Ramil Makinano‘s Graduate Collection illustrated by Milly Jackson
I first saw the weird and wonderful work of Ramil Makinano at the Toni&Guy Hair Show during London Fashion Week last month. The show, which I very much enjoyed, was all about hair as you can imagine; the clothes were selected to compliment the hairstyles and were pretty basic. That is, except for the final pieces. Vibrant colours and odd shapes flooded the runway, and as a result of my review, Ramil got in touch to introduce himself. I couldn’t wait to find out more about this unique designer.
I met Ramil on a chilly Monday evening at Bar Music Hall in Shoreditch. It had been hard to pin him down, and I was about to find out why. Born and raised in the Philippines, Ramil moved to London fifteen years ago on a nursing scholarship with the NHS, despite being thoroughly passionate about fashion from an early age. ‘It was a good way to move away,’ Ramil told me as we took a seat with our beers. ‘I was interviewed in Manilla, and was one of the first few people to be brought over by the NHS.’ Ramil’s passion for nursing and inevitable need to fund his collections still see him working at St Thomas’ Hospital at weekends.
After 8 years working as a nurse after qualifying in London, Ramil decided to return to his desire to become a fashion designer and had naturally heard of the world’s most famous fashion school – Central Saint Martins. By this time Ramil had obtained British citizenship and secured a place on the foundation course, professing to the degree specialising in print.
It was whilst studying at Saint Martins on a sandwich course that Ramil undertook placements with some of fashion’s greatest talent, experiences that he remembers very fondly. Internships at Matthew Williamson, Elisa Palomino and Diane Von Furstenberg allowed Ramil to fully explore his penchant for print. As I rub my hands together hoping for some juice on these fashion figures, I’m only slightly disappointed when Ramil has nothing but great things to say about the designers. He tells me a story about Von Furstenberg calling all the interns to the rooftop apartment of her 14th Street studios for lunch. ‘We were just sitting there, having lunch, on the roof, with Diane Von Furstenberg. It was INCREDIBLE!’ he exclaims. He attributes his successes whilst studying to course lecturer Natalie Gibson. ‘I owe her so much,’ he tells me, ‘she’s an incredible woman.’
Ramil Makinano‘s Graduate Collection illustrated by Estelle Morris
We move on to talk about Ramil’s breathtaking final collection that I saw at the Toni&Guyshow and that he presented during the CSM presentations in the summer. He digs out his portfolio and comes across a little nervous when talking me through it. ‘I feel like it’s a job interview!’ says Ramil. I feel like Diane Von Furstenberg for a mere moment, and I’m not complaining. Ramil’s inspiration for his collection came from two disparate sources – Medieval armour and Margaret Thatcher. Well, not that disparate when you consider satirical cartoons of the Iron Lady in Medieval garb, I suppose.
Pages from Ramil Makinano’s sketchbooks
His obsession with colour, texture and the aesthetic properties of materials is all over this collection. It’s fascinating to see where a designer started with their research and where they finished; where the collection has come from. Ramil leafs through page after page of design inspiration; vibrant patterns, sketches of Thatcher, photocopies of Medieval source material, grabs from movies like 2001: A Space Odyssey and Star Wars. His journey began at the Tower of London, and it is the armoury he saw there, with its bold silhouettes and sense of purpose that inspired Ramil so much. Throw in a powerful woman like Thatcher and you’ve got a seriously ambitious collection on your hands. ‘I didn’t want it to be serious, though,’ Ramil informs me. ‘I wanted to keep it playful; to be fun.’ Even the hardest-nosed critics would have trouble not finding any fun in this set of outfits.
Shapes in the collection are visibly inspired by the curves and sculpture of armoury, constructed from neoprene using techniques Ramil created himself. These are presented in a variety of bold colours, and the ensembles feature playful, almost childlike, prints of rockets and spaceships. It wasn’t a easy task by any means. ‘I had to make at least 8 toilles per garment,’ Ramil explains. ‘I am always seeking perfection.’ We discuss the surge in digital printing. ‘I do like digital prints, but I prefer traditional methods. I spent hours in the studio matching colours, testing colours – I like the interaction between fabrics and dyes that you don’t get with digital methods. I spent my whole student life in the print room, but I have no regrets. It’s not glamorous either, it’s dirty work!’
Ramil Makinano‘s Graduate Collection illustrated by Milly Jackson
So who does he admire? ‘Matthew [Williamson] and Diane [Von Furstenberg] especially – people who are successful in fashion but have their feet firmly on the ground.’ He also likes labels that continue to employ traditional methods – only Eley Kishimoto and Zandra Rhodes, he believes. What else does he get up to? It’s a pretty packed week, researching Monday to Friday and nursing at the weekends. ‘I love London galleries!’ he tells me, ‘because there’s so much to see. The Design Museum, the V&A, the National Gallery – they are all so wonderful.’ He try to persuade me to get a National Trust membership, one of his favoured possessions.
Pages from Ramil Makinano’s sketchbooks
He tells me he’s a ‘child of the MTV era’ and finds much inspiration in the graphics of music videos. It was an MTV show, House of Style, and Style with Elsa Klensch, that are amongst his earliest fashion memories. He tells me ‘I used to fight with my brother all the time because Elsa Klensch‘s show was on at the same time as American Basketball!’
So what’s next for Ramil? He’s currently researching his next collection – A/W 2012 – which promises to be ‘something completely different.’ It will most likely be print-based, but that’s all Ramil can tell me at this stage. One thing he is certain on is that he’s staying put here in London, and currently applying to various fashion bodies in the hope of a debut solo show during fashion week next September. I look forward to seeing his name on the schedule.
Photographs courtesy of Ramil Makinano
Written by Matt Bramford on Friday October 28th, 2011 5:11 pm
Bernard Chandran’s innovative attitude to fashion design has produced two stellar collections for London Fashion Week: AW09 and SS10. Recently Amelia’s Magazine had the pleasure of interviewing Bernard -via email-on his creative inspiration after the dust storm of London Fashion Week 09 settled.
What inspired you to become a fashion designer?
I am a creative person and even when young I admired the window display of the fashion boutiques. I was convinced after watching ‘fashion TV’ about designers and how they can influence the world through their passion and design that fashion was for me. Of course I had to convince my dad, cure which was not at all easy, being a traditional dad who wanted me to pursue accounting or at least law. Hence I told him that I could make lots of money!
What was the inspiration behind the AW09 and SS10 collections?
The AW09 inspiration was drawn very much from the weather, especially the rain, which is an essential element in the weather forecast in the East. Whilst rain is often depicted with moody, cloudy weather, somehow the collection has no indication of the conventional; instead there is somewhat a kind of upbeat enthusiasm, edgy yet supremacy about the designs. The overall design is daring and structural. Oversized “umbrella structure” can be seen at the shoulder top and hips in some of the designs. The tailored volume gives the collection an edge. Straight slim cut trousers were worn with structured double breasted coats.
As for my SS2010 collection, my roots and origins become my inspiration, where I have bridged a lot of elements from the oriental palace to the fashion runway. I also injected the collection with a type futuristic sophistication and unlocked the traditional to the modern.
How was London Fashion Week 09? Did you enjoy the new setting of 180 the Strand?
I love the energy, the enthusiasm and the celebrative spirit. The new setting at the Strand was great. Happy 25th Birthday British Fashion Council!
S/S 2010 featured a variety of sculptural pieces from the face-masks to the bustiers – what was the inspiration behind these pieces?
I travel and of late I saw numerous people wearing masks, especially at airports. Hence I decided to make them a little more glamorous. It is also my way of paying tribute to Michael Jackson whom I think was always at the forefront of fashion with his daring outfits!
From where did the geometric prints and structured tailored pieces develop from?
The geometric prints inspiration came from my kitchen! This round we produced our own prints. Due to the lantern festival, I used lantern inspired design. As you can see some of them have an envelope shape, which is very much like the lanterns.
How was your experience on studying fashion? What was your favourite item designed whilst at University?
It was truly awesome. My favourite design item has to be the interesting sleeve that I developed. I spent two weeks, perfecting the cut and the shape to the specs that I wanted
What are your favourite piece you have designed recently?
All my collections are like my babies. My most meaningful is Look 22 from my SS2010, as we have gone through much to develop a new technique and finally to achieve the results we wanted.
What is next for Bernard Chandran?
Stay tuned. It will be interesting for my next fashion presentation.
We’ll be watching!
Written by Sally Mumby-Croft on Thursday November 5th, 2009 10:17 am
Gareth A Hopkins 123 SS2011 thb
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, cost what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, viagra approved but so far the reception has been great, no rx ” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
So it started on January 3rd, viagra dosage I was in a bad mood. Well, what is ed it’s that whole palaver of taking the (now miserable) tree down, order thinking about the enormity of work that needs to be done and the poor, defenseless body. It needs some very tender loving care. This day of January, after bathing in Pukka ‘Cleanse’ tea, going for a brisk walk on the Downs by my house and bemoaning the lack of vitamin D for my eyeballs, I cracked on the Mac. I had recently purchased The Tallest Man On Earth album, Wild Hunt (Dead Oceans). I was in need of something new to form some (wahoo 2011) fresh associations with. Whilst I mused about the flat, now was the time I decided, to dedicate to the giant man. Hopefully this would culminate in reaching up and putting my arms around his shoulders, prancing around the room, rather than immersing myself in 2010 nostalgia. Oh the perils of memory boxes, scrap books and photo archives.
Click and Bob Dylan growls came out. This was all very lovely, I had linked that before though and was waiting to get actually into The Tallest Man on Earth, rather than just wonder about the Dylan. Then Love Is All came on. Oh hello. This is BEAUTIFUL. The Tallest Man On Earth’s heart appeared to be unashamedly open to my grump self. I turned it up and continued to listen. Sometimes painfully honest in his thoughts, loves and admissions, he gently strums next to his musings. Akk, this was so bitingly raw, the crackling voice and simple notes, it was almost uncomfortably perfect.
Despite his Texan American country sounds, Kristian Matsson is from Dalarna, Sweden. And although he is called: The Tallest Man On Earth, Matsson in fact stands below the Swedish male average (nearly five foot eleven), at five foot five. The tallest person in medical history was Robert Pershing Wadlow, from Illonois, USA, who was eight foot and eleven inches tall.
The (slightly smaller than) Tallest Man On Earth plays the guitar, banjo and piano and has released two albums, Shallow Grave (Dead Oceans) and The Wild Hunt. He has also released two EPs, Sometimes The Blues Is Just A Passing Bird and self titled. The latter holds the song; Walk The Line, a foot -tapping, spindly, defiant number “you bring me down…I aint gonna walk the line”. It’s a mixture of nature’s thunderous activities, humans, animals and emotion; “all tomorrows parties will dance before my eyes”.
Matsson is utterly immersed in nature, similes transform him into an eagle, lizard, sparrow and gardener. Whilst his lovers are bluebirds and rivers. Seemingly unlike Britain in a snowfall, he is aware and respects mother nature’s ultimate power over us. He will sit upon the river, dance in the ocean and watch the birds. Honey Won’t You Let Me In; “As I knock your door, from inside once more, how I wish a sudden breeze would let me in, shake my tambourine at your glowing dreams, I said honey won’t you let me in.” The city in contrast, has no distinct sounds for him, and equally his heart leaves him lost, weather beaten and alone at times. Two harsh climes for our protagonist. Tangle In This Trample Wheat; “I get frightened I could never gather birds enough to carry round your heart”. But his soul seems distinctly free, he won’t be found.
Integrated into nature’s attributes is Matsson’s love of dreaming, and love itself. A Lion’s Heart; “he’s coming down the hills for you”. Accompanied by constant gentle guitar and banjo notes, the listener can not help but be thrust into a pure and new perspective. Importantly, he also makes many references to nature never stopping. And perhaps we need to appreciate this a little bit more ourselves. Indeed the traffic, economy and work never really halts, and 2011’s start may be all New Resolutions (blah), but nature never, EVER takes a break or crash diets suddenly because some poppers went off. Remember, outside, the hills, oceans and mountains are far prettier than flouro lighting (even if that flouro lights up the best dress you’ve ever seen). It also changes in considerably more interesting ways than the prices of your average baked beans can. Step outside. The Dreamer; “I’m just a dreamer, but I’m hanging on, though I am nothing big to offer, I watched the birds how they in then gone, it’s like nothing in this world’s ever still.”
So starting with melancholy, I was risen by eloquent exuberance and now I continue to travel along the mighty (and fast) river of 2011 and life. It’s Janurary 7 and I have barely listened to anything other than The Tallest Man On Earth. Both The Wild Hunt and Shallow Grave on the label Dead Oceans are available now.
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, ampoule what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, illness but so far the reception has been great, search ” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
So it started on January 3rd, advice I was in a bad mood. Well, medicine it’s that whole palaver of taking the (now miserable) tree down, thinking about the enormity of work that needs to be done and the poor, defenseless body. It needs some very tender loving care. This day of January, after bathing in Pukka ‘Cleanse’ tea, going for a brisk walk on the Downs by my house and bemoaning the lack of vitamin D for my eyeballs, I cracked on the Mac. I had recently purchased The Tallest Man On Earth album, Wild Hunt (Dead Oceans). I was in need of something new to form some (wahoo 2011) fresh associations with. Whilst I mused about the flat, now was the time I decided, to dedicate to the giant man. Hopefully this would culminate in reaching up and putting my arms around his shoulders, prancing around the room, rather than immersing myself in 2010 nostalgia. Oh the perils of memory boxes, scrap books and photo archives.
Click and Bob Dylan growls came out. This was all very lovely, I had linked that before though and was waiting to get actually into The Tallest Man on Earth, rather than just wonder about the Dylan. Then Love Is All came on. Oh hello. This is BEAUTIFUL. The Tallest Man On Earth’s heart appeared to be unashamedly open to my grump self. I turned it up and continued to listen. Sometimes painfully honest in his thoughts, loves and admissions, he gently strums next to his musings. Akk, this was so bitingly raw, the crackling voice and simple notes, it was almost uncomfortably perfect.
Despite his Texan American country sounds, Kristian Matsson is from Dalarna, Sweden. And although he is called: The Tallest Man On Earth, Matsson in fact stands below the Swedish male average (nearly five foot eleven), at five foot five. The tallest person in medical history was Robert Pershing Wadlow, from Illonois, USA, who was eight foot and eleven inches tall.
The (slightly smaller than) Tallest Man On Earth plays the guitar, banjo and piano and has released two albums, Shallow Grave (Dead Oceans) and The Wild Hunt. He has also released two EPs, Sometimes The Blues Is Just A Passing Bird and self titled. The latter holds the song; Walk The Line, a foot -tapping, spindly, defiant number “you bring me down…I aint gonna walk the line”. It’s a mixture of nature’s thunderous activities, humans, animals and emotion; “all tomorrows parties will dance before my eyes”.
Matsson is utterly immersed in nature, similes transform him into an eagle, lizard, sparrow and gardener. Whilst his lovers are bluebirds and rivers. Seemingly unlike Britain in a snowfall, he is aware and respects mother nature’s ultimate power over us. He will sit upon the river, dance in the ocean and watch the birds. Honey Won’t You Let Me In; “As I knock your door, from inside once more, how I wish a sudden breeze would let me in, shake my tambourine at your glowing dreams, I said honey won’t you let me in.” The city in contrast, has no distinct sounds for him, and equally his heart leaves him lost, weather beaten and alone at times. Two harsh climes for our protagonist. Tangle In This Trample Wheat; “I get frightened I could never gather birds enough to carry round your heart”. But his soul seems distinctly free, he won’t be found.
Integrated into nature’s attributes is Matsson’s love of dreaming, and love itself. A Lion’s Heart; “he’s coming down the hills for you”. Accompanied by constant gentle guitar and banjo notes, the listener can not help but be thrust into a pure and new perspective. Importantly, he also makes many references to nature never stopping. And perhaps we need to appreciate this a little bit more ourselves. Indeed the traffic, economy and work never really halts, and 2011’s start may be all New Resolutions (blah), but nature never, EVER takes a break or crash diets suddenly because some poppers went off. Remember, outside, the hills, oceans and mountains are far prettier than flouro lighting (even if that flouro lights up the best dress you’ve ever seen). It also changes in considerably more interesting ways than the prices of your average baked beans can. Step outside. The Dreamer; “I’m just a dreamer, but I’m hanging on, though I am nothing big to offer, I watched the birds how they in then gone, it’s like nothing in this world’s ever still.”
So starting with melancholy, I was risen by eloquent exuberance and now I continue to travel along the mighty (and fast) river of 2011 and life. It’s Janurary 7 and I have barely listened to anything other than The Tallest Man On Earth. Both The Wild Hunt and Shallow Grave on the label Dead Oceans are available now.
So it started on January 3rd, buy I was in a bad mood. Well, tadalafil it’s that whole palaver of taking the (now miserable) tree down, thinking about the enormity of work that needs to be done and the poor, defenseless body. It needs some very tender loving care. This day of January, after bathing in Pukka ‘Cleanse’ tea, going for a brisk walk on the Downs by my house and bemoaning the lack of vitamin D for my eyeballs, I cracked on the Mac. I had recently purchased The Tallest Man On Earth album, Wild Hunt (Dead Oceans). I was in need of something new to form some (wahoo 2011) fresh associations with. Whilst I mused about the flat, now was the time I decided, to dedicate to the giant man. Hopefully this would culminate in reaching up and putting my arms around his shoulders, prancing around the room, rather than immersing myself in 2010 nostalgia. Oh the perils of memory boxes, scrap books and photo archives.
Click and Bob Dylan growls came out. This was all very lovely, I had linked that before though and was waiting to get actually into The Tallest Man on Earth, rather than just wonder about the Dylan. Then Love Is All came on. Oh hello. This is BEAUTIFUL. The Tallest Man On Earth’s heart appeared to be unashamedly open to my grump self. I turned it up and continued to listen. Sometimes painfully honest in his thoughts, loves and admissions, he gently strums next to his musings. Akk, this was so bitingly raw, the crackling voice and simple notes, it was almost uncomfortably perfect.
Despite his Texan American country sounds, Kristian Matsson is from Dalarna, Sweden. And although he is called: The Tallest Man On Earth, Matsson in fact stands below the Swedish male average (nearly five foot eleven), at five foot five. The tallest person in medical history was Robert Pershing Wadlow, from Illonois, USA, who was eight foot and eleven inches tall.
The (slightly smaller than) Tallest Man On Earth plays the guitar, banjo and piano and has released two albums, Shallow Grave (Dead Oceans) and The Wild Hunt. He has also released two EPs, Sometimes The Blues Is Just A Passing Bird and self titled. The latter holds the song; Walk The Line, a foot -tapping, spindly, defiant number “you bring me down…I aint gonna walk the line”. It’s a mixture of nature’s thunderous activities, humans, animals and emotion; “all tomorrows parties will dance before my eyes”.
Matsson is utterly immersed in nature, similes transform him into an eagle, lizard, sparrow and gardener. Whilst his lovers are bluebirds and rivers. Seemingly unlike Britain in a snowfall, he is aware and respects mother nature’s ultimate power over us. He will sit upon the river, dance in the ocean and watch the birds. Honey Won’t You Let Me In; “As I knock your door, from inside once more, how I wish a sudden breeze would let me in, shake my tambourine at your glowing dreams, I said honey won’t you let me in.” The city in contrast, has no distinct sounds for him, and equally his heart leaves him lost, weather beaten and alone at times. Two harsh climes for our protagonist. Tangle In This Trample Wheat; “I get frightened I could never gather birds enough to carry round your heart”. But his soul seems distinctly free, he won’t be found.
Integrated into nature’s attributes is Matsson’s love of dreaming, and love itself. A Lion’s Heart; “he’s coming down the hills for you”. Accompanied by constant gentle guitar and banjo notes, the listener can not help but be thrust into a pure and new perspective. Importantly, he also makes many references to nature never stopping. And perhaps we need to appreciate this a little bit more ourselves. Indeed the traffic, economy and work never really halts, and 2011’s start may be all New Resolutions (blah), but nature never, EVER takes a break or crash diets suddenly because some poppers went off. Remember, outside, the hills, oceans and mountains are far prettier than flouro lighting (even if that flouro lights up the best dress you’ve ever seen). It also changes in considerably more interesting ways than the prices of your average baked beans can. Step outside. The Dreamer; “I’m just a dreamer, but I’m hanging on, though I am nothing big to offer, I watched the birds how they in then gone, it’s like nothing in this world’s ever still.”
So starting with melancholy, I was risen by eloquent exuberance and now I continue to travel along the mighty (and fast) river of 2011 and life. It’s Janurary 7 and I have barely listened to anything other than The Tallest Man On Earth. Both The Wild Hunt and Shallow Grave on the label Dead Oceans are available now. Also see tour dates HERE.
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, sickness what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, but so far the reception has been great,” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
Read the rest of this interview in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy a copy of the book here.
123 illustrated by Gareth A Hopkins.
123 Bethnal Green Road recently opened shop after a lengthy renovation of its Victorian corner store in a prime position right at the top of Brick Lane in east London. Hosting three floors of own label designs as well as those of cult designer Noki, check what exactly is this new fashion brand all about?
“Some people might think it foolhardy to open an eco-fashion concept store in the midst of the dreaded credit crunch, but so far the reception has been great,” says Ross Barry, co-owner with sister Michelle Goggi. Having abandoned their previous careers, in the city and in design and photography respectively, Ross and Michelle are now set to shake up the world of ethical fashion with their ‘sustainable canvas’ concept. “Ethical, sustainable, green and eco are all terms with very specific connotations. We wanted to do something new and exciting.”
With their 123 collection they have created a fresh look, starting with a sustainable (rather than blank) canvas. “Our aim is to make well-made, desirable, British clothing,” says Michelle. “We want to extinguish the belief that reusing and recycling materials is at the bottom of the fashion food chain.” This is a luxury store selling well designed products that just happen to be ethical as well; upcycled from waste garments and produced locally. Using vertical production methods, whereby an item of clothing can be taken from the cutting table to the store within a week, they are able to provide exactly what the customer is keen on; reacting and responding to new trends within a couple of weeks. Vertical production gives them incredible control over every element of the process and ensures a minute carbon footprint.
LMB Textile Recycling was set up by Ross and Michelle’s father Lawrence, who also designed the ubiquitous green textile recycling banks that populate the streets of major cities. As youngsters Ross and Michelle were soon involved in the family business. “Other children got taken to the park at the weekend. We got taken to the sorting factory where we amused ourselves by jumping around in mountains of second hand clothing.” Their father’s motto was “where possible don’t pay someone else to do something you could do yourself” and this belief has clearly been taken to its natural conclusion with the creation of 123 Bethnal Green Road….
Read the rest of this interview in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
Ada Zanditon was inspired to use ethically and environmentally conscious solutions in fashion design after she heard a talk given by Katharine Hamnett. Katharine speaks from a very authentic and informed position that inspired me to question the purpose of design and how it can impact the planet. For both ecological and economic reasons Ada decided to focus on design processes that eliminate waste. In practical terms she creates zero waste patterns and saves any remnants to use in other garments or as stuffing or binding. It’s a matter of innovation and efficient resource management. She is also careful about where she sources her fabrics, finding it more of a help than a hindrance to have ecological constraints over what she can choose.
Her clothes are known for their sculptural qualities, a fact she attributes to her fascination with sculptures, architecture and geometry from an early age. She is particularly attracted to biomimicry in design and is inspired by the work of artist Anish Kapoor. But what I most like is the intimate connection between clothing and the human form. It is the presence of the human figure that brings a design to life…
Read the rest of this interview and see more illustrations of Ada Zanditon‘s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
Written by Amelia Gregory on Friday January 7th, 2011 5:46 pm
Fashion and film have long been bedfellows, here but with the roaring success of Nick Knight’s SHOWstudio video blog, find and luxury brands like Chanel making their own mini movies, the ‘Fashion Film’ is finally stepping into the spotlight.
When she’s not working as an illustrator or playing in her band, Fables, Marnie Holland makes fashion films, teaming up with avant-garde designer Ziad Ghanem on film short, JME.
Specializing in performance pieces involving sculptural costume during her BA at Goldsmiths, it seems inevitable that Marnie would make the move into fashion films, and Ghanem’s theatrical, otherwordly clothing make the perfect muse.
Your collaboration with Ziad Ghanem is fantastic – is this your first film?
Thanks! I made films from all my performance pieces but it’s my first film with a vague narrative, yes.
How did you meet him, and end up collaborating on the project?
I contacted to him originally to work in his studio, which I did for a while, which lead to working more exclusively with the performance and choreographic side of his last show. But film is one of the main inspirations in Ziad’s work, so making a film was always something he’s wanted to do. After I showed him my work I was just in the right place at the right time.
What were your (and the designer’s) aims – to showcase the clothes?
No not as such, it was more to reiterate the brand. A lot of how it was constructed was taken from what’s already present in Ziad’s work – such as the Baroque, symbolism, melodrama, Romanticism and London as a character.
But also to focus primarily on the subject, which is part of the basic design process for Ziad’s clothes – tailoring the piece to the individual. Jme (the model in the film) has modelled many of the Ghanem collections and has a very alluring natural melancholy and stillness about his look; it was pretty much written about him!
Ziad Ghanem is known as the ‘cult couturier’ and for mixing street wear and couture –was that an element of his work you wanted to convey in the film?
Not consciously, or at least not specifically to reflect that nametag. I suppose the shifts between a couture silk cape, a PVC printed tracksuit and eventually desecrating the garment adhere to Ziad’s mixing of high and low cultural influences.
But it was the more that the ceremony of the transitions would lead the film narrative and the pieces would frame them. I like that the clothes characterize the changes and change Jme’s role.
Anyway in terms of mixing, Ziad is inspired by everything. Whatever you pick from his pieces or from his ideas will clash harmoniously; that’s his gift.
Could you describe some of the difficulties/limitations in translating fashion onto the big screen?
I suppose sticking to the point could be challenge. It’s a fashion film after all, not a Sundance entry. There’s a brand to look after. But it shouldn’t be difficult if the clothes inspire you.
Do you do everything yourself – e.g. planning, filming, editing, or is your work more collaborative?
Yes, with the help of camera/lighting extraordinaire Roman Rappak, who is, luckily for me, already an amazing filmmaker. Also Maeve Keeley and Athena Kleanthous who made everything run like clockwork.
Have you got any more projects with Ghanem in the pipeline?
Yes indeed. We’ll be making a short-film involving the whole collection in time for this year’s London Fashion Week.
Why do you think the fashion industry has started to wake up to the potential of fashion films, and what do you think their ‘role’ is, if any?
Because it’s there! It’s big swimming pool of promotional space to occupy. That’s not to say it doesn’t have a place in film, it certainly does. I’d say it’s a link that’s been brewing for a long time, SHOWStudio have obviously played the biggest role in that bridging. People also like to invest in a story. But mainly it gives people like me and Karl Lagerfeld something to do.
What (from fashion designers to film makers) inspires you, or is one of your key influences?
It changes daily unfortunately and I blame the blogging industry. In terms of film I had an amazing piano teacher who stressed the importance of rhythm like nobody’s business, to the point whereby everything you see and make has to be broken down and calculated in terms of its pace and rhythmic weight. I like directors and films that look like they’ve thought about that a bit. As for fashion, I’m not consistent; I just like clothes that talk about something bigger than clothes. I think Ziad, McQueen and Leigh Bowery have/had that covered.
What advice would you have for budding fashion film makers?
Make them; it’s very simple. Although I stole that from a very clever friend!
To see more of Marnie’s videos, visit her Vimeo page.
In the run up to London Fashion Week, we’ll be catching up with Ziad Ghanem. Keep an eye out!
Written by Lauren Smith on Wednesday August 18th, 2010 4:24 pm
What is your design background? Where did you study and what made you decide to go into knitwear design in particular?
I studied Textiles HND at Newcastle College where I specialised in hand knit. I was taught the basics by my Nan at a young age and I decided to try out some new techniques and ideas for my final project after being inspired by Claire Tough‘s CSM graduate collection in 2004 and seeing the Vivienne Westwood 2004 exhibition at the V&A which featured some amazing knitted garments. It was then that my tutor encouraged me to apply for the Fashion Knitwear and Knitted Textile BA course at Nottingham Trent University to which I was later accepted and joined the course in year 2.
Ophelia bridal gown by Bethan Juliff.
Why did you decide to launch your own knitwear collection? It’s definitely not easy to construct an entire collection from knit, but with the likes of Mark Fast doing well do you think it is becoming easier?
After graduating I moved to London and after 2 years of working and designing on computer packages I realised I missed the practical side of knitwear. I find with my own designs that working with the yarns yourself is the only way to know how the knit can be changed and manipulated into different techniques and shapes. I understand why people think it would be hard to have a collection made entirely from knit but I find the opposite to be true and could go on forever! What I love about Knitwear is that there is such a vast range of products and yarns. There’s no reason why a beautiful evening dress can’t be knitted in fine silk or a summer dress sculptured from cotton, yet I have found the general understanding and perception of knit is very limited to cable knit jumpers and socks. In reality the possible products are never ending. I truly love doing it and every day I spend attached to my knitting machine I still look forward to knitting the next day!
Your knitwear is very sculptural, how did you learn to work in this way and do you use any special techniques?
The sculptured shapes which appear in the S/S 2012 collection have been achieved from 4 years of developing my own techniques. I understand my knitting machine really well now and once I decide on a pattern or a shape I like to just sit down and make it 3D. The possibilities available within stitch work in knitwear means there’s always a new way to do something.
Isabella dress by Bethan Juliff.
The dresses in your latest S/S 2012 collection are inspired by the Pre-Raphaelite Brotherhood, why did you choose this as inspiration and how did your research translate into wearable designs for the modern woman?
I always find the question about inspiration quite hard to answer as I think my designs are mostly inspired by the medium of knit rather than outside sources, but at the same time it’s a bit of a running joke in my family that I go through stages of becoming enamored with certain periods of British history such as the Pre-Raphaelites and this influences the way I like the collection to be styled, seen and photographed. Throughout design history there are certain shapes which will always compliment the female body. When designing for the modern woman I try to produce garments that give the perfect silhouette but hopefully in a more contemporary way.
What do you suggest that your clients wear with a knitted dress to best show it off?
I would probably just say your best pair of heels. Hopefully they shouldn’t need much else… apart from maybe a Bethan Juliff Poppy broach!
The Lady dress by Bethan Juliff.
Can you let us into any secrets as to what to expect from your upcoming A/W 2012 collection. I hear you have secured an exciting sponsor…
I’ve been really lucky with the support I have received from places such as The Roof Gardens above Kensington High Street and Mannakin London who sponsored my S/S 2012 launch. For the upcoming A/W 2012 collection I have secured a yarn sponsorship from Yeoman Yarns which has been a huge help in the creation of each new garment. I’m very excitedly working on A/W 2012 at the moment and it’s by far the most challenging collection I have produced to date. The techniques from last season have developed further and as always there’s a new technique for the new season which has been quite time consuming!
What do you think took you to the final stages of the Fashion Fringe competition last year, and what did you learn from the process?
I absolutely loved being part of Fashion Fringe last year. I was really excited to get through to the final stages. I think the best thing that I took from the process was realising that I had confidence and knowledge I didn’t know I had. When faced with a Dragons’ Den like situation and 15 minutes to pitch your business in front of some of the most inspiring people in your industry, it’s surprising how all of the planning and practicing overrides the terror of standing in front of one of your favourite designers, such as Roland Mouret.
Ophelia by Bethan Juliff.
You are currently enrolled on a prestigious course at the Centre for Fashion Enterprise. Can you tell us more about what you will be learning and why it is so important to have this vital support for your work?
The Centre for Fashion Enterprise is such an amazing help for young designers who feel as if there is no support but need to take their businesses to the next level and don’t know the best way to do it. I’m part way through the Market Entry Programme which focuses on a huge range of things from legal advice on how to expand your business and I have found every session to be such a huge help and support. Also, being surrounded by likeminded young businesses makes you feel less alone and that it’s possible to achieve success if you keep at it and work hard.
What sort of prices do your garments sell for and where can people get hold of them?
The S/S 2012 collection ranges in price from £449 to £1,350 and currently it is exclusively sold on www.bethanjuliff.com. The upcoming A/W 2012 collection will be launched next month and will be available to stockists.
I love Agi & Sam. A recent collaboration with Topman, ‘The Owls‘, featured a range of football-kit inspired clothing and gave a taster of things to come. I am hoping that ‘The Owls’ was a nod to Sheffield Wednesday. I couldn’t give two hoots (geddit?) about the team, but I love that city.
Two enormous owls sat amongst the crowds at their S/S 2014 show last Sunday. Yes, I know I’m behind. I was genuinely surprised when the show began with mostly all black looks. Agi & Sam are renowned for their glorious use of colour and so it seemed a bit curveball. A speckled black suit worn over a crisp white shirt appeared first, styled with visor shades. An oversized black shirt came next, featuring a discrete monochrome pattern.
It wasn’t before long that the design duo’s inimitable prints appeared, though. This season inspiration had come from public transport seating patterns, the bloody geniuses. If you want to look like the back seat of the number 8 bus, as I certainly do, then Agi & Sam are for you. Rich fabrics carried hallucinogenic patterns in vibrant colours, some discrete, some so obvious that even the models wore large black visors to protect their eyes. All trousers maintained a clean cut with a tapered leg, cropped at the ankle.
Box-shaped blazers, some with cropped sleeves and others full-length, appeared in block colours, from powder blue to acidic orange.
Accessories included black oxfords embellished with bright stripes (in collaboration with Oliver Spencer) and large black luggage that featured some of the transport soft furnishings patterns.
Written by Matt Bramford on Thursday June 27th, 2013 8:58 am
A little while ago I wrote an article about fashion in Berlin. It wasn’t particularly amorous to say the least; save a few incredible museums, I wasn’t overtly impressed by the grade of the fashion I saw on the street. I was only there for the weekend, mind.
Coincidentally an email popped into the fashion inbox pretty soon after from Cynthia Berger – German born and Berlin based fashion photographer. I failed to mention my less-than-flattering view of Berlin, but her photographs completely stole my attention.
Cynthia is a fashion photographer through and through, and her early years were spent wielding a camera with the help of her photographer father.
The images Cynthia creates are often stark portraits of the citizens of Berlin, and with minimal settings and styling, there is a real photojournalistic realism to her photographs (it’s no surprise to discover, then, that her influential father was also a journalist). Her work reminds me much of some of the work that was featured in Amelia’s Magazine – Louise Samuelson in Issue 08 for example.
Cynthia uses street-cast models in her photographs, giving each picture added verisimilitude, along with the designs of up-and-coming Berlin fashion designers; with most of her work being set within the dramatic urban landscape of Berlin itself, Cynthia’s photographs totally embody the spirit of this historical city.
From the series Berlin Fashion
I managed to have a quick chat with Cynthia about her father, her work and her future…
How did you get in to photography?
My father was both a photographer and a journalist, so at a very early age I was surrounded by photography. At aged 8 I started to take my own photographs.
What did you study?
I studied Photography in Germany and worked later in Capetown as a photographer’s assistant. Back in Germany, I studied Communication and worked for a while as a researcher in the media world, finally coming home after that.
How do your shoots come together?
The photograph is already taken in my mind before I go and shoot. I plan the shoots entirely, so that I have the freedom to experience everything and to allow the ideas to evolve.
What about photography in particular keeps you focussed?
I like to involve and inspire people.
From the series Boys in the Suburbs
What messages do your photographs carry?
Every photograph always carries a variety of messages.
Which photographers do you admire, and why?
I like Richard Avedon, particularly his portraits – they have such high density and intense impression. I also like the work of Anna Gaskell, her mysterious atmosphere and symbolic storytelling.
How is the fashion/photography scene in Berlin?
Berlin is the fashion capital of Germany. Berlin is a city that is immensely inspiring through constant change. It’s a melting pot for design, fashion, art, architecture, music and photography.
Have you travelled as a photographer?
I lived three years in Capetown, a year in London and did a few travels through the USA and Europe.
Do you think photographs can change opinions, challenge ideals, inform, provoke or otherwise?
They can – if you put them into the right context.
What are your plans for the future?
I write any ideas I have in my “Idea Book” that I have with me wherever I am. I have many projects planned for the future, with an exhibition here in Berlin high on the list.
From the series Laura’s Story, exclusive to Amelia’s Magazine
There was an epic queue for the Bloody Gray presentation in the Portico Rooms, presumably due to overenthusiastic distribution of the very attractive invites by Yasmina Hamaidia, I did the old go away and come back trick. Like they told me to. And walked in with no queue at all 20 minutes later. As can become the case when things claim to be ground breaking, there was a thin line between interesting and juvenile that, to my mind, some of the designers on show at Bloody Gray landed the wrong side of. Some of that ground has been broken many times before. But then far be it from me to discourage people from trying to be interesting of course, and interesting it definitely was.
First to catch my eye in the main space were the creepy powder-wigged moving statues of Jayne Pierson‘s live art and digital display. They had white tights on over their shoes. And they looked as if they were going to crawl out of a Regency dolls house in the night and strangle me. Excellent.
Jane Bowler, a fan of sustainable fashion and user of innovative inexpensive plastics, combined tessellating coloured squares in both her exciting dresses and shoes.
I liked Tom Van Der Borght‘s theatrical setup with strip lights (obviously to make his models difficult to photograph); his garishly painted figures strike an entertaining line between tribal intimidation and colourful clownish clubland cuteness. The outfits themselves artfully combined obfuscating shapes, colour splatters and horses. It was an unusual, colourful and highly bizarre.
Dutch designer (among other things)Bas Kosters had filled his The Rebellious Shadow room with zombified fashion warriors, a horse headed man and such insightful slogans as YES NO and WHY. Why indeed Bas, definitely in the interesting/juvenile territory… but then what should we expect from the man who’s known for his leggings and dresses printed with photographs of penises.
I’m pretty sure this is Barbara Alan, presumably explaining to someone why she has chosen to display her collection on pink posti-it notes. Her literature that came in the goody bag has one of my favourite phrases of ridiculous fashion waffle I’ve ever read: ‘Breaking from tradition by using innovation to give everything a uniqueness and an individuality.’ My GCSE art students couldn’t do better.
Written by Jenny Robins on Monday February 25th, 2013 6:07 pm
London Collections: Men might be the clumsiest branding known to man, but the MAN show does you no favours either. Not only do you find yourself saying aloud ‘I’m going to the MAN show’, but check out #MAN on Instagram shortly after the collections and you’ll get all sorts of unsavoury images mixed with Bobby Abley‘s pink fur or Craig Green‘s psychedelic prints.
I haven’t seen either of the above nor Alan Taylor‘s actual catwalk presentations before, so I was pretty excited about this showcase of London’s most innovative menswear designers. Irishman Alan Taylor was up first. Since starting his own label in 2011, Taylor the tailor has quickly asserted himself as one to watch.
This particular collection was inspired by Henri Matisse and Taylor’s love affair with modern art is well documented. Irish tweeds became the canvas and bursts of solid fluorescent panels became the art. Enlarged overcoats and blazers created the silhouettes – natural colours maintained Taylor’s commitment to his heritage. Most pieces were modernised with the aforementioned vibrant coloured panels – Matisse-like shapes in green and purple transformed sharp tailoring into unique and contemporary looks. Contrasting pieces like a floor-length black overcoat constructed from a heavy, shimmering fabric peppered the collection.
Taylor’s staple kilts featured alongside contemporary Oxford bags and jackets with a-line hems, proving that elements of womenswear can actually work in menswear without making the wearer look like an utter berk. Finally, zingy fluorescent accessories: leather gloves, bags and shoes, added yet another dimension to this outstanding outing.
Written by Matt Bramford on Thursday January 16th, 2014 2:09 pm
A little while ago I wrote an article about fashion in Berlin. It wasn’t particularly amorous to say the least; save a few incredible museums, I wasn’t overtly impressed by the grade of the fashion I saw on the street. I was only there for the weekend, mind.
Coincidentally an email popped into the fashion inbox pretty soon after from Cynthia Berger – German born and Berlin based fashion photographer. I failed to mention my less-than-flattering view of Berlin, but her photographs completely stole my attention.
Cynthia is a fashion photographer through and through, and her early years were spent wielding a camera with the help of her photographer father.
The images Cynthia creates are often stark portraits of the citizens of Berlin, and with minimal settings and styling, there is a real photojournalistic realism to her photographs (it’s no surprise to discover, then, that her influential father was also a journalist). Her work reminds me much of some of the work that was featured in Amelia’s Magazine – Louise Samuelson in Issue 08 for example.
Cynthia uses street-cast models in her photographs, giving each picture added verisimilitude, along with the designs of up-and-coming Berlin fashion designers; with most of her work being set within the dramatic urban landscape of Berlin itself, Cynthia’s photographs totally embody the spirit of this historical city.
From the series Berlin Fashion
I managed to have a quick chat with Cynthia about her father, her work and her future…
How did you get in to photography?
My father was both a photographer and a journalist, so at a very early age I was surrounded by photography. At aged 8 I started to take my own photographs.
What did you study?
I studied Photography in Germany and worked later in Capetown as a photographer’s assistant. Back in Germany, I studied Communication and worked for a while as a researcher in the media world, finally coming home after that.
How do your shoots come together?
The photograph is already taken in my mind before I go and shoot. I plan the shoots entirely, so that I have the freedom to experience everything and to allow the ideas to evolve.
What about photography in particular keeps you focussed?
I like to involve and inspire people.
From the series Boys in the Suburbs
What messages do your photographs carry?
Every photograph always carries a variety of messages.
Which photographers do you admire, and why?
I like Richard Avedon, particularly his portraits – they have such high density and intense impression. I also like the work of Anna Gaskell, her mysterious atmosphere and symbolic storytelling.
How is the fashion/photography scene in Berlin?
Berlin is the fashion capital of Germany. Berlin is a city that is immensely inspiring through constant change. It’s a melting pot for design, fashion, art, architecture, music and photography.
Have you travelled as a photographer?
I lived three years in Capetown, a year in London and did a few travels through the USA and Europe.
Do you think photographs can change opinions, challenge ideals, inform, provoke or otherwise?
They can – if you put them into the right context.
What are your plans for the future?
I write any ideas I have in my “Idea Book” that I have with me wherever I am. I have many projects planned for the future, with an exhibition here in Berlin high on the list.
From the series Laura’s Story, exclusive to Amelia’s Magazine
