a sanctuary, page shop and club for avid knitters to retreat to amidst the city hustle. They hold special groups on both Wednesday and Thursday evenings at there shop in Waterloo from 6pm and all for free. With a fully licensed bar what perfect way to juxtapose cultures then with a pint in one hand and a knitting needle in the other! The group have also fused another nostalgic past time into their events, case they hold a Sunday Knit Roast every month, so its knitting with all the trimmings!

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For those complete novices out there, never fear, the group host classes every week to accommodate every level of expertise. From the basics, to the outright bizarre. The weird techniques class takes place on the 7th of March, and includes innovative new methods such as knitting backwards and cabling without a needle, to name but a few.

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Of particular interest to myself was the knit fix class, I am sure the best of us have felt that sense of exasperation when they have dropped a stitch and were not in the slightest bit sure of how to retrieve it. This class will take place on Saturday the 14th of March.Then for the more accomplished knitter there is lace knitting, advanced sock knitting and raglan sweater classes to boot. All workshops start from around £30 pounds and are roughly 3 hours long.

So get your knitting needles at the ready as I knit is a event not to be missed!

Tuesday 3rd March, ask

FrYars

FrYars is the chosen moniker of Ben Garrett, a 19 year old Londoner with a shed-load of talent and the vision and ambition to match. A haunting singer and inspired songwriter.

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Image by Rick Pushinsky

Hoxton Hall, London

www.myspace.com/fryars

Fanfarlo, Yucatan, IVAN CAMPO

Beautiful Wonky Pop from Brit Based Sweethearts Fanfarlo with Support from the mezmerizing Yucatan and Ivan Campo. Coincides with their BBC 6 Music session with Marc Riley.

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The Deaf Institute, Grosvenor Street, Manchester

www.fanfarlo.com

www.myspace.com/yucatanambyth

www.myspace.com/ivancampo

Wednesday 4th March

Shooting Spires

Neo-soul / Live Electronics / Minimalist are on the menu for anyone going to see Shooting spires at Retro bar, Manchester Wednesday. Shooting Spires is the side project of BJ Warshaw of Parts and Labor so expect heart wrenching keyboard melodies with bruising drum thumps.

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Retro Bar, Manchester

www.shootingspires.com

Thursday 5th March

One step more and you die

One of the best Club nights in Manchester. Expect all the usual noises from the likes of Nick Cave, The Jesus & Mary Chain, The Thermals, LCD Soundsystem, Nirvana, Sonic Youth, Low, Fugazi, Do Make Say Think, Mew, Appleseed Cast, My Bloody Valentine, King Crimson, Mogwai, Arcade Fire, Spacemen 3, The Birthday Party, Idlewild, The Pixies, Smashing Pumpkins, Pavement, Efterklang, Aphex Twin, M83, 13th Floor Elevators, Cave In, Bjork, Tortoise, David Bowie, Deerhoof, Battles, Slint and many more.

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Tiger Lounge, 5 Cooper Street Manchester M2 2FW

www.myspace.com/onestepmore

Alessi’s Ark

When she and her compadres lay on the strings her songs assume a poppy lushness that is quite captivating. An English take on Americana.

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Image courtesy of DAVID BEECH www.davidbeech.co.uk

McClusty’s, Kingston

www.myspace.com/alessisark

Crazy P

Downtempo, Electronic act formed in 1995, playing a consistently good mix of chill out electronica for more than a decade.

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www.crazyp.co.uk

Friday 6th March

Noah And The Whale

Deep dulcet tones over the sweetest melodic strings come together in Noah and the Whale. Enviably intelligent Alt. Folk with a mix of Silver Jews and Tom Waits.

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www.noahandthewhale.com

Upset the rhythm Party w/ Wavves & Pens

Lo-fi noise-pop musician Nathan William, AKA Wavves embarks on a European tour, which began March the first at Glasgow’s Nice N Sleazy. Support comes from Pop Punk, Thrash all girl combo Pens.

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Wavves allows some of his music to be downloaded free from http://rcrdlbl.com/artists/Wavves/music

www.myspace.com/wavves

Frankmusik + DJs Tits Of Death + Skill Wizard

Up and coming ‘Blade Runner’ pop cavalier Frankmusik (real name Vincent Frank) headlines the March installment of On The Up at The Barfly London. In conjunction with his revolutionary and completely interactive tour promoted by Channel 4 and MySpace.

Barfly, London

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www.frankmusik.com

Saturday 7th March

North sea Radio Orchestra

North Sea Radio Orchestra is a unique chamber group who perform music of beauty and originality that has, at its heart, lyricism and melodic richness. Featuring wind, strings, percussion, guitars, organs and voices. They live in a world cushioned by melody and harmony.

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www.myspace.com/northsearadioorchestra

Sunday 8th March

London Word Festival

London’s only alternative literate-arts festival is back. Sunday’s event is co-headlined by Bishi and Lupen Crook. Look out for more events in the following week including a gig with Wave Machines and Serafina Steer.

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Bardens Boudoir

www.londonwordfestival.com
2nd – 7th March
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02 March –Talk –“ Energy, information pills Water and Climate Security: Clean Power From Deserts.:”
6.30pm
London School of Economics, tadalafil Houghton Street
London WC2A 2AE

Dr. Gerry Wolff and Dr. Michael Mason discuss the DESERTEC concept (a proposed large scale solar power project) at the LSE.
Admission Free. Call 020 7405 7686 for more details.

03 March -“The Great African Scandal” film screening and panel discussion. 7.00 – 9.00pm
25 Harlesden High Street
London, cheapest NW10 4NE

As part of Fairtrade Fortnight, the Harlesden Methodist Church will be screening the hard hitting film on trade justice, “The Great African Scandal”. Also on hand will be speakers from the Fairtrade Foundation, Divine Chocolate, as well as residents of countries who grow Fairtrade products. Stick around for the evening, and you will be able to sample Ghanian refreshments which will be provided for all attending.

Contact Robin Sharp for further details on 0208 969 0381.

04 March
Talk – “The Future of Water”
8.45 pm
RSC Environmental Chemistry Group

This symposium and guest lecture covers the scientific, financial and governmental drivers for water trading.

Cost £25.00 for members/ £50 for non members.
Call 020 8267 4011 for further details. Tickets can be purchased on www.haymarkets.com, and go to “Events”

05 March
1pm
Event. Climate Rush says “Give Us Our Money Back! And Stop Trashing The Planet
Royal Bank of Scotland HQ
280 Bishopgate, London
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Climate Rush are off to the bank to demand OUR money back from Sir Fred the Shred. We might have a flashmob on our hands. Come along and join us!
Contact www.climaterush.co.uk for more details.

05 March
Tackling climate change at a time of economic downturn: Local, national and international action

7:30-9:30pm
Unitarian Church
39a Newington Green
N16 9PR

Hackney Green Party will be hosting a public meeting this time next week, at which Jean Lambert MEP will be talking alongside Hackney councillor Mischa Borris, Robin Webster of Friends of the Earth and Phil Thornhill of the Campaign Against Climate Change.

Full details can be found on the HGP website here:
http://hackney.greenparty.org.uk/news/154

07 March
11.00am -4.00pm
Ealing Fairtrade Fortnight Fair

Christ The Saviour Church Hall
Ealing Broadway, W5

As part of Fairtrade fortnight, this church in Ealing is putting on a Fairtrade fair. On hand will be stalls of fairly traded food, drink, clothes, accessories, crafts and homewares, featuring goods from People Tree, Traidcraft and Fair Gift. For the more fashion conscious, there will be a Fairtrade fashion parade, and if you are feeling peckish, you can make yourself a smoothie courtesy of the Fairtrade smoothie bike.

Check out http://www.davethosting.co.uk/clientarea/EalingFairtrade// for more details.
Can it be that in this cynical heart a glimmer of hope can still be dwindled from otherwise dull embers? If so then If anyone is going to do it then it’s raunchy Disco Pop from the irresistible chiselled jaw form of Frankmusik who although may not be so familiar to you now believe me he soon will be. He’s set to take 2009 from behind, price pinching the life out of your hips, pharmacy sending you screaming into next year.

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The single is an effervescent ‘Blade Runner’ pop (as he calls it) jaunt with a twist of Daft Punk that sounds very studio honed and sleekly produced but in fact is created at home on a mac by the man behind the pseudonym, Vincent frank, aged 23. For the past few years he’s been in touch with his fans via his myspace but now has taken that further into the realms of technological wizardry by setting up a link from his GPS mobile (whatever that is) to a live google map which lets fans know exactly where he is on his tour.

Every night of the tour a two man production team who are filming his adventures will upload a daily ‘highlights’ show exclusively to the Frankmusik MySpace – www.myspace.com/frankmusik. Sponsored by Channel 4 and Myspace this tour will really be the first of its kind and if you want to get involved with someone hot go check it out now.

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If the single isn’t enough to grab, and I’m positive it will, then the prospect of a reality, live music melange on Channel 4 and on www.frankmusik.com will be.

See www.frankmusik.com for more information
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This Saturday saw an athletic and eager bunch converge at various locations in the east for the 6 Billion ways event. All propelled by the same willingness for change, online the day hosted a myriad of debates and workshops to explore the sources and solutions to global crisies. I marched down to Rich Mix on Bethnal Green road to investigate and was satisfied to see a crowd spilling onto the streets when I arrived. The event had brought out a refreshing spectrum of people, case from the keen youngsters to the avid adults.

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I hot-footed down to the Amnesty International hall for the “G20 and beyond” session (for more information on what the G20 is click here). It was an awe inspiring sight to see so many fundamental groups assembled for one sole purpose. Representatives were from the groups Climate Camp, approved People and Planet, along with the CND, and Put People First. The debate echoed a resounding voice of solidarity with the various organisations planning mass campaigns in the next few months to drive the need for Green new deals. Put People First are holding a mass march to highlight the worldwide need for climate justice on the 28th of this month which will kick start at Temple on the Embankment and in true traditional style the Salvation Army will be supplying a brass band for the romp through central London!

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The grass roots organisation Climate Camp are this year choosing to highlight how our failing economic system is inextricably linked to our failing environmental systems. To propel the importance of change the group are orchestrating Climate Camp on April the 1st at the European Climate Exchange to highlight the folly of relying on carbon trading to solve Climate Change. The day before the G20 rolls into town the group will be hailing the failures of a market-based system that expects ‘business continued as usual’ to sort out the mess we are in. The Camp will take place for 24 hours and include camping, workshops, and creative debates to encourage ideas and solutions to take direct action in tackling the crisis.

As part of the Fossil Fools Day campaign which will be taking the globe by storm, in London we will see the Royal Bank of Scotland targeted by student organisation People and Planet. Since the economic downturn and the banking crisis RBS have gone into public ownership, so this is prime time for change – allowing us more power with which to lobby the government, a chance to rewrite the global financial system and push for a Green New Deal.

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CND, which is abbreviated from the title ” Campaign for Nuclear Disarmament” is fueled by a desire for peace, and are rallying against the excessive costs of war and arms programs as a intrinsic link to our global crisis . A demonstration will be held on Wednesday the 1st of April in Trafalgar Square, with the simple slogan of “make jobs, not bombs”. This will be followed by a second demonstration on the 2nd at the Excel centre where the G20 is being held.

G20 meltdown are a loose collective of groups who have mobilised to protest against the capitalist system; responsible for the financial mess we are in, as well as Climate Chaos. At 12 noon campaigners will descend on the Bank of England from four different directions of the city with the slogan “we can’t pay, we wont pay”, aimed at the bankers whose greed many see as responsible for the current global financial and ecological crisis.

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The session saw forcible support from the crowd, who were eager to agree about the need for cohesive action to make a difference. Many are heralding this the “year of change”. Let’s hope that it can be, for it is highly doubtful that our ‘leaders’ at the G20 are capable of anything more than business as usual, shoring up the crumbling financial markets with yet more of the same. We need to show them that another world is possible, so put April 1st in your diary now!

Illustrations supplied by Brenda Goodchild
Here at Amelia’s Magazine we are keen to get our mits on glistening new talent, there and 2nd year illustration student at Middlesex University Holly Trill is no exception. Her illustrations evoke a distinctly ethereal and quixotic air. Beautifully intricate they draw influence from ancient mythology and botany.

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I was eager to delve into the mind set of this talented individual, online so I decided to call an interview with the lovely lady herself and hop footed down to the tranquil realms of bar 1001 for a chat.

What would you say inspires your work?

I guess I am very interested in folk stories and mythology. In the same respect I am very driven by aesthetics in all my work.I want to create a sense of ephemera, of recording and cherishing the cyclical nature of the seasons.


What mediums do you like to use?

I create my pieces mainly using inks, pens and stitch. I also inject alot of multimedia into my work to give it a three dimensional edge.

There seems a direct link to nature in your work would you agree with this?

I am really interested in the beauty of the natural world. In particular the intricate details not always obvious to the naked eye, such as the veins in leaves and the texture in the fur.

What other artists have inspired you?

I love the work of Illustrator Deanne Cheuk ,her work evokes a very ethereal feel which I love. Another artist I like is photographer Ori Gershi, his work explores personal space and orgins. His latest exhibiton at the CRG gallery is a must see.

Have you been to any exhibitions that have inspired you recently?

I haven’t really been to any exhibitions recently but I went to the Hunterian Museum which is at the Royal College of surgeons. I am fascinated by formaldehyde, I really want my work to portray objects with accuracy so it was great to look at skeletal formations up close.

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So after a frothing cappuccino and a delightful chin with Holly, you get an overwelming sense of her passion for her illustrations and at 20 she already has her own website in full flow http://hollytrill.co.uk/.As an avid fan myself I think its safe to say this will not be the last you hear from Holly Trill. So watch this space…………………..
After leaving Amelia’s magazine HQ in Brick Lane I travel down to New Cross to see Sarah Rowles, view director of Q-Art London, in her studio. That’s because not only has Sarah successfully arranged four cross college convenors, two group gallery visits and written and printed a book, but she’s also a second year Fine Art student at Goldsmiths University. Phew it makes me exhausted just thinking about it!

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Can you explain a little bit about Q-Art London?

It is a forum for student and graduates from across London art schools such as Wimbledon and Goldsmiths, all of them are on our website. We come together for people to be able to show work and critically discuss the work of other students. It means you can network across a group of people you wouldn’t necessarily hang around with.

So what the heck is a convenor?

Essentially six or seven artists from across the different art schools and levels each speak for about five minutes and then have about twenty minutes to discuss. The format is quite free.

What motivated you to set this whole thing up?

There has been a lot of course cuts in arts departments and it was wanting to have a bit more teaching time I guess. Another factor was that at the degree shows last year there were all these graduates saying “I don’t have anywhere to show” they were all a bit annoyed that now there was nowhere with them to talk about their work. I know when I leave I would like this platform set up for me to be able to show work.
Also when I was applying to art school there was all this myths that each of the art schools were really different and I wanted to dispel that.

Have you found that was a myth or do you think there are similarities in the work of students from the same institutions?

Different people have different views but you can see different trends emerging, they’re not rigid. It might be coincidence but so far Slade has been quite painterly and sculptural. I don’t think Q-Art London has been running long enough at the moment to make those judgements. I think people who come to the events draw there own conclusions.

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How can people get involved in Q-Art London?

Going on to our website is the easiest way, because you can subscribe and we will send you the events list. You can come to any of the events by emailing your name and the name of your college or former college. If you want to present then email me and say that you want to present and I will send you a form.

What kinds of people have been showing at the events?

Foundation to BA, MA, PHD and graduates so far. I’ve also had two none practice based people show things from their PHD, which was interesting. This year it has been on a first come first served basis, because the idea was that the group would critically discuss the artwork and that wasn’t for me to decide. But because the demand has been huge and I have a waiting list of people I think it might have to be selected to create more of a balance in the future.

Can you tell me about the book?

The book is called 12 Gallerists: 20 Questions. When I came to Goldsmiths in the syllabus it said that you had a make a challenge to contemporary art and I thought. What is contemporary art? I interned at different art galleries and Zoo Art Fair and I thought how are they evaluating any of this work? What’s all this stuff here? Who are all these people with money? What’s going on? I just didn’t understand any of the arts market so the idea was to try and find out. So I started to interview some people that I already knew and some other gallerists I was interested in. I started off by going to see Chris at MOT with this massive list of questions. Things like: How do you price work? How did you pick your artists? The questions were of all these important things that you have no idea about. Hopefully it comes through in the book that it starts by knowing nothing and then at the end you have quite a clear idea.

I know you’re a very busy lady so what’s next for Q-Art London?

So we have the Slade event on the 25th and the next event in April. This year what has happened is that everybody who has presented at one of the convenors is going to be in an exhibition at APT Gallery from 2nd – 4th of July. We’re trying to put criticality back into the market place so at the ATP event there is going to be a collectors forum which is going to work in the same way as the convenors. Collectors are going to be invited to ask the artists questions so there will be a lot more transparency about why the artist is being evaluated as a good artist.

Having accomplished so much in a year I don’t think this is the last time we’ll be talking to this busy lady! For more details on Q-Art London events, or to buy the book visit their website.

Have you ever had one of those mornings where absolutely nothing seems to work cohesively in your wardrobe. Stripping from one outfit to another with brief intervals to engulf your bowl of cereal?. I think I am not a sole veteran of this constant handicap. Well never fear, site our savour comes in the form of self professed style hunter Yvan Rodick. Style hungry he prowls the globe in search of innovative street style which he records day to day on his blog.So forget Vogue and its counterparts as your source of hot new style. Look no further then this gentleman, sildenafil he supplies a rich catalogue of ideas and champions the must innovative in diy fashion design. His extensive travels taken him all the way from Antwerp to Istanbul and every nook and cranny in between. Just imagine how impressive his passport must be, ask I am extremely jealous!

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So log on and let face hunter get your stylistic juices flowing.

Categories ,Fashion, ,Style, ,Tiger

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Amelia’s Magazine | Think Act Vote Interview Part Two


Photography by Dominic Clarke.

It’s the day before the general election and the concluding part of Amelia’s Magazine interview with Think Act Vote’s Amisha Ghadiali. Tomorrow you have a chance to vote. Use it.

Why do you think if “politics were a brand, visit this online no one would wear it!”?

This statement is about Westminster politics, capsule in many ways the system we have is out of date for the world we are living in now. I don’t see people wanting to “wear” it as it is. This is why I really support the work of campaigns like Vote for a Change that focus their around how we can make the system work better for us.

How can fashion be used to engage people in Politics?

I think that fashion plays a key role in how we express ourselves and we use it to communicate things about ourselves or messages that we care about. The campaign t-shirt has become iconic as a phenomenon. At the beginning of the campaign, we ran a competition to design the perfect campaign t-shirt, which was a great opportunity for up and coming illustrators to showcase their work. The winning design by Jesson Yip was selected by a judging panel that included Katharine Hamnett and Daisy de Villeneuve. The symbols represent each word, with different fonts to represent different people’s voices. The design was then printed onto Earth Positive Eco T-shirts and is now on sale.

Through working in the ethical fashion industry I see fashion as a key way to think about sustainability. We all wear clothes, and the fashion industry affects so many people across the world as well as the environment. I work closely with Ethical Fashion designers at EFF and am one myself with my jewellery label. As an ethical designer, you don’t just have to make sure that your collection looks and fits great, but you spend a huge amount of time researching new fabrics, new technologies and finding out who is telling the truth about their labour standards or production methods. You need to be pioneering and inquisitive as you think through your entire collection and its impact on the environment and people at every stage.

Ethical Fashion designers are always pushing boundaries and are extremely passionate about what they do. I wanted to include this talent in the campaign and asked leading ethical fashion designers to create a show piece or an easy DIY customisation using a Think Act Vote t-shirt and off cuts from their collections. The designers that took part included Ada Zanditon, Junky Styling, Traid Remade, Tara Starlet and Beautiful Soul. The pieces that they created in just a week are stunning.


Photography by Ben Gold

Think Act Vote discusses the negativity imbedded in modern politics – Were there any particular examples that spurred you into action?

There are loads of examples, just try and think when the last time you heard something positive about politicians or about changes in our communities. We are always focusing on people’s failings and the ‘fear’ out there. Just last week the country spent two days focusing on the story about Gordon Brown saying a woman was a bigot.

Is this negativity the reason, do you think, for the decline in the number of votes?

Not the only reason. Things have changed a lot over the last few decades. I think two features of the neo-liberal British political landscape are related: the rise of consumerism and the demise of traditional participation. I think that the way we express who we are is different now, not that many people are lifetime members of political parties. Political identity is no longer inherited.

As mentioned before I don’t think the political system reflects who we are, which makes us lose interest.

Have you been watching the Leader’s Debate?

I have seen bit of them, but not all the way through as have been doing talks and events most evenings in the past few weeks. I think it is great to have the leaders on TV, as it has really helped getting people talking about the election. I am not sure how much of their personalities and policies we are really seeing as the whole things does feel a little over polished. I think it would mean more if we had a vote on who was PM as well as on our local MP. I would also like to see some of the smaller parties be given this platform too.

Will you be voting this election?

Yes I will be voting, I think this is vital. I haven’t decided who for yet. I will decide on election day. I am deciding between three parties but then I went on Voter Power and saw that my voter power in my constituency is only 0.039. It is an ultra safe seat. So I am thinking about voting through Give Your Vote. It is a fantastic campaign about Global Democracy which allows you to give your vote to somebody in Afghanistan, Ghana or Bangladesh. It is an act of solidarity with those who do not have a say in the decisions that affect them.

Join Amisha tonight at: The Future I Choose with Live Music, Poetry, Fashion, Photography
The City and Arts Music Project, 70-74 City Road, London, EC1Y 2BJ
5.30pm til 9pm

Categories ,Ada Zanditon, ,Amisha Ghadiali, ,Beautiful Soul, ,environment, ,Ethical Fashion, ,fashion, ,Gordon Brown, ,Junky Styling, ,Leaders’ Debate, ,politics, ,Think Act Vote, ,TraidRemade

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Amelia’s Magazine | Ziad Ghanem: London Fashion Week A/W 2013 Catwalk Review


Ziad Ghanem A/W 2013 by Helena Maratheftis

Ziad Ghanem‘s catwalk shows are always momentous: massively oversubscribed, a cat-fight to get into and an array of weird and wonderful creatures desperate to get a glimpse of what the ‘cult couturier’ has delivered this season.


Ziad Ghanem A/W 2013 by Michael Arnold

So imagine my surprise when I arrived a mere fifteen minutes late to find that the show had already started. I darted up the Freemasons’ Hall‘s stairs and the vivacious models were already wowing the crowds. It was a struggle to take pictures between the illustrious millinery of Ziad‘s fans; the pictures that feature here aren’t amazing, particularly since you can’t actually see much of the clothes…


All photography by Matt Bramford

As always, it’s impossible to define this collection in terms of trends or style. It would perhaps be easier to talk about what didn’t appear – you won’t find any tailored trenches or wearable basics here. Instead, Ziad is notorious, infamous and celebrated for frocks that defy seasonality. His blend of couture is one of the rare displays of truly unique craftsmanship at fashion week.

To describe the music as eclectic would be a massive understatement. Munroe Bergdorf had put together a mammoth mixtape of hits across the decades, most of which I now can’t remember so I’ve made a note to make more notes next season. I do remember David Bowie‘s Fashion, George Michael‘s Too Funky and Duran Duran‘s Notorious, tracks synonymous with the catwalk but given a different feel in the majestic setting of the Freemasons’ Hall.


Ziad Ghanem A/W 2013 by Helena Maratheftis

Effervescent models strode one after the other to rapturous applause and deafening whoops. This particular collection had been inspired by Andy Warhol‘s superstar transvestite Candy Darling, star of Flesh and muse of The Velvet Underground. Lavish make-up featured on every model, with Ziad‘s boys wearing as much as his girls. There were hints of the 1980s with Boy George-esque layering and vibrant African patterns.

Some dresses fitted so tightly that some models were forced to walk more slowly than others, while other pieces nipped at the waist but flourished at the hips. A completely diverse selection of fabrics were on offer – couture lace, organza, translucent contrasts and painted cottons. A terrifying model came out waving feathers… with her knockers out and doing a bird impression. Christ, this is hard work. Maybe just look at the pictures. Not that they do this collection any justice.

Monty Python‘s Always Look on the Bright Side of Life accompanied the finale, another unexpected twist as if we needed any more, but an uplifting statement and a glorious finish to this fashion week spectacle.

Categories ,A/W’13, ,boy george, ,couture, ,David Bowie, ,Duran Duran, ,fashion, ,Fashion Scout, ,Feathers, ,Freemasons’ Hall, ,George Michael, ,Helena Maratheftis, ,lfw, ,London Fashion Week, ,Matt Bramford, ,Michael Arnold, ,Monty Python, ,Munroe Bergdorf, ,Tits, ,Womenswear, ,Ziad Ghanem

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Amelia’s Magazine | Style Wars

A Saturday night in downtown Kilburn saw the long awaited (and, case decease considering it was recorded about 18 months ago, treat long overdue) launch of Horses for Courses, more about the debut album from Teesside trio Das Wanderlust. Taking the stage after sterling support from the ever wonderful Bobby McGees, the place of lead singer and keyboard player Laura Simmons was taken by the mysterious “Rock Wizard”, decked out like some prog-tastic spawn of the mid-70′s Rick Wakeman. But – lo and behold! – ‘twas indeed that cheeky scamp Laura underneath (the cape and false beard were in fact discarded because it was bloomin’ hot)!

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Das Wanderlust are one of those bands that can be guaranteed to divide opinion. So much so that, confusingly, the NME decided to produce a schizophrenic review which on the one hand raves about the album, whilst on the other describes one track (Sea Shanty) as “literally the worst song we’ve ever heard and annoying on an almost nuclear level” (guitarist Andy Elliott ruefully reminded the audience of this). Personally, I think they’re great.

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Musically, they are very reminiscent of X-Ray Spex, particularly Simmons’distinct vocal delivery, and late-70′s Fall. Crunchy guitars, buzzy 20p second hand Casio-style keyboards and melodies that don’t go quite where you expect, it’s a style that Das Wanderlust describe as “wrong pop”. The single Puzzle is what Elastica might have sounded like if they hadn’t spent all their time transcribing Wire and Stranglers albums whilst, conversely, the piano-based Turn to Grey has a very nursery-esque quality.

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One thing to say about Das Wanderlust is that in no way do they take themselves seriously on stage. After a little dig at the archetypal Shoreditch gig crowd, there is much onstage banter (which apparently led to a bit of a rebuke from a rather sniffy reviewer in Cardiff recently) and they appeared to be having so much fun that they didn’t realise they’d reached the end of their set.
Heading back to the distant north, I’m sure their hearts were gladdened by the response to their set and the generally positive reviews to Horses for Courses suggest that hopefully we shall be seeing much more of Das Wanderlust soon.

Live photos appear courtesy of Richard Pearmain
For the next few weeks, purchase London will be transformed under an umbrella of environmentalism and sustainability. Which ever corner of London is your turf, treatment you will find something to watch, shop learn, listen to or take part in. Love London: The Green Festival is the biggest green festival in Europe, and will be running from June 4th – June 28th. It will encompass hundreds of cheap and free events in and around the capital that will be categorised under three themes: Green Places, Green Living and Green Innovations. There will also be an onus on Eco – Thrift, a topical theme given the current climate that we are all facing. From a Love London Recycled Sculpture Show at the Wetland Centre in Barnes, Community Garden Open Days, London Farmers Markets Picnic on The Green, Eco-Cultural Festival…. the list seems almost infinite. That is before we include the talks aimed on sharing tips and ideas on how to live a more sustainable and green lifestyle.

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I spoke with the people behind Love London and asked a little bit more about what we can expect in the next few weeks.

What is the purpose of the Love London festival?
The purpose of the festival is to empower Londoners to build a more sustainable future for the Capital. The festival achieves this by bringing communities together to share ideas and celebrate innovations. It supports and promotes grass roots action.

What types of events take place during the Love London festival?
A huge range of events take place during the festival – all have an environmental /
sustainable focus. Events are organised by themes. The 2009 main theme is Green Places. Sample events: Culpeper Community Garden (growing veg in small spaces) Love London Recycled Sculpture Show, WWT London Wetland Centre, Waste Free Picnics Tour the Greenwich Eco-House.

Sister themes + sample events include Green Living Green Innovations, The Art of Green Cleaning Eco-Vehicle Rally (Brighton– London), Energy Doctor Surgeries Insider London – Eco Tours, There is also a cross-theme focus on Eco-Thrift this year – many events will teach Londoners how they can save money and save the environment eg Swap Shops and Energy Use surgeries.

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Illustration by Jessica Pemberton


Sustainability is a very topical subject matter isn’t it?

Very much so, obviously sustainability is always on the agenda, and this year we have a large aspect around eco-thrift. People think that sustainability will cost them more more but it will actually save them money.

How long has Love London been running?
The festival is now in its seventh year. Over the years it has grown from a weekend event to one week, then two and is now three weeks long. It has evolved from London Sustainability Weeks to Love London Green Festival. Starting with less than ten events it now offers hundreds.

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Events from previous Love London Green Festivals. Note the Naked Bike Ride of 2006!

How can Love London benefit the city and the lives of Londoners?
Love London events give Londoners the knowledge and inspiration to do their bit to make the Capital cleaner and greener. As the festival spreads the word and people take action the city will become a more pleasant place for all.
The main theme for 2009 encourages Londoners to celebrate and protect the city’s vital Green Places. Londoners will get out cleaning up rivers and carrying out conservation work as well as enjoying the space with picnics in the park and nature craft workshops. The Love London Recycled Sculpture Show is a highlight event.

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The Heron is the focal piece in the Recycled
Sculpture Show. It is by the artist Ptolemy Elrington and has been
made from old shopping trolleys dragged out of a canal.

Who organises the festival?
It’s a partnership of like minded charities such as London 21 Sustainability Network,
The London Environment Co-ordinators Forum, London Community Recycling
Network
, London Sustainability Exchange, The Federation of City Farms and
Community Gardens, London Civic Forum, Sponge, Government Office for London,
Open House, Global Action Plan and The Mayor of London.

Click here to find out more about Love London Green Festival.
Henry Hudson is a strange chap. I’m absolutely sure of this, ambulance though the only evidence I have is his art. I’ve seen plenty of wacky art made by otherwise normal people. You can usually tell. But this is the real deal. Luscious gilt picture frames house these extraordinary works which don’t so much update Hogarth as render a more visceral, visit web decaying Hogarth. The works currently on show at the Trolley Gallery on Redchurch Street in Shoreditch are drawn from the Rake’s Progress and Harlot’s Progress series. They are details and deteriorations. And they are paintings made of plasticine, stained with tea.

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Hudson’s selection of the imagery brings us the moment when squalour invades the Eighteenth Century gentleman’s oasis of luxury. Everything is opulence bought with bad debts that are just turning nasty. A beautiful wall mounting for a candle tries to maintain its dignity beneath menacing cracks in the cieling. It feels like a very contemporary concern, refracted through a prism of history which we are doomed to repeat.
Fundamentally, these are works which straddle being good fun art, and being a veiled threat. It’s original, and supremely confident work, and leaves me in no doubt about one thing: Henry Hudson is a strange chap.

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On the other side of Shoreditch, Roman Klonek is exhibiting his stunningly vibrant woodcuts. 20th Century Russian Propaganda jostles with the lowbrow feel of Fantagraphics comix or some of Spumco‘s more knowing animation.

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Some of this is really stark and simple. A hairy-faced man does some ironing, but somehow it turns into an existential moment for him, but then, wait; that is filtered somehow through the bold and bright cuteness of it all. It’s as if Camus were a gonk. Other scenes are more complex, with a few figures going about their business, totally isolated from one another. I was reminded of some of Balthus’s better works, but with colour sense that comes purely from early comics.

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Some of the most striking works are laid out as comic book front covers, in fact, with text in Polish, Russian, and Japanese. Klonek’s work is seriously slick, and his background in graphics show’s through. Almost all of these prints made me wish there wre an animated TV show which made almost no sense and looked just like a Klonek. There’s just something about his associations betwen the cartoon world and the exotic characters of foriegn alphabets and spellings that draws you in and thrills. Judging by the little red dots appearing by the works, I’m not the only one who felt the need for a some Klonek in my life.

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Henry Hudson is at the Trolley Gallery until July 25, while Roman Klonek closes at Kemistry Gallery on May 30.
Last night Amelia’s Magazine had an office trip to the Proud Galleries in Camden, viagra order to visit the House of Diehl’s Style Wars, clinic a concept first brought to Brick Lane in 2002 promoting the art of ‘instant couture’. Since then it has evolved into a competition on an international level, approved holding heats in New York, Buenos Aires, Hong Kong and Johannesburg, and last night was the only European stopover.

The New York Times described it as like “an old-school MC Battle, with one crucial difference: they spit out rhymes where these guys spit out style”. My goodness! Almost too edgy to take.

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The night involved two teams squaring up against one another through several rounds, creating an outfit in a five minute slot before sending it down the catwalk to be goggled at by the crowd, and then dissected by a celebrity panel including VV Brown, Jodie Harsh, photographer Perou and Joe Corre.

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Citing as inspiration the transformative capacities of clothes through recycling them, as seen with Margiela and Viktor & Rolf, the designers used everything from the clothes on their own backs, to raw materials like clingfilm, duct tape and paper, cricket shin pads, badminton rackets and even beer coasters to a variety of themes.

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It’s a very public creation of art (somehow we can’t imagine Margiela himself taking part) that relies on our ability to conceive fashion as ephemeral, so essentially polarising itself to the credit crunch inclination towards investment purchases – instead suggesting there’s a more creative (and indeed, environmentally friendly) way of making a garment last longer.

In a way I like this idea of ‘momentary’ fashion especially when trends are practically over before you’ve even put your socks on first thing in the morning, and Style Wars came from the idea that if you enjoy going out, your clothes aren’t going to last. So if you only need an outfit to last for a night, maybe five minutes is all you need to put it together.

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It’s a fashion blitzkrieg that with a timeframe that might pose a variety of questions. ‘Style’ is a self-contained label that pretty much covers what went down here: it’s style over substance, but how can you create anything else in five minutes? Is it this just for an evening or is it really possible to be conceptual and interesting in five minutes? It is just art if it barely toes the line of the functional aspect that supposedly distinguishes fashion from art?

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There were definitely some neat ideas even if the looks were sometimes holistically unsatisfactory: I particularly liked the inflatable aeroplane cushion used as an Elizabethan ruff, some puff sleeves courtesy of a pair of lampshades, and eventual winner David’s creation of a jumpsuit out of a boring old suitbag – I thought it properly captured the spirit of the evening and was humorously self-referential.

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Style Wars seemed like a purely creative exercise extraneous to the business side of fashion where conceptual design was really rewarded, which is a really liberating idea, but I felt the reference to Margiela was an unnecessarily highbrow one. This is after all ‘instant couture’ and most of the outfits were barely functional, even sometimes falling apart. But this isn’t really the point. Being part of a baying crowd was something you wouldn’t get to do at a real fashion show, so Style Wars is definitely an opportunity to let loose your inner hooligan and just have a drink and a jolly old time. That’s certainly worth five minutes of your time.

Photos: Courtesy of Errol Sabodosh

Categories ,Art, ,Couture, ,Craft, ,Fashion, ,London, ,Proud Galleries

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Amelia’s Magazine | Thirty Years of Ally Capellino at The Wapping Project

little comets

Photos by Jazzy Lemon

It’s not often that a support band makes your ears prick up and pay attention; too often I’ve been to gigs where sub-standard support acts make the wait for the headliners feel that little bit longer. I doubt in their short career that Little Comets have ever had that problem.

They caught my attention when they supported the Noisettes on their national tour last year, and so it was exciting to see the band headline the Joiners in Southampton last week.

Little Comets are already favourites with the music press after a few well publicised stunts such as playing on the Metro, purchase or in the bakery isle of the local Marks & Spencer store, sales in their hometown of Newcastle. Their single ‘One Night In October’ reached No. 1 in the independent singles chart, so they’ve already got a relatively huge following.

It was the busiest I’ve seen the Joiners; it was a room full of sweaty, drunk lads who were all pretty excited for the band to start. When Little Comets play live they breathe life into their bouncy, poppy songs. It’s impossible not to get caught up in the fun of their live sets. At such an intimate venue, the gig really felt like we were watching something special.

Yes, Little Comets are a guitar band and that’s nothing new, but their songs and the way they approach them really are. In a genre that’s been done to death already, Little Comets are unexpectedly unique. In half an hour they convinced me that there is a future for guitar bands; something that no one has been able to do for a good year or so.

The audience sang along to pretty much every song as the band bounced their way through their perfectly formed pop-tracks such as ‘Friday Don’t Need It’ and ‘Adultery’, but it was ‘Joanna’ that really stood out. Unlike their other guitar-pop tunes, this a capella track quietened the room. It’s the song that sets them above their contemporaries and proves they’re not just four guys playing poppy lad-rock. They’re not a grown-up version of McFly, they’re a group of proper musicians who write proper lyrics and know how to engage the crowd.

Someone in the crowd shouted up to singer Rob, confessing that his girlfriend loved him. Rob got a lot of love that night; a couple of tracks in someone shouted that they loved him too. His witty responses, which were quicker than a heartbeat, had the crowd laughing throughout the set. Little Comets are the kind of band that will do well during the festival season. The fun they radiate is infectious and I can imagine nothing nicer than dancing in the afternoon to one of their sets.

They won over my friend whose CD collection extends to a collection of Now albums and the Glee soundtrack If they can do that, I have no doubt they’ll charm their audiences on the rest of the tour, and wherever else they get to play this summer.

Illustration by Aniela Murphy

The other Saturday I took a little trip down to The Wapping Project to see the rather splendid Ally Capellino exhibition. Completely under-publicised, drugs I have to thank Susie over at Style Bubble for bringing it to my attention. I’m a huge fan of this understated label, and I often pop into their store on Calvert Avenue in Shoreditch to salivate over their rather wonderful bags, rewarding myself with a coffee at Leila’s afterwards.

Turns out I’m a mere moment from The Wapping Project too, so I popped down with a couple of pals, only to be told by a florist, who shall remain nameless, that the exhibition was closed due to a wedding. Saddened, we stood outside hoping that we could at least get a glimpse through the window. LUCKILY, the director of the WP ushered us in. The wedding wasn’t due to start for a while (the International Sales Director of Topshop’s wedding, none-the-less, lah-de-dah) so we had twenty-two minutes to zip round.

The Wapping Project is ‘an idea consistently in transition’ and is set in the Wapping Hydraulic Power Station. Its interior remains pretty much as it would have done when in commercial use, with power hydrants and various power station ephemera still clinging solidly to the floors, around which the space is managed. During the evenings, the main room is transformed into an a la carte restaurant, and said wedding looked pretty incredible.

In the lower, darker, damper room, the Ally Capellino exhibition occupies the entire space. The central exhibition, made from recycled doors and different types of wood, tells the story of this intriguing brand, encircled by portraits of various fashionistas modelling different luggage and apparel.

Ally Capellino is the baby and brainchild of Alison Lloyd, began in 1980 (obv, being its thirtieth birthday). It’s gone from being a very small operation to an acclaimed British leather label. In her own words, she’s gone from ‘young designer to old bag lady’ and this exhibition sees Alison take a nostalgic and sometimes ‘embarrassing’ trip down memory lane.

The essence of Ally Capellino is predominantly British, with sneaky and slight European influences – often the simple style of the Scandinavians. The choronilogical exhibition explains, in just the right amount of detail, the progression of the label year-on-year.. The focus is it’s creative bag and luggage range, with clothing peppered here and there.

The label was originally set up as a clothing brand, and some of the examples on display of early garments are a total treat. It’s only been the past ten years where the accessories have shone through and become the stronghold, but the label has produced some exciting and innovative clothing throughout its existence.

There were graphic patterns, floral prints and neat tailoring in the 1980s:

…While a more futuristic style came through in 1990s with clean lines and masculine shapes:

…and childrenswear has remained fun and hip, reflecting the styles of the mens and womenswear whilst remaining playful:

The focus of the exhibition is the ‘bag wall’ – a huge wall dedicated to said bags – a mixture of new styles and vintage examples sent in by dedicated followers of the brand. Each bag has it’s only story to tell and numbers attached to the bag link to a wall of numbered stories. The essence of the brand is it’s focus on quality – some of these bags, which appear relatively new, are twenty years old for God’s sake!

Rupert Blanchard is behind the recycled, industrial look of the exhibition, and he shares Alison’s ‘passion for salvage and dread of waste’ and nothing looks out of place in this historical landmark.

There’s also a great selection of press material and advertising spanning the whole Ally Capellino era, with some great menswear advertisements, photographic thumbnails, and Vogue featured-in cards:

What does the future hold for the brand? Well, more of the same, please. With a host of collaborations with the likes of the Tate galleries and Apple, I expect there’ll be more of this in the pipeline. And what to say of the bags? Well, hopefully these beautiful creations, in a variety of subtle leathers and complimentary materials, will be produced for years to come.

Head down to the exhibition fast because it’s not on for long – go on, you’ll have a whopping time, even if fashion’s not necessarily your bag. (With puns like these, I should really work in Wapping for a certain tabloid newspaper.)


Illustration by Aniela Murphy

Check out all the important deets here.

Categories ,Alison Lloyd, ,Ally Capellino, ,Apple, ,Bags, ,Calvert Avenue, ,fashion, ,Hipstamatic, ,leather, ,Leila’s Café, ,Recycled wood, ,Rupert Blanchard, ,Salvage, ,shoreditch, ,Tate, ,The Wapping Project, ,vogue, ,wapping

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Amelia’s Magazine | Ziad Ghanem: London Fashion Week A/W 2013 Catwalk Review


Ziad Ghanem A/W 2013 by Helena Maratheftis

Ziad Ghanem‘s catwalk shows are always momentous: massively oversubscribed, a cat-fight to get into and an array of weird and wonderful creatures desperate to get a glimpse of what the ‘cult couturier’ has delivered this season.


Ziad Ghanem A/W 2013 by Michael Arnold

So imagine my surprise when I arrived a mere fifteen minutes late to find that the show had already started. I darted up the Freemasons’ Hall‘s stairs and the vivacious models were already wowing the crowds. It was a struggle to take pictures between the illustrious millinery of Ziad‘s fans; the pictures that feature here aren’t amazing, particularly since you can’t actually see much of the clothes…


All photography by Matt Bramford

As always, it’s impossible to define this collection in terms of trends or style. It would perhaps be easier to talk about what didn’t appear – you won’t find any tailored trenches or wearable basics here. Instead, Ziad is notorious, infamous and celebrated for frocks that defy seasonality. His blend of couture is one of the rare displays of truly unique craftsmanship at fashion week.

To describe the music as eclectic would be a massive understatement. Munroe Bergdorf had put together a mammoth mixtape of hits across the decades, most of which I now can’t remember so I’ve made a note to make more notes next season. I do remember David Bowie‘s Fashion, George Michael‘s Too Funky and Duran Duran‘s Notorious, tracks synonymous with the catwalk but given a different feel in the majestic setting of the Freemasons’ Hall.


Ziad Ghanem A/W 2013 by Helena Maratheftis

Effervescent models strode one after the other to rapturous applause and deafening whoops. This particular collection had been inspired by Andy Warhol‘s superstar transvestite Candy Darling, star of Flesh and muse of The Velvet Underground. Lavish make-up featured on every model, with Ziad‘s boys wearing as much as his girls. There were hints of the 1980s with Boy George-esque layering and vibrant African patterns.

Some dresses fitted so tightly that some models were forced to walk more slowly than others, while other pieces nipped at the waist but flourished at the hips. A completely diverse selection of fabrics were on offer – couture lace, organza, translucent contrasts and painted cottons. A terrifying model came out waving feathers… with her knockers out and doing a bird impression. Christ, this is hard work. Maybe just look at the pictures. Not that they do this collection any justice.

Monty Python‘s Always Look on the Bright Side of Life accompanied the finale, another unexpected twist as if we needed any more, but an uplifting statement and a glorious finish to this fashion week spectacle.

Categories ,A/W’13, ,boy george, ,couture, ,David Bowie, ,Duran Duran, ,fashion, ,Fashion Scout, ,Feathers, ,Freemasons’ Hall, ,George Michael, ,Helena Maratheftis, ,lfw, ,London Fashion Week, ,Matt Bramford, ,Michael Arnold, ,Monty Python, ,Munroe Bergdorf, ,Tits, ,Womenswear, ,Ziad Ghanem

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Amelia’s Magazine | Stylish Boots Made From Plastic Bags

There are so many talented and creative people out there that this year we’ve decided to showcase the ones that really catch our eye. First up is Danish fashion illustrator Mia Overgaard.

While training as a fashion designer in Denmarks Designskole in Copenhagen she realised her true passion was in fashion illustration rather than actually creating the pieces, viagra look so focused her talents on design illustration.
Born in Copenhagen in 1978, abortion she now lives in the grand old US of A, where she illustrates for magazines and fashion design firms.

She kindly answered some questions for us, so we could get to know her a little better.

Hi Mia, what are you currently working on?

Right now I am working on a website design for an up and coming Danish designer called Nikoline Liv Andersen. After that I am giving my own website a much needed makeover!

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Who are your favourite designers?

This is actually a very hard question for me, because I find that there are so many extremely talented designers in this world, but if I had to mention only one, John Galliano definitely never fails to surprise and amaze me.
With that said Rei Kawakubo has the same effect on me, even though her approach to fashion and design is of a totally opposite tradition. I guess regarding successful design, raising emotion is key for me.

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How would you describe your personal style?

I love items that have character and remind me of something from my childhood, both in interior design, in fashion and in getting dressed.
I love thrift stores and spend hours flipping through the clothes and looking at all the things left from another time. I don’t really follow a certain trend, but try dressing out of emotion and mood, rather than putting on whatever the runway predicts.
I love the way children choose to dress when their parents let them pick out what to wear. They follow no rules – but choose their clothes out of emotion. That is inspiring to me.

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What or who inspires you?

Music, children, fairy tales, art in general, nature, my life!

Do you think you’ll ever go back to fashion design?

Maybe… probably, I just have to figure out the right approach to it though. I have to have my heart with me.

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What do you think of Karl Lagerfeld‘s work as a fashion illustrator?

He is such an icon! But personally I would get bored with having the same look for decades! As for his work as an illustrator, I must say that he has years of experience and he has a great talent for depicting textures. With that said I think that his style is timeless but then again I do not find it contemporary… if that makes any sense at all…??

Yes Mia, it makes sense to us, so does your wonderful, whimsical take on fashion illustration.
With Omnifuss it’s all about engaging with everyday space. No white gallery walls for a backdrop; instead work must respond directly to the space in which it is displayed, approved forming an intimate interaction between art and place and blurring the lines between.

With their second show and seven artists stepping to the challenge, medicine Downstairs was all about domesticity in its rawest state; and where better to stage it but in their own basement flat in Whitechapel? It cannot be said that Sam Hacking and Christopher Patrick, treat the partnership behind Omnifuss, do not live their art. Learning about the lead-up to the exhibition was as intriguing as the work itself: converting your home into an art-space is clearly a major enterprise, particularly when said artwork consists in covering an entire bedroom, object by object, in toilet paper. “We’ve been sleeping under the bed and we cook on a camping stove”, Chris told me proudly.

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Of all the pieces, Hacking’s piece – the one with the toilet paper – was perhaps the most striking. With a typewriter and three months devotion, streams of consciousness were typed onto the rolls relating to her own personal engagement with each object the paper would then cover; a labour of love that she joked had slightly un-hinged her, “I haven’t really talked to people in a while”, she apologized. It was with irony that her work formed a white walled space with a twist, to which other artists could respond.

It is in the blurred lines between art and everyday space that all the work excels. Esther Ainsworth, one of the seven artists featured in Downstairs, explained that it is in these subtleties that she likes best to work, “I am particularly interested in manipulating time and place in the pursuit of an individual way of understanding the things that we come into contact with each day” says on her blurb, and in person, told me about an intricate and slightly ornate piece she had done on the pavement outside, that unfortunately could not be seen by night. These are the details of our everyday landscapes that become so familiar they are no longer noticed – blink and you might miss it, but that’s the point.

Omnifuss is a project to watch in the future, expect something novel and refreshing; whatever next?

Here’s a little gem I found while perusing the world wide web. The most ingenious and by far the most stylish way I’ve ever seen of re-using a plastic bag – turning them into a pair of stylish ankle boots! Not by tying old bags around your feet, buy more about crazy bag-lady style but by creating these:

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How is this done though? Well, 23-year old Chilean fashion design student Camila Labra did it by fusing many layers of plastic bags to create a thick, robust material, which she then designed into the boots. Genius!

She named her beautiful creations the Dakka Boots after the capital city of Bangladesh, Dhaka, which banned plastic bags in 2002 after excess amounts of them became a problem. Nice link there. Each shoe has a cotton lining and takes around 8 plastic bags to make. They are available in a wide range of colours and patterns:

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If you want to get your hands on these beauties, e-mail Camila for prices and availability.

Categories ,Camila Labra, ,Chile, ,Dakka Boots, ,Fashion, ,Recycle

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Amelia’s Magazine | Topman Design: London Collections: Men A/W 2014 Catwalk Review


Topman Design A/W 2014 by Dom&Ink

It was raining, men at the Old Sorting Office on Monday for my first show of this (awkwardly branded) London Collections: Men A/W 2014 season – Topman Design.


Topman Design A/W 2014 by Dom&Ink

I can’t be bothered to drone on about the usual fuss that preceded this event, but I’ll just say that my standing ticket offered zero VIP service. Inside I stood in a herd of people five rows deep, aiming my Canon zoom lens through heads while those around me took terrible photographs on point-and-shoot cameras, iPhones and iPads. There’s a whole other piece I could write here, touched on much more eloquently than I could by Michael over at Anastasia Duck, but I will say this: I’ve invested in a decent camera and pride myself on taking decent images that I hope offer a slightly different insight to the normal catwalking shots we’re all familiar with. This is why I continue to work with Amelia because we share the same values when it comes to documenting the shows, but it seems to be getting increasingly difficult to do the job and I left feeling somewhat frustrated.


All photography by Matt Bramford

I probably say the same thing every season, but I’m always reserved about Topman. Aesthetically they’ve upped their game, and whoever is in charge seems to know what they’re doing in the hope of offering a collection akin to the strong contenders on the LC:M schedule. This season relied heavily on a palette of black and red with an injection of pale blue pieces. Box-shaped overcoats offered a different silhouette, sharp tailored blazers worked effortlessly with plaid shirts and heavy knitwear pieces adopting a variety of techniques were exciting.

As usual there were some slightly off pieces – a red tee with graphic lettering (above) looked like something you’d buy on a whim in Kavos after two fishbowl cocktails and some of the double-breasted coats looked awkward on slight-framed models, but overall this was a coherent collection. A reasonable price point means it does offer something more interesting than the rest of the High Street without an outrageous price tag.

For the finale, the heavens (well, the rigging) opened to soak the models as they reappeared for the recap. Not for the first time in history but it was a spectacle none-the-less, but I sure as hell don’t fancy getting caught in the rain in one of those chunky knits. I’m not sure if there was a message here, or how it related to the clothes. Perhaps it was an unsubtle way of saying LOOK OUR THREADS WITHSTAND RAIN, WE’RE NOT CHEAP; maybe it was merely for the aesthetic, but I bloody enjoyed it and everybody else seemed to.

Categories ,A/W 2014, ,catwalk, ,Dom&Ink, ,Dominic Evans, ,fashion, ,knitwear, ,LCM, ,LCMAW2014, ,london, ,London Collections Men, ,Matt Bramford, ,Old Sorting Office, ,Rain, ,review, ,Topman Design, ,Weather Girls

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Amelia’s Magazine | Sugar and spice: Make Lemonade opens vintage fashion pop-up shop

gabby-young

Emete Yarici by Jenny Lloyd

It’s impossible to miss the Make Lemonade pop-up shop as you walk up Chalton Street Market, help with big windows displaying the warm and cosy scene for everyone to see. Even standing across the street you can see Make Lemonade founder Emete Yarici pottering around, stomach accompanied by her interns Holly-ann Ladd and Bettina Krohn.


Make Lemonade pop-up shop

Step inside and you’ll find a myriad of treasure, starting with clothes from the Make Lemonade range of one-off vintage finds. As Emete talks me through the contributions from the various designers and artists around the shop it becomes clear this is very much a collaboration. ‘I have been working on getting a shop for over a year, but it’s been a mad rush at putting everything together as I only found out I was getting this shop last week,’ says Emete.


Illustration by Joana Faria

Holly-ann has been collecting vintage charms and made them into necklaces, explains Emete, while more accessories are on display from knitwear designer Louise Dungate. The walls are covered by charity shop finds, as well as prints from graphic designers Dan Sayle and Oschon Wespi-Tschopp. This comes from a tie-up with environmentally friendly printers Hato Press. ‘We will be doing a live screenprinting session here on Saturday, where people can choose a design and have it printed on a bag,’ says Emete.

On Wednesday 26th there will be a free styling evening, followed by a music night on the 28th. Norwegian pop and jazz singer Jenny Moe will provide entertainment, alongside the group The Youth. ‘People can bring their own drinks and there will be lots of cushions, so people can come and talk and chill out,’ says Emete. More details of this and other events, including a film screening yet to be confirmed, can be found on the Make Lemonade Facebook page.

Textile print designer Temitope Tijani has provided a special range of her colourful handmade bags and jewellery, while Supermarket Sarah has created a wall of items from the shop – these will go on sale from Supermarket Sarah’s website from 31st January. In addition to clothing, this includes a 1970s coffee set and a very clever apple-a-day calendar from Ken Kirton, who is also responsible for the Make Lemonade logo.


Temitope Tijani illustrated by Genie Espinosa

‘I wanted the shop to be a platform for many people to show their work, not just for our own stuff,’ says Emete, adding that most of the artists are friends, or friends of friends. Camden Council sponsors Make Lemonade’s rent for the pop-up shop, as part of a scheme to bring new business to Somers Town. This area between Euston and King’s Cross stations isn’t necessarily a retail destination, but the locals have been very welcoming, says Emete.

Make Lemonade will exist mainly on the internet for a while to come, but Emete doesn’t rule out a permanent shop down the line. But the next goal to get the brand into shops as permanent concessions, as well as continuing the collaboration with Asos and focusing on the blog. Along with Bettina, Emete will go to Paris this spring to scout for some higher-range vintage lines, but she wants to stay true to the initial idea of creating a reasonably priced vintage shop – something that isn’t that easy to find in London. ‘We want to make sure we stay close to our roots and remain a brand people want to be part of,’ says Emete, suddenly all shy when she has to be in front of the camera instead of behind the scenes.


Emete Yarici

Make Lemonade pop-up shop will be at 24 Chalton Street, London NW1 1JH until 1st February – after that find them on their website. For more information see our listing and the Make Lemonade Facebook page.

Categories ,ASOS, ,Bettina Krohn, ,Chalton Street Market, ,Dan Sayle, ,Emete Yarici, ,fashion, ,Genie Espinosa, ,Hato Press, ,Holly-ann Ladd, ,Jenny Lloyd, ,Jenny Moe, ,Joana Faria, ,Ken Kirton, ,london, ,Louise Dungate, ,Make Lemonade, ,Oschon Wespi-Tschopp, ,Pop-up Shop, ,Somers Town, ,Supermarket Sarah, ,Temitope Tijani, ,The Youth, ,vintage

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Amelia’s Magazine | Trash Fashion Exhibition at the Science Museum


Marie Anne Lynch, more about illustrated by Antonia Parker

This week the London College of Fashion exhibits work from eight of its 2011 MA fashion courses, stomach from photography to footwear. Housed in Victoria House on Bloomsbury Square, where the ON|OFF catwalk shows take place during London Fashion Week, it’s open to the public until 9th February. I went to the opening to see if I could spy some fashion stars in the making.

If you visit, be careful not to walk straight past the main event on the way to the basement – the clothing from the Fashion Design Technology MA is in the foyer on the ground floor. The well-deserved winner of Collection of the Year was Matteo Molinari (his name already sounds like a successful Italian brand), whose all-black menswear collection played with the proportions of sharp suits – a longer sleeve here, a higher waist there – and added crochet and cable-knit elements.


Charlie Goldthorpe, illustrated by Sarah Matthews

Another shortlisted designer, Jo Power showed dresses so long, black and formless I wondered if she’d been commissioned by the Church of England to create ecclesiastical wear. But in reality, Power could be well-placed to ride out a current fad: her brand of monochrome minimalism (save for the odd splash of scarlet red) is, along with Phoebe Philo, Jil Sander et al, the kind on which the fashion world is heaping masses of praise at the moment.

At the other end of the spectrum, Tatwasin Kahjeenikorn’s dresses were so densely encrusted with heavy hematite beads and trinkets they were difficult to lift off the rail. One black sleeveless sack dress was covered in rows of metal components you’d be more likely to find in a hardware shop than a haberdashery.


Paul Beckett, illustrated by Michelle Urvall Nyrén

Paul Beckett experimented with sportswear for men to great effect as tracksuit tops were rendered in leather and silk in muted brown tones. Who’d have thought the midpoint between chav and luxe could be so chic? His collection looks like an ideal portfolio for an interview at Adidas. Equally employable, I wouldn’t be surprised if Miuccia Prada offered Jennifer Morris a job in future – I can easily imagine Morris’s turquoise and blue silk pajama-esque trousers and matching jacket on the Miu Miu catwalk.


Zoe Grace Fletcher, illustrated by Gemma Smith

Over in the Fashion and the Environment MA room, students presented a variety of approaches to solving the problems of the unsustainable and wasteful nature of clothing production. If there was a prize for the best collection title, I would give it to Zoe Grace Fletcher. ‘Britain needs Ewe’ explored the local sourcing route to sustainability, and saw Fletcher learning how to shear sheep and dig for Madder roots to extract dye for her hand-knitted wool dresses. Focusing on clothes that can lead to a more sustainable lifestyle when living in a hot climate, Lu Yinyin took a hundred-year-old Chinese dying technique using yams and mud to create a silk that helps to keep the wearer cool. Lu found that air conditioning, a huge source of energy consumption, could actually be turned down a degree or two when Sun Silk garments were worn.


Paul Kim, illustrated by Karolina Burdon

From the title alone I wasn’t even sure what the Fashion Artefact MA course entailed, but it may as well have been called Fashion Accessories because hats, bags and shoes were the artefacts of choice for most designers. In fact, Charlotte Goldthorpe told me she started on the footwear course before the tutor decided she was ‘too weird’ (her words) and she made the switch. A wise decision, if you ask me, as her standout collection took found objects that had lost their functionality (a broken key, a locket that wouldn’t open) and cast them in spheres of silicon. Paired with traditional shapes like a doctor’s bag and an old-fashioned suitcase in flesh-coloured leather, the collection had a wonderful almost medical feel to it. Also in the weird and wonderful artefact category, Oliver Ruuger took the anonymous bowler-hatted businessman archetype and turned it on its head; his umbrella with a ponytail and briefcase covered in soft spikes and metallic studs are the antithesis of conservative dressing.


Ivan Dauriz, illustrated by Alison Day

All in all, the LCF collections may not be as avant-garde and ground-breaking as that other great London fashion institution Central Saint Martins, but there’s clearly a lot of talent on show at this exhibition. It’ll be interesting to see which of these graduates return to show at Victoria House in the future in its London Fashion Week capacity.


Marie Anne Lynch, drugs illustrated by Antonia Parker

This week the London College of Fashion exhibits work from eight of its 2011 MA fashion courses, online from photography to footwear. Housed in Victoria House on Bloomsbury Square, where the ON|OFF catwalk shows take place during London Fashion Week, it’s open to the public until 9th February. I went to the opening to see if I could spy some fashion stars in the making.


Vesna Pesic


Paul Kim


Oliver Ruuger


Yan Liang


Nam Young Kim. All photography by Katie Wright

If you visit, be careful not to walk straight past the main event on the way to the basement – the clothing from the Fashion Design Technology MA is in the foyer on the ground floor. The well-deserved winner of Collection of the Year was Matteo Molinari (his name already sounds like a successful Italian brand), whose all-black menswear collection played with the proportions of sharp suits – a longer sleeve here, a higher waist there – and added crochet and cable-knit elements.


Charlie Goldthorpe, illustrated by Sarah Matthews

Another shortlisted designer, Jo Power showed dresses so long, black and formless I wondered if she’d been commissioned by the Church of England to create ecclesiastical wear. But in reality, Power could be well-placed to ride out a current fad: her brand of monochrome minimalism (save for the odd splash of scarlet red) is, along with Phoebe Philo, Jil Sander et al, the kind on which the fashion world is heaping masses of praise at the moment.

At the other end of the spectrum, Tatwasin Kahjeenikorn’s dresses were so densely encrusted with heavy hematite beads and trinkets they were difficult to lift off the rail. One black sleeveless sack dress was covered in rows of metal components you’d be more likely to find in a hardware shop than a haberdashery.


Paul Beckett, illustrated by Michelle Urvall Nyrén

Paul Beckett experimented with sportswear for men to great effect as tracksuit tops were rendered in leather and silk in muted brown tones. Who’d have thought the midpoint between chav and luxe could be so chic? His collection looks like an ideal portfolio for an interview at Adidas. Equally employable, I wouldn’t be surprised if Miuccia Prada offered Jennifer Morris a job in future – I can easily imagine Morris’s turquoise and blue silk pajama-esque trousers and matching jacket on the Miu Miu catwalk.


Zoe Grace Fletcher, illustrated by Gemma Smith

Over in the Fashion and the Environment MA room, students presented a variety of approaches to solving the problems of the unsustainable and wasteful nature of clothing production. If there was a prize for the best collection title, I would give it to Zoe Grace Fletcher. ‘Britain needs Ewe’ explored the local sourcing route to sustainability, and saw Fletcher learning how to shear sheep and dig for Madder roots to extract dye for her hand-knitted wool dresses. Focusing on clothes that can lead to a more sustainable lifestyle when living in a hot climate, Lu Yinyin took a hundred-year-old Chinese dying technique using yams and mud to create a silk that helps to keep the wearer cool. Lu found that air conditioning, a huge source of energy consumption, could actually be turned down a degree or two when Sun Silk garments were worn.


Paul Kim, illustrated by Karolina Burdon

From the title alone I wasn’t even sure what the Fashion Artefact MA course entailed, but it may as well have been called Fashion Accessories because hats, bags and shoes were the artefacts of choice for most designers. In fact, Charlotte Goldthorpe told me she started on the footwear course before the tutor decided she was ‘too weird’ (her words) and she made the switch. A wise decision, if you ask me, as her standout collection took found objects that had lost their functionality (a broken key, a locket that wouldn’t open) and cast them in spheres of silicon. Paired with traditional shapes like a doctor’s bag and an old-fashioned suitcase in flesh-coloured leather, the collection had a wonderful almost medical feel to it. Also in the weird and wonderful artefact category, Oliver Ruuger took the anonymous bowler-hatted businessman archetype and turned it on its head; his umbrella with a ponytail and briefcase covered in soft spikes and metallic studs are the antithesis of conservative dressing.


Ivan Dauriz, illustrated by Alison Day

All in all, the LCF collections may not be as avant-garde and ground-breaking as that other great London fashion institution Central Saint Martins, but there’s clearly a lot of talent on show at this exhibition. It’ll be interesting to see which of these graduates return to show at Victoria House in the future in its London Fashion Week capacity.


Illustration by Aysim Genc

Did you know that we’re all buying a third more clothing than we did a decade ago? Yep, cialis 40mg you read that right. A third more in only 10 years. And are you also aware that today’s average household contributes 26 items of wearable clothing to landfill every year? Tallied up, that’s well over 600,000 garments in the UK alone. Can you visualise that waste? It’s A LOT.

The appropriately-named Trash Fashion exhibition is a relatively small presentation with a big message. Be honest, you can’t remember the last time that ‘textiles’ sprang to mind when thinking of world waste and pollution. Something along the lines of ‘oil’ or ‘water’ or ‘plastic bottles’ would be up there; never the words ‘clothes’, ‘dyes’, ‘fabric’. And yet, it’s a big deal. For example, a huge 17-20% of worldwide industrial water pollution is down to textile dye. The truth is that the concept of waste produced by the textiles industry is dangerously underestimated. Fact.


Illustration by Ankolie

Okay, so I didn’t predict a fashion-related exhibition at the Science Museum either. And, in its allotted space, Trash Fashion did rather stick out like a sore-thumb. One also is required to walk through the entire ground floor to actually reach the exhibition, which features steam trains, outer-space and other extravaganzas along with a large population of noisy children. As it was a Saturday, immersed in engines and spaceships, I’m guessing either über-nerdy kids or über-nerdy parents. However, I just used the word ‘über’ twice in one sentence so I’m clearly the nerd here.


All photographs courtesy of Lois Waller/Bunnipunch

Moving on, I learnt shed loads about ‘designing out waste’ in the fashion industry by wandering through. For one, I learnt that an initiative, led by Central Saint Martins, is being developed. An idea that started with a small mat of cellulose being immersed in green tea in order for it to grow into usable fabric. Fabric that is literally living and breathing. It turns out rather like leather and, having a feel of the fabric myself, couldn’t believe that it came from some bacteria bathed in green tea. Weird. Anyway, it turns out that, at this early stage, the so-called ‘Bio Couture’ is way too heavy and gooey to wear and would practically disintegrate in the rain. Nevertheless, it’s a damn-good start – the product is natural, non-toxic and compostable and scientists are working on developing the idea further all the time.


Illustration by Stephanie Melodia

Another part of the exhibition that I found enthralling was a project hosted by the London College of Fashion called ‘Knit to Fit’. It puts forward the concept of ‘Mass Customisation’, something that I could definitely see materialising in the near future. It starts with an individual having a 3D Body Scan done by a special computer that reads all, and even the very intricate, measurements of the body. This information, along with personalised details such as colour and pattern, is then transmitted to a fairly new machine in the textiles world that, before one’s very eyes, produces an entirely seamless 3D garment. No off-cuts. No waste. Considering that fashion designers are known to leave a whole 15% of the fabric they work with on the cutting-room floor, these are absolutely imperative pieces of technology in the movement towards sustainable and efficient textiles of the future. The idea is that, in the not-too-distant future, the average shopper will be able to stroll into a clothing store and have a custom-made garment made there and then that is unique to us and, most importantly, will leave absolutely no waste.


Illustration by Caroline Coates

Without a doubt, the most immediately imposing feature of the exhibition was a large, flamboyant dress, made out of 1000 pieces of folded scraps of the London Metro newspaper. It stood tall at the entrance and its grandeur seduced a small crowd to gather around and take photographs.
In my opinion, however, it just isn’t enough to rip up a few copies of the London Metro, origami fold them into numerous pieces and make a dress – not to wear, but to make a statement. Not to dismiss the skill that goes into constructing such a fiddly garment, or the fact that it DOES make a pretty huge statement. It relates waste and fashion to one another, which is crucial, through something impressive and, ironically, quite beautiful. But it’s been done. I’ve seen countless garments like these, designed for that shock-factor yet completely un-wearable. It’s time to stop representing the problem and to instead turn to the solution – to science. And this, bar the newspaper dress, is where ‘Trash Fashion’ came up trumps.

So, despite being a little late-in-the-day with this one, might not be worth trekking all the way to South Kensington to see this exhibition alone. If you do, time it in with a trip to the National History Museum or the V&A, both right next door. After all, it’s free entry. You’ll just have to hurdle past the children screaming at steam engines and Apollo 10 and I honestly don’t think you’ll regret it.

Trash Fashion: designing out waste is supported by SITA Trust as part of the No More Waste project and is free to visit at the Science Museum in London.

As part of the exhibition, there is an interactive competition whereby members of the public can submit photos of their ‘refashioned’ old garments, before and after, and could land their new design a spot in the exhibition. To upload pictures of your customised clothes go to www.flickr.com/groups/trashfashion

Categories ,Bio Couture, ,Central Saint Martins, ,Dress, ,environment, ,Ethics, ,fashion, ,Flickr, ,Knit to Fit, ,Landfill, ,London College of Fashion, ,Mass Customisation, ,Metro, ,No More Waste, ,Science Museum, ,SITA Trust, ,South Kensington, ,textiles, ,Trash Fashion, ,Waste

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