Amelia’s Magazine | A Divorce Before Marriage: a film about I Like Trains and the music industry

A Divorce Before Marriage I Like Trains film kickstarter campaign banner
A Divorce Before Marriage by directors by Matt Hopkins & Ben Lankester follows the Leeds based band I Like Trains following their rejection by the mainstream music industry. During this time they grow older, gain families and ‘real’ jobs… whilst remaining passionate about producing the music they love. As someone who is a long time fan of I Like Trains and a supporter of musicians working on the fringes of the commercial music industry I was most intrigued to hear about this feature length film, and asked director Ben to explain more…

A Divorce Before Marriage – Official Trailer from A Divorce Before Marriage on Vimeo.

A Divorce Before Marriage is a documentary three years in the making. The film charts the lives of Leeds based I Like Trains following the loss of their record deal. We really wanted to shine a light on those bands working away in the middle, those bands positioned somewhere between superstardom and complete obscurity. We felt this was an overlooked and unrepresented portion of the industry, particularly within the world of music documentary.

A Divorce Before Marriage I Like Trains film kickstarter campaign 3
The film aims to reveal with brutal honesty the difficulties but also the rewards of balancing creative endeavour with earning a living. We hope the trailer speaks to creatives in all types of professions who are forced to do the same thing, particularly as you approach that delicate time in your 30s when life appears to take over. The film was shot over three years in order to capture those small but powerful moments of change that happen in our lives during this transformative period.

A Divorce Before Marriage I Like Trains film kickstarter campaign 1
As filmmakers we have been working with I Like Trains for five years now, from initial music videos and live performance films to this, a feature film documenting their lives over a long period. It really feels like the culmination of the journey we’ve all been on together, and the success of our ongoing Kickstarter campaign is testament to our belief that this band’s story is universal.’

A Divorce Before Marriage I Like Trains film kickstarter campaign 2
You can support the Kickstarter campaign to raise money for A Divorce Before Marriage here. They have already exceeded their first goal, but any extra money raised will allow them to make an even better film. The campaign closes on 14th October 2014.

Categories ,A Divorce Before Marriage, ,Ben Lankester, ,film, ,I Like Trains, ,Kickstarter, ,Matt Hopkins

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Amelia’s Magazine | Vita Gottlieb: London Fashion Week Fashion Fringe S/S 2013 Catwalk Preview Interview

vita gottlieb by Alexa Coe
Vita Gottlieb A/W 2012 by Alexa Coe.

I’ve known of Vita Gottlieb through mutual friends for many years so when I bumped into her recently it was something of a surprise to hear of plans to launch herself as a fashion designer, having worked previously in fine art, film and textile design. I was then really happy to discover (via facebook, where else?) that she had been shortlisted as a finalist for this season’s Fashion Fringe. Here she describes the incredible journey she has made: inspiring stuff for all would be fashion designers!

Vita Gottlieb by Angela Lamb
Vita Gottlieb by Angela Lamb.

You are a textile designer by training – how difficult was it to become a fashion designer? Where did you learn to think in terms of putting your textiles on the body?
I actually trained in the more theoretical area of art history – then did an MA in Fine Art – it was here I started to experiment with my illustrative and graphical sketches, putting them into prints and wall hangings. It seemed natural to move into textiles from there and then translate these 2-D forms into 3-D with fashion. I’ve always needed to work with my hands and love the direct process of designing textile prints, then using these to design on the body. The prints inform the process and I absolutely love it. Finally I feel I can use and be inspired by all my passions – film, art, stories, travel and wilderness.

Vita Gottlieb AW 2012
Vita Gottlieb AW 2012
Vita Gottlieb A/W 2012.

Prior to that you also worked in film and gained a degree in fine art. What do you think led you to fashion after so many years in other design disciplines?
I suppose I like to slow-cook things! Sometimes you need a bit of time to work through all the peripheral ambitions and come slowly into settling on something that feels right and at the right time. I don’t think I would have been good in the fashion industry in my early 20s – I was quite sensitive and volatile, and probably would have been swallowed up or waylaid by it all! I love film and always will but ultimately wanted to be in control of a more contained aesthetic, and with fashion, you really can make things happen in an exciting, organic way. It’s akin to being an artist – it’s your vision, your story, but you need to communicate this message clearly in order to make it happen. Art and film will always feed into my work though, through the creation of story and mood, the use of print and fabric manipulation. I’ve also always loved texture, the feel and emotion of strong colour, of materials themselves. Fashion seems to encapsulate all of these things in such a magical way.

Vita Gottlieb AW 2012
Vita Gottlieb AW 2012
Vita Gottlieb A/W 2012.

What did you learn from your years working in interiors that you have been able to apply to your fashion designs?
For around 3 years I free-lanced as a textile designer in both the interiors market and also, I designed and made my own accessories for the body which sold at trade and public fairs. The biggest learning curve from that for me has been understanding how to translate ideas from the graphic ‘doodles’ I was making in textile print – which had a flat, albeit malleable substrate – into a conversation with construction, silhouette, movement. The amazing thing for me now is witnessing how much the 3-dimensional form in the movement of fabric can really alter my thinking on a design. It’s wonderful to watch it develop through sketches, into a pattern, all the protos and finally, to see a garment on a real body is just so exciting.

Vita Gottlieb AW 2012 scarf
What makes your scarf collection so unique?
I’d say my use of colour, graphic repeat prints and intricate detail. They’re trans-seasonal, so can be worn with anything and by anyone all year round.

Vita Gottlieb, Illustration by Rosa and Carlotta Crepax, Illustrated Moodboard
Vita Gottlieb S/S 2013 preview by Rosa and Carlotta Crepax, Illustrated Moodboard.

What was the inspiration behind your A/W 2012 collection?
AW12 was inspired by elements of the forest floor and the tactile quality of bark, moss, the underside of mushrooms. I had this image of a disenchanted forest filled with creeping lianas and the raw-edged, tactile textures of fallen leaves. Also, the colours of dusk. Dusk and moonlight, magic hour – I think these qualities of light will form a puncture through many collections to come.

Vita Gottlieb SS 2012 Nightbird (illustrated preview by Vita)
Vita Gottlieb S/S 2012 Nightbird (illustrated preview by Vita).

What was the process of being picked for Fashion Fringe? Where did it all start?!
It’s been an amazing journey so far! It started with a question – should I really apply? Do I have a chance? I thought it was a no until I woke up one day and just said to myself ‘there’s nothing to lose’ – classic, really. Something in the way the criteria for entry was written gave me hope as it seemed to me to encapsulate everything I wanted my label to be. It’s incredible to have got this far! I remember the day Christopher Bailey called, personally, to say I was a Semi-Finalist; I was in New York at the time and literally jumped around the room I was in. Being announced as a Finalist was one of those moments I won’t forget – the elation, nerves, and fear! I think I’m more afraid of success than I am of failure, much as I want and am working for it – but there’s no looking back now. The team at Fashion Fringe have been amazing and so supportive throughout, which amongst many other things has made the whole process such a joy and privilege.

 Vita Gottlieb SS 2012 Tamsin (illustrated preview by Vita)q
Vita Gottlieb S/S 2012 Tamsin (illustrated preview by Vita)

I can’t wait to see your new collection: the description sounds incredibly romantic and dreamy – are you a dreamer? What’s the best dream you’ve ever had?
Oh, man, I am a consummate dreamer! Both day and night. Reverie is a favourite hobby of mine. Often I dream of flying through the universe, diving in and out of colours and natural patterns of movement – sometimes I go back in time and poke about cobbled alleys and strange places. Always there’s a lot of movement, colour and music. I wake up shaking from the images sometimes. But it’s so much a part of me.

Vita Gottlieb S/S 2013 preview by Catherine Moody
Vita Gottlieb S/S 2013 preview by Catherine Moody.

The collection will layer eastern and western references – what motifs have you taken from each place, and how have you mixed them up?
SS13 is inspired in part by Paul Poiret‘s 1911 party ‘Thousand and Second Night‘, where guests were asked to wear Persian dress and indulge in dancing in the moonlight… I love the idea of layering Eastern influences into Western ideas; some of the prints are inspired by and use motifs from Georges Barbier‘s early twentieth century illustrations. I also thought about moonlight as a mood and infused some of the colours of that hour, just after dusk, in an imaginary city full of minarets and flickering lights. In terms of Western influences, I’ve tried to create a bit of a puncture through accessories and silhouettes.

vita gottlieb pinterest
You are an avid fan of Pinterest – how do you use it to collate and filter your ideas?
Yes, I love it as it’s such an easy way of keeping all your ideas and inspirations in once place. I’m a real sketchbook hoarder and keep everything I sketch or write in books at home or in the studio – but Pinterest I use more for general interest inspiration. And for food porn, it’s great for that!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

In fact you are quite internet savvy all around, why do you think (as an up and coming designer) it’s important to be so visible on social media networks? Do you plan to sell all your collections online?
Being social-media savvy doesn’t necessarily come naturally and I was definitely a Facebook/Twitter abstainer for a LONG time. But once I’d set up my business I recognised just how useful it can be and have become a lot more interactive now. It’s mainly for business but I try to pepper what I post with some personal and quirky content too. I think it’s important not to forget that there is a person behind the label and to inject some personality into it all. As an emerging designer I think it’s imperative to use social media to maximise your profile – and to keep in touch with what your potential customers want, that’s key too. Currently I sell my scarves online but yes, eventually I do plan on selling the collections too. It’s exciting to see what the internet can realise for my label – you can’t ignore it anymore!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

I believe you are a foodie – what is your must have edible delight whilst working on your new collection?
Ah, I am definitely a foodie! I’ve always loved food – eating, cooking, everything really. I read recipe books as pleasure. Hmm, must-have edible delight? Hard to say as I love so many things – Asian flavours, home-cooked, big, flavoursome dishes, vegetables from the garden (one radish, this year..no time to garden!), things like shepherd’s pie and fresh peas or glazed salmon in honey, mirin and lime. Don’t get me started! But it has to be savoury, I’m not really inclined toward sweet things.

Can you give us any hints as to what to expect in your Fashion Fringe catwalk show? (music… casting.. atmosphere etc)
I believe you’ll be there, so, you will have to wait and see, Amelia!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

What are your hopes for the future?
I’d like to build a successful, well-regarded and creative womenswear label, branching out with a diffusion line, travel lifestyle and perhaps lingerie. One day I’d love to open a kind of eco-lodge in a hot tropical country by the sea. You see, I am a dreamer! More locally, I’m interested in collaboration with other artists and creative professionals, making fashion films, happenings and shows, and see the future as a very exciting thing.

Vita Gottleib A/W 2012 by Gemma Sheldrake
Vita Gottleib A/W 2012 by Gemma Sheldrake.

See more from Vita Gottlieb here… I can’t wait to see the entire collection on the catwalk! Vita Gottlieb shows alongside Haizhen Wang and Teija Eilola in the BFC Courtyard Show Space on Tuesday 18th September 2012.

vita-gottlieb by Melissa Angelik
Vita Gottlieb by Melissa Angelik.

Categories ,Alexa Coe, ,Angela Lamb, ,Catherine Moody, ,Christopher Bailey, ,Courtyard Show Space, ,Fashion Fringe, ,film, ,Fine Art, ,Gemma Sheldrake, ,Georges Barbier, ,Haizhen Wang, ,Illustrated Moodboard, ,Lea Rimoux, ,lfw, ,Melissa Angelik, ,Nightbird, ,Paul Poiret, ,Pinterest, ,Rosa and Carlotta Crepax, ,S/S 2013, ,Tamsin, ,Teija Eilola, ,Textile Design, ,Thousand and Second Night, ,Vita Gottlieb

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Amelia’s Magazine | Sheffield Doc/Fest 2013 Review: Nine New Documentaries To Watch

Pussy Riot by Linus Nystrom
Pussy Riot in prayer position. Illustration by Linus Nystrom.

Don’t miss this summer’s hottest documentary films. Here’s our pick as seen at Sheffield Doc/Fest, including all the trailers.

Fuck For Forest
Gives direct action a whole new meaning

How far would you go to save the planet? Fuck For Forest is a green non-profit which raises money online through home-made blue movies and photos. The content can only be seen by participation or donation. So far, so hippy porn site. But as you find out why the group do it, and how they’re handling the money, the film becomes eye-opening in unexpected ways. Watch to challenge your ideas of charity, pornography, the body, and how we find our place in the world.
Available for download now, on DVD from 17th June
www.fuckforforestmovie.com

The Act of Killing
Movies, morals and mass murder

With Werner Herzog involved, you know this film could go anywhere. A group of men at the heart of one of the worst genocides of the 20th century are given the opportunity to recreate their killings on film, in the style of popular movies. Making movies about the murders means addressing their actions, and the result is an award-winning clash of fact and fiction.
In UK cinemas from 28th June
www.theactofkilling.com

The Man Whose Mind Exploded
The surreal world of a man without memory

Salvador Dali once worked with him, but since the 1980s Drako Zarharzar‘s life has taken a turn for the surreal. A string of accidents, breakdowns and comas have left his memory ‘not recording’. Film-maker Toby Amies documents Drako’s world, including the inside of the flat that functions as his mind. Imagine Memento and 50 First Dates rewritten as a Brighton bromance, and you’re halfway to this unforgettable film.
Next screening on 30th June
www.themanwhosemindexploded.com

Pussy Riot: A Punk Prayer
Extreme courtroom drama

The story of Russian female punk activists Pussy Riot, complete with rehearsal room footage, childhood photos, performances, court appearances, family interviews, and all the media mayhem that followed their performance in Moscow’s biggest cathedral. Three members were arrested and two are still serving time in a penal colony. Nadia, Katia and Masha‘s court statements alone are worth seeing on a big screen to remind yourself why they became feminist superheroes, and why Pussy Riot matters.
In UK cinemas from 5th July
www.hbo.com/documentaries/pussy-riot-a-punk-prayer

Blackfish
Mommy don’t take me to Seaworld

Blackfish is something of an accidental save-the-animals film. Director Gabriela Cowperthwaite started by investigating the death of a whale trainer at Seaworld, and uncovered a long history of ‘accidents’. The horror stories and footage pile up, heaping shame on Seaworld without tipping over into viewer voyeurism. By tracing the story of a whale called Tilikum from capture in 1983, through multiple incidents, up to his sad situation today, the whole bloody mess is laid out as clear as water.
In UK cinemas from 26th July
www.blackfishmovie.com

Project Wild Thing
An unusual nature trail

Self-deprecating dad David Bond is on a mission to save nature. His children’s attention spans will become as tiny as their underused wellies unless he does something serious. David appoints himself Marketing Director for nature and sets out on a rebranding mission, which at first seems like a joke, until he starts pulling in advice and favours from the world of marketing. The result is a hip and funny film you can’t help liking, about the oddness of branding and our often awkward relationship with nature.
Released in late July
www.projectwildthing.com

Particle Fever
See scientists swearing

If you still don’t understand the Hadron Collider or the Higgs boson – so that’s most of us – then this film will help you get your head around the most stunning human discovery of the century so far. It’s beautifully shot, very funny, brings out the real personalities of scientists, and includes women in key positions who make links between science and art. The physics is explained so well that it sticks with you.
Release date tbc
www.particlefever.com

The Great Hip Hop Hoax
Beastly boys

This isn’t a hip hop film. It’s the story of two boys from Scotland who thought they’d make it in the music industry if they pretended to be from California. So they move to London, change their accents, and pop begins to eats itself. It’s a richly ridiculous tale which takes in record company bosses, James from Busted, and a funny incident with Daniel Bedingfield. Will ultimately make you squeamish about the thirst for fame.
Released in early autumn
www.hiphophoax.com

The Big Melt
Steel gets Pulped


River of Steel, 1951 – one of the archive films used in The Big Melt

Sheffield Doc/Fest persuaded Jarvis Cocker to soundtrack an amazing mash-up of archive films from the city’s steel industry past. Footage of hot furnaces and smelting, female steel workers, city pub boozing and dancing, and vintage animation, are all skilfully woven together by Martin Wallace, a long-time collaborator with Jarvis. Musicians who took part in a one-time live performance included Pulp, Richard Hawley, Serafina Steer, and the City of Sheffield Brass Band, who pump out a classic 90s house track. The whole thing was recorded for later broadcast. Heavy metal, man.
On BBC4 this autumn

Categories ,a punk prayer, ,blackfish, ,docfest, ,documentaries, ,documentary, ,film, ,fuck for forest, ,particle fever, ,project wild thing, ,pussy riot, ,sheffield, ,the act of killing, ,the big melt, ,The Great Hip Hop Hoax, ,the man whose mind exploded

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Amelia’s Magazine | The Oscars 2011 – they’re a comin’

Seed Swap by Gilly Rochester
Seed Swap by Gilly Rochester.

I knew you could get yellow tomatoes, erectile more about but apparently there are purple and yellow carrots. Agricultural regulations have increasingly stifled the basic trading of seeds that was standard practice in an age gone by, and there is a wide variety of fruit and vegetables available out that are not even available at local greengrocers let alone at the big supermarkets. To counteract this local gardeners and enthusiasts have been clubbing together for Seed Swaps for the past decade. These are great places to swap your own seeds and discover little known but fabulously named plants and vegetables.

To find out why this practice is becoming vitally important to the environment I speak to Sara Cundy who becamse fascinated by the interaction between people and the natural environment during her degree in Geography. She has carried out research into consumers’ understanding of Fairtrade, and is currently Waste Minimisation Officer at the Wiltshire Wildlife Trust where she works with communities to help reduce the amount of waste generated and sent to landfill. Trained as a Compost Ambassador, she also volunteers as co-ordinator for the Wiltshire Fairtrade Coalition; who are in the process of organising events during the upcoming Fairtrade Fortnight 2011. Phew! I have no idea how she also found the time to organise a successful Seed Swap!
 
Seed Swap Gent by Velimir Ilic
Green Fingered Gent by Velimir Illic
 
You organised Bradford-on-Avon’s first seed swapping event, did you go to many before you decided to run one yourself? Do you know how these swaps started?
??I went to some of the very early seed swaps in Brighton (well Hove actually) and it was about the same time that I got an allotment with friends. ?? 

I hope it was successful! Do these events educate people or are gardeners already quite clued up on this practice???
The event on Sunday was fantastic! We had over 300 people attend, and around 40 volunteers either helping on the seed swap stall, making refreshment and running the other 20 or so stands that where at the event. There was an amazing buzz for a really concentrated 2 hour slot. The stalls that we invited to the event had a connection with growing your own and gardening and where from the local area. We also had stands on Composting, food waste, Wiltshire Wood Recycling (who are part of a national network of wood re-use organisations), Beekeepers, Hen Keepers and Tools for Self Reliance, who send tools for use in Africa, but also gave advice on the day on how to maintain your own gardening tools. Freecycle which is very active in our local area also ran a garden book swap, and promoted the fact that you can advertise through them if you have unwanted gardening equipment or are looking for someone, such as a chap wanting to try out Wormeries. We had three different children’s activities also; Growing Micro-Greens, Fitzmaurice Primary School Gardening Club; making bug houses, The Mead School Wingfield Gardening Club; and Wiltshire Wildlife Trust, making your own willow woven hanging flowerpot holder.  Friends of Fitzmaurice Schools Gardening Club also made the fantastic cakes (cake is always a winner!) to raise funds for infrastructure such as raised beds at the school. ??We had a number of volunteers who were able to give advice such as the Wiltshire Wildlife Trust Compost Ambassadors. One of the compost ambassadors is also a ‘seed guardian’ for the Heritage Seed Library and she was able to give advice on the some of the seeds that where available at the swap that had been kindly donated by the Heritage Seed Library, but also how to go about saving your seeds.
 
Sounds like a fun and interesting afternoon well spent. I read on the Seedy Sunday webpage that this event ” …shows up the idiocy of draconian seed laws and the Gene Giants’ restrictive practices: in this warming world we need to exchange more diversity of uncontaminated plants to secure future food.” Can you explain to us what these laws and practices are?
??Yes – Seedy Sunday started in Brighton & Hove 10 years ago back in 2001.  Over the last decade the idea has caught on around the country and so from the original there are now numerous seed swaps around the country (which some combine with potato days – the selling of seed potatoes), the founders I think stumbled across the idea of seed swaps in America.  ?There are EU and national laws regarding the selling of seeds – requiring them to be registered on a national list. This was brought in to maintain quality, but has had the knock on effect of being illegal to sell seeds that aren’t listed. As it costs money and a considerable amount of paper work to list seeds it’s really only the commercially viable seeds that are on these lists.  Some of these heritage seeds produce fantastic tasting crops, but aren’t commercially worth growing.
 
 seedswap by cat palairet
Seed Swap by Cat Palairet.

??I’ve been a member of the Heritage Seed Library which is hosted by Garden Organic in Warwickshire for just over a year (but been aware for much longer) last year we had some Bronze Arrow Lettuce – this year I’ve got Cherokee Trail of Tears which was traditionally grown with other crops such as squash and maize which constituted the Three Sisters that provided the foundation of Native American agriculture. The connection to the growers and the history behind the various seed is fascinating – and you feel like you are playing a part in our agricultural history – food is fundamental to our life. It also helps to maintain our agrobiodiversity.?

How does swapping seeds benefit the environment?
??It helps to maintain our agrobiodiversity to support the future of agriculture and food security particularly in a time of changing climate. I also think that it re-connects us to the land and the importance of working in harmony with nature, the fragility and frustrations of growing your own can hopefully I think help us appreciate and value our food more. With the resurgence of growing your own, thrift, making and mending etc – I think that seed saving is an important skill that many of us could learn. The seed swap also feeds into tackling waste higher up the chain, by growing your own you can cut down on the amount of packaging that you consume (even if it’s just herbs in your window box), you tend to value food more so less likely to throw it away (hopefully!). Many people also get into composting which is part of the natural cycle of returning nutrients to the soil. Many people don’t realise that disposing of biodegradable waste in landfill, which is buried and then decomposes anaerobically, you produce methane, a greenhouse gas more than 20 times more damaging than C02 – which you avoid with home composting.

Colourful Swappers by Velimir Ilic
Colourful Swappers by Velimir Illic ???

These events also appear to create a brilliant excuse for communities to come together, will you organise anymore Seed Swaps?
I organised the event this year on behalf of the Wiltshire Wildlife Trust, working in conjunction with Climate Friendly Bradford-on-Avon and hopefully we will be able to run similar events in future years. We very generously got funding from the co-operative membership which helped with a lot of the costs, such as hall hire, advertising, producing banners/flyers/posters and distributing seed envelopes – which meant that this year we did not have to charge any stall holders (who were principally other charity groups) or entrance fee.

Find out where the next Seedy Sunday is taking place in your area by visiting their website.

Seed Swap by Gilly Rochester
Seed Swap by Gilly Rochester.

I knew you could get yellow tomatoes, discount but apparently there are purple and yellow carrots too. Agricultural regulations have increasingly stifled the basic trading of seeds that was standard practice in an age gone by, and there is a wide variety of fruit and vegetables available out there that you cannot even buy at your local greengrocers let alone at the big supermarkets. To counteract this local gardeners and enthusiasts have been clubbing together for Seed Swaps over the past decade. These are great places to swap your own seeds and discover little known but fabulously named plants and vegetables.

To find out why this practice is becoming vitally important to the environment I spoke to Sara Cundy, who became fascinated by the interaction between people and the natural environment during her degree in Geography. She has carried out research into consumers’ understanding of Fairtrade, and is currently Waste Minimisation Officer at the Wiltshire Wildlife Trust where she works with communities to help reduce the amount of waste generated and sent to landfill. Trained as a Compost Ambassador, she also volunteers as co-ordinator for the Wiltshire Fairtrade Coalition; who are in the process of organising events during the upcoming Fairtrade Fortnight 2011. Phew! I have no idea how she also found the time to organise a successful Seed Swap!
 
Seed Swap Gent by Velimir Ilic
Green Fingered Gent by Velimir Illic
 
You organised Bradford-on-Avon’s first seed swapping event, did you go to many before you decided to run one yourself? Do you know how these swaps started?
??I went to some of the very early seed swaps in Brighton (well Hove actually) and it was about the same time that I got an allotment with friends. ?? 

I hope it was successful! Do these events educate people or are gardeners already quite clued up on this practice???
The event on Sunday was fantastic! We had over 300 people attend, and around 40 volunteers either helping on the seed swap stall, making refreshment and running the other 20 or so stands that where at the event. There was an amazing buzz for a really concentrated 2 hour slot. The stalls that we invited to the event had a connection with growing your own and gardening and where from the local area. We also had stands on Composting, food waste, Wiltshire Wood Recycling (who are part of a national network of wood re-use organisations), Beekeepers, Hen Keepers and Tools for Self Reliance, who send tools for use in Africa, but also gave advice on the day on how to maintain your own gardening tools. Freecycle, which is very active in our local area, ran a garden book swap, and promoted the fact that you can advertise through them if you have unwanted gardening equipment or are looking for someone, such as a chap wanting to try out Wormeries. We had three different children’s activities also; Growing Micro-Greens, Fitzmaurice Primary School Gardening Club; making bug houses, The Mead School Wingfield Gardening Club; and Wiltshire Wildlife Trust, making your own willow woven hanging flowerpot holder.  Friends of Fitzmaurice Schools Gardening Club also made the fantastic cakes (cake is always a winner!) to raise funds for infrastructure such as raised beds at the school. ??We had a number of volunteers who were able to give advice such as the Wiltshire Wildlife Trust Compost Ambassadors. One of the compost ambassadors is also a ‘seed guardian’ for the Heritage Seed Library and she was able to give advice on the some of the seeds that where available at the swap that had been kindly donated by the Heritage Seed Library, but also how to go about saving your seeds.
 
Sounds like a fun and interesting afternoon well spent. I read on the Seedy Sunday webpage that this event “…shows up the idiocy of draconian seed laws and the Gene Giants’ restrictive practices: in this warming world we need to exchange more diversity of uncontaminated plants to secure future food.” Can you explain to us what these laws and practices are?
??Yes – Seedy Sunday started in Brighton & Hove 10 years ago back in 2001.  Over the last decade the idea has caught on around the country and so from the original there are now numerous seed swaps around the country (which some combine with potato days – the selling of seed potatoes), the founders I think stumbled across the idea of seed swaps in America.  There are EU and national laws regarding the selling of seeds – requiring them to be registered on a national list. This was brought in to maintain quality, but has had the knock on effect of being illegal to sell seeds that aren’t listed. As it costs money and a considerable amount of paper work to list seeds it’s really only the commercially viable seeds that are on these lists.  Some of these heritage seeds produce fantastic tasting crops, but aren’t commercially worth growing.
 
 seedswap by cat palairet
Seed Swap by Cat Palairet.

??I’ve been a member of the Heritage Seed Library which is hosted by Garden Organic in Warwickshire for just over a year (but been aware for much longer) last year we had some Bronze Arrow Lettuce – this year I’ve got Cherokee Trail of Tears which was traditionally grown with other crops such as squash and maize which constituted the Three Sisters that provided the foundation of Native American agriculture. The connection to the growers and the history behind the various seed is fascinating – and you feel like you are playing a part in our agricultural history – food is fundamental to our life. It also helps to maintain our agrobiodiversity.?

How does swapping seeds benefit the environment?
??It helps to maintain our agrobiodiversity to support the future of agriculture and food security particularly in a time of changing climate. I also think that it re-connects us to the land and the importance of working in harmony with nature, the fragility and frustrations of growing your own can hopefully I think help us appreciate and value our food more. With the resurgence of growing your own, thrift, making and mending etc – I think that seed saving is an important skill that many of us could learn. The seed swap also feeds into tackling waste higher up the chain, by growing your own you can cut down on the amount of packaging that you consume (even if it’s just herbs in your window box), you tend to value food more so less likely to throw it away (hopefully!). Many people also get into composting which is part of the natural cycle of returning nutrients to the soil. Many people don’t realise that disposing of biodegradable waste in landfill, which is buried and then decomposes anaerobically, you produce methane, a greenhouse gas more than 20 times more damaging than C02 – which you avoid with home composting.

Colourful Swappers by Velimir Ilic
Colourful Swappers by Velimir Illic ???

These events also appear to create a brilliant excuse for communities to come together, will you organise anymore Seed Swaps?
I organised the event this year on behalf of the Wiltshire Wildlife Trust, working in conjunction with Climate Friendly Bradford-on-Avon and hopefully we will be able to run similar events in future years. We very generously got funding from the co-operative membership which helped with a lot of the costs, such as hall hire, advertising, producing banners/flyers/posters and distributing seed envelopes – which meant that this year we did not have to charge any stall holders (who were principally other charity groups) or entrance fee.

Find out where the next Seedy Sunday is taking place in your area by visiting their website.


Rachel Freire S/S 2011, more about illustrated by Krister Selin

‘I’m terrible at interviews’ I announce shortly after arriving at Rachel Freire‘s East London studio. A bit of a melodramatic introduction, dosage maybe; but as I now sit staring at my notes which resemble the scribbles of a toddler I now know why I said it.

My trouble is that I just like to listen to people. I get lost in conversation and forget to write anything down. I refuse to record interviews because I hate the sound of my own voice and I find it a bit of a distraction, so my erratic notes are all I have to record our meeting. Sometimes, if I meet up with somebody and they don’t say much, I can manage it; when I meet people like Rachel Freire – gorgeous, mesmerising, opinionated, articulate – I’m left with nothing.


Illustration by Abby Wright

Rachel is based at the Dace Road studios, home also to the likes of Christopher Raeburn (featured in ACOFI) and Rui Leonardes. Ex-tennants include Mark Fast and Mary Kantrantzou who’ve now moved to Shacklewell Studios, aka hipster central, but despite her successes, Rachel’s staying put. I meet her on a grey Saturday afternoon, she’s been up for most of the night, but you wouldn’t notice despite her protests.

”Whoever says January is a dead month is LYING!’ Rachel exclaims as she makes the tea. I do find that I get on better with people who drink lots of tea. I just don’t trust people who don’t like it. I know, as she gives them a stir, that we’re going to get along. We sit at a big oak desk in the centre of the studio, Rachel lights a cigarette and we begin our conversation. I ask Rachel how it’s going, and she seems pretty positive. She has an army of interns and creates ‘a sense of family’ in her studio, which is adorned with all sorts of interesting antiquities like skulls and baseball paraphernalia. A sign above the door, Rachel’s mantra, reads ‘IF IN DOUBT, SPRAYPAINT IT GOLD,’ a statement I wholeheartedly agree with.


S/S 2011, illustrated by Naomi Law

Rachel brands herself as a ‘costumier’ who happened to fall into fashion, which explains her unique and innovative approach to dressing. ‘I’ll never lose track of my costumier routes,’ she tells me, ‘I’m pretty anti-fashion. It dictates what we wear and how we feel, and I’ve never subscribed to that.’ Her models ‘need to have an arse’ and she’s conscious of the responsibility a fashion designer must adopt, whether that be ethical or environmental. ‘I am the cheapest person!’ Rachel admits, ‘but I will never shop in Primark. I look at the clothes and think ‘somebody suffered for this’. I want customers to hold things knowing somebody’s crafted it – that something is special.’


S/S 2011, illustrated by Gemma Milly

Rachel won’t compromise. She’s staying true to herself and won’t put her name on anything that she hasn’t rigourously vetted and knows exactly where everything has come from. Rachel is as much an ethical designer as any of the Estethica designers – if not more so. She values the work of other people and believes that you ‘have to be ethical in so many different ways’. How you treat your interns, where you source your fabrics, how you communicate with suppliers – all these things, Rachel believes, are necessary for good business, not just opting for ethical fabrics.

Rachel’s previous collections provide sculptural, architectural pieces with innovative techniques (read all about her glow-in-the-dark S/S 2011 collection here) and it seems A/W 2011 will be even more exciting. As we chat about the boy Rachel’s texting and get mixed up with whose tea is whose (easy mistake – Rachel’s recently got a new mug but the Queen of Fucking Everything option she’s given me still has sentimental value) we’re surrounded by leather nipples. REAL nipples.

Rachel and her team of merry men (and women) have been hard at work in the previous weeks to marry them together to make roses. They’re absolutely beautiful to touch and look at but there’s something rather unsettling about them. ‘That’s my aesthetic!’ Rachel declares.

A sneak peek at some of the fabrics, techniques and colours Rachel’s preparing to show this week:


S/S 2011, illustrated by Joana Faria

Rachel’s also working with Ecco, who are developing processes for leather manufacturing for couture houses. Rachel has devoted a lot of her time visiting the Netherlands tannery working alongside them in their quest to transform how we produce and approach leather goods. ‘I’m obsessed with materials!’ Rachel tells me. ‘It’s much nicer to make a jacket out of something that you’ve had an input in from the start.’ She shows me a new process she’s working on (damned if I can remember the name) which gives leather an ethereal ripple-like pattern that looks as if it’s been photoshopped. I’m speechless, and we both sit caressing it for a while until I can think of something to say.


S/S 2011, illustrated by Yelena Bryksenkova

So what’s up next for Rachel? Well, A/W 2011 looks set to be her bravest collection yet, and I had a sneak peek at some of the fabrics, textures, techniques and cuts she’s working on. On a grander scale, she ‘loves to teach’ and wants to establish a system where the efforts of designers to instil good practises and skills into their army of interns is recognised. She describes mainstay teaching as ‘box ticking’ and, as someone whose never done what she was told to do, feels there’s more to give in a studio-based environment than anything in the classroom. I hear ya, love.

Rachel’s excited about the future. She plans to dazzle once a year at the A/W 2011 shows while maintaining commissions with an ever-expanding roster of clients and other projects during the rest of the year. She also wants to live on a boat and explore costume design in cinema. She references Jean Paul Gaultier‘s work on flicks like The Fifth Element and is excited by the prospect of applying her unique aesthetic to film. It all comes down to financing. ‘Money dictates and creates a standard,’ Rachel tells me. ‘The system to support new designers is very small, but I won’t compromise my values. I’m here to stay.’

I should bloody hope so.

Rachel’s original draqing for her collaboration with Neurotica:

All photography by Matt Bramford

Rachel Freire S/S 2011, treat illustrated by Krister Selin

‘I’m terrible at interviews’ I announce shortly after arriving at Rachel Freire‘s East London studio. A bit of a melodramatic introduction, maybe; but as I now sit staring at my notes which resemble the scribbles of a toddler I now know why I said it.

My trouble is that I just like to listen to people. I get lost in conversation and forget to write anything down. I refuse to record interviews because I hate the sound of my own voice and I find it a bit of a distraction, so my erratic notes are all I have to record our meeting. Sometimes, if I meet up with somebody and they don’t say much, I can manage it; when I meet people like Rachel Freire – gorgeous, mesmerising, opinionated, articulate – I’m left with nothing.


A/W 2010, illustrated by Abby Wright

Rachel is based at the Dace Road studios, home also to the likes of Christopher Raeburn (featured in ACOFI) and Rui Leonardes. Ex-tennants include Mark Fast and Mary Kantrantzou who’ve now moved to Shacklewell Studios, aka hipster central, but despite her successes, Rachel’s staying put. I meet her on a grey Saturday afternoon, she’s been up for most of the night, but you wouldn’t notice despite her protests.

”Whoever says January is a dead month is LYING!’ Rachel exclaims as she makes the tea. I do find that I get on better with people who drink lots of tea. I just don’t trust people who don’t like it. I know, as she gives them a stir, that we’re going to get along. We sit at a big oak desk in the centre of the studio, Rachel lights a cigarette and we begin our conversation. I ask Rachel how it’s going, and she seems pretty positive. She has an army of interns and creates ‘a sense of family’ in her studio, which is adorned with all sorts of interesting antiquities like skulls and baseball paraphernalia. A sign above the door, Rachel’s mantra, reads ‘IF IN DOUBT, SPRAYPAINT IT GOLD,’ a statement I wholeheartedly agree with.


A/W 2010, illustrated by Naomi Law

Rachel brands herself as a ‘costumier’ who happened to fall into fashion, which explains her unique and innovative approach to dressing. ‘I’ll never lose track of my costumier routes,’ she tells me, ‘I’m pretty anti-fashion. It dictates what we wear and how we feel, and I’ve never subscribed to that.’ Her models ‘need to have an arse’ and she’s conscious of the responsibility a fashion designer must adopt, whether that be ethical or environmental. ‘I am the cheapest person!’ Rachel admits, ‘but I will never shop in Primark. I look at the clothes and think ‘somebody suffered for this’. I want customers to hold things knowing somebody’s crafted it – that something is special.’


S/S 2011, illustrated by Gemma Milly

Rachel won’t compromise. She’s staying true to herself and won’t put her name on anything that she hasn’t rigourously vetted and knows exactly where everything has come from. Rachel is as much an ethical designer as any of the Estethica designers – if not more so. She values the work of other people and believes that you ‘have to be ethical in so many different ways’. How you treat your interns, where you source your fabrics, how you communicate with suppliers – all these things, Rachel believes, are necessary for good business, not just opting for ethical fabrics.

Rachel’s previous collections provide sculptural, architectural pieces with innovative techniques (read all about her glow-in-the-dark S/S 2011 collection here) and it seems A/W 2011 will be even more exciting. As we chat about the boy Rachel’s texting and get mixed up with whose tea is whose (easy mistake – Rachel’s recently got a new mug but the Queen of Fucking Everything option she’s given me still has sentimental value) we’re surrounded by leather nipples. REAL nipples.

Rachel and her team of merry men (and women) have been hard at work in the previous weeks to marry them together to make roses. They’re absolutely beautiful to touch and look at but there’s something rather unsettling about them. ‘That’s my aesthetic!’ Rachel declares.

A sneak peek at some of the fabrics, techniques and colours Rachel’s preparing to show this week:


A/W 2010, illustrated by Joana Faria

Rachel’s also working with Ecco, who are developing processes for leather manufacturing for couture houses. Rachel has devoted a lot of her time visiting the Netherlands tannery working alongside them in their quest to transform how we produce and approach leather goods. ‘I’m obsessed with materials!’ Rachel tells me. ‘It’s much nicer to make a jacket out of something that you’ve had an input in from the start.’ She shows me a new process she’s working on (damned if I can remember the name) which gives leather an ethereal ripple-like pattern that looks as if it’s been photoshopped. I’m speechless, and we both sit caressing it for a while until I can think of something to say.


S/S 2011, illustrated by Yelena Bryksenkova

So what’s up next for Rachel? Well, A/W 2011 looks set to be her bravest collection yet, and I had a sneak peek at some of the fabrics, textures, techniques and cuts she’s working on. On a grander scale, she ‘loves to teach’ and wants to establish a system where the efforts of designers to instil good practises and skills into their army of interns is recognised. She describes mainstay teaching as ‘box ticking’ and, as someone whose never done what she was told to do, feels there’s more to give in a studio-based environment than anything in the classroom. I hear ya, love.

Rachel’s excited about the future. She plans to dazzle once a year at the A/W 2011 shows while maintaining commissions with an ever-expanding roster of clients and other projects during the rest of the year. She also wants to live on a boat and explore costume design in cinema. She references Jean Paul Gaultier‘s work on flicks like The Fifth Element and is excited by the prospect of applying her unique aesthetic to film. It all comes down to financing. ‘Money dictates and creates a standard,’ Rachel tells me. ‘The system to support new designers is very small, but I won’t compromise my values. I’m here to stay.’

I should bloody hope so.

Rachel’s original draqing for her collaboration with Neurotica:

All photography by Matt Bramford
Oscars - Georgia Coote
Illustration by Georgia Coote

So Colin and Helena have already won their BAFTA awards. Now all eyes are on them for the Oscars. Particularly Colin Firth, information pills who has been vigorously doing the rounds as it were, on chat shows such as Ellen. I believe in the aforementioned show, Colin was given some Oscar worthy tuxedo pants. Personally I think Colin should have got an Oscar for A Single Man, one of my favourite films…in the world ever. This article is a small run down of 13 films nominated in the Oscars. Lucky 13…

Abby_Wright_Oscars_Natalie_Portman
Natalie Portman Illustration by Abby Wright

Black Swan revolves around Nataliie Portman’s character winning the lead to Swan Lake, leading to madness and obsession. Driven by perfection, she loses grip of reality entirely as you are taken on a heady journey. I accept it is a genre piece, thus obvious and over the top for a reason, but controversially I didn’t love it. Natalie Portman was fantastic though, and has been nominated for Best Actress, among five other nominations for the film.

Inception is a fantasy thriller with Leo at the forefront. Christopher Nolan produced some incedible scenes for our eyes to devour and the twists and turns were a thrill to behold. It has eight nominations, including Leonardo DiCaprio for Best Actor.

Helena Bonham Carter by Matilde Sazio
Helena Bonham Carter Illustration by Matilde Sazio

The King’s Speech had people applauding in the cinemas. Everyone has gone mad for this film. And what with Will and Kate getting hitched this year, the Royal family are enjoying a thrust of positive publicity. Colin Firth’s character is a George VI and Helena Bonham Carter, his wife, the Queen Mother have both been nominated for their performances. The film has been nominated for 12 awards in total.

Colin Firth by Karina Yarv
Colin Firth Illustration by Karina Yarv

Rabbit Hole is about a couple’s life is affected after their young son dies in an accident. Nicole Kidman has been nominated for Best Actress for her role.

The Social Network: David Fincher’s account on the origins of Facebook…

The Kids Are All Right is the story of a lesbian couple whose sperm donor returns into their lives, has four nominations and stars Annette Bening and Julianne Moore.

Toy Story 3 was a sad film in many ways, because it reflected time’s passing and the end of childhood. But Toy Story (1) brings back wonderful memories and has been overplayed to death without inducing even the remotest hatred. Same with Toy Story 2. Toy Story 3 was held in high hopes and it delivered. The film has five nominations, including Best Picture.

Gemma Milly-True Grit
True Grit Illustration by Gemma Milly

True Grit:Joel and Ethan Coen make quite scary, but brilliant films. This remake of the 1969 John Wayne western has received ten nominations in total, these include Jeff Bridges for Best Actor and Hailee Steinfeld for Best Supporting Actress.

Alice In Wonderland sees Alice return to the world of magic and chattering objects, as a 19 year old. She learns of her destiny and meets her old chums. The film, which stars Johnny Depp, has been nominated for three Oscars.

Exit Through the Gift Shop saw Bristol’s Banksy nominated for Best Documenary Feature. The story is about an eccentric French amateur film maker and shop owner trying to befriend Banksy.

127 Hours: Ewww. But also amazing story of overcoming the odds, directed by Danny Boyle. This is a real life story about a climber forced to take extreme action to survive. You all know what I’m talking about I’m sure. James Franco has been nominated for his role as the protagonist and indeed, only character in the film. The film has also been nominated for Best Picture.

Michelle Williams by Russty Brazil
Michelle Williams Illustration by Russty Brazil

Blue Valentine is a stunning and devastating film about falling out of love. Michelle Williams has become numb to her life and husband, whilst Ryan Gosling flails around, trying to save the marriage. Making it all worse. The flashbacks to their falling in love are touching, and the soundtrack by Grizzly Bear made me cry. Michelle Williams has been nominated for Best Actress.

Winter’s Bone:An independent film, Debra Granik’s tale is about a young woman living in a rural community, trying to find her missing father. The film has been nominated for three awards.

Now bring on the pizazz and dresses, quaff, quaff!

Categories ,127 Hours, ,Abby Wright, ,Alice in Wonderland, ,Annette Bening, ,BAFTAS 2011, ,Black Swan, ,Blue Valentine, ,Coen Brothers, ,Colin Firth, ,Ellen, ,Ethan Coen, ,film, ,Gemma Milly, ,Georgia Coote, ,Hailee Steinfeld, ,Helen Martin, ,Helena Bonham Carter, ,James Franco, ,Jeff Bridges, ,Joel Coen, ,Johnny Depp, ,Julianne Moore, ,Karina Yarv, ,Kate Middleton, ,Matilde Sazio, ,Michelle Williams, ,Natalie Portman, ,Nicole Kidman, ,Oscars, ,Oscars 2011, ,Prince William, ,Rabbit Hole, ,Russty Brazil, ,Ryan Gosling, ,The Kids Are Alright, ,The King’s Speech, ,Toy Story, ,Toy Story 2, ,Toy Story 3, ,True Grit, ,Winter’s Bone

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Amelia’s Magazine | Martina Spetlova: New S/S 2012 Season Interview

Martina Spetlova By Shauna Tranter
Martina Spetlova S/S 2012 by Shauna Tranter.

Eco designer Martina Spetlova first caught my eye when I was putting together Amelia’s Compendium of Fashion Illustration last year. She has an inimitable ability to combine materials and colours which has made her past two collections every bit as eye catching as that first one I saw. Time for a catch up me thinks.

Stacie Swift - Martina Spetlova AW11
Martina Spetlova A/W 2011 by Stacie Swift.

For A/W 2011 you shot a more spooky video with a tribal beat, cheap can you speak a bit more about the inspiration for this?
I wanted to work with a dancer and I used a very inspiring film by Maya Deren called A Study In Choreography For Camera as reference. Margarita who performs in my film was loosely choreorgaphed for the piece and then we filmed it over a stretch of a few hours. The music came later and was sourced by Paddy Austin, price who got it from an old Italian opera by Roberto De Simone.


Your use of sustainable leather and zips for A/W 2011 is amazing, how did you mock up trial samples of this range?
I always spend some time researching in the library at the start of a season, but my ideas tend to evolve by experimenting in the studio. I am always testing and mixing the combinations of textures and colours at my studio… playing with various leathers and using zips as connectors and features. 

Martina Spetlova by Celine Elliott
Martina Spetlova S/S 2012 by Celine Elliott.

Your use of colour is very intriguing – where do you get the ideas for your mismatches? Is there something in particular that you look at for inspiration each season, or is your colour choice in your DNA?
In order to be sustainable I work with end of line fabrics and yarns which can be quite limiting in terms of colour. I always have an idea of the main colours I would like to use when I start working on a new collection, but I have to also see what is available and what happy accidents I discover along the way. But I suppose you could say that colour is in my DNA, as I seem to know that the choices and combinations I use are right.


The video for your new S/S 2012 collection is beautiful – what gave you the idea to work with split imagery and different focal lengths?
For my presentation I took the elements that helped create the S/S 2012 collection and separated them out in petri dishes on a large light box. I wanted to highlight the way I experiment when I work, by creating a formula for various processes my designs go through. The film had to sit next to this piece in Somerset House so thats how we thought of using mirrors and a magnifying glass to distort and split images. The film is a collaboration with Ruta Balseviciute and Till Janz, and we were inspired by the short films of Erwin Blumenfeld of course.

Martina-Spetlova-SS-2012-2
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Chemical theory is still a dominant theme, how is this applied to the making of your garments for S/S 2012?
My formula I mentioned above takes the ingredients I use – the end of line fabrics and yarns, ethically sourced leathers, textures and colours of elements such as the zips and knit – and combines them with my own experimentation processes to create the finished piece. I studied a chemistry degree in Prague before I went to Central Saint Martins to study fashion and I found some similarities between the two disciplines. The way I experiment with colours and textures in the design process at my studio echos the blending and mixing of chemicals in order to achieve a prescribed reaction within the laboratory. 

Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper.

You first came to my attention as an eco designer – how has a desire to be ethical continued to influence your work, and how do you make sure that all fabrics are sustainably sourced?
I work with end of line fabrics and yarns from European mills which the industry sees as waste material, but which I am able to use for my limited edition collections. I also work with leather companies which have sustainable policies. 

Martina-Spetlova-SS-2012-6
Martina-Spetlova-SS-2012-7
Martina-Spetlova-SS-2012-8
Martina-Spetlova-SS-2012-9
You’ve recently been doing some teaching – how does this compliment and fit in with your design work?
I have just started teaching fashion on Academy of Fine Arts in Warsaw which is a brand new course and full of energy. It gives me an opportunity to step away from my own work, whilst helping the students develop their own ideas in the same way I was encouraged to at Central Saint Martins.

Martina Spetlova S/S 2012 by Stacie Swift
Martina Spetlova S/S 2012 by Stacie Swift.

Where can people buy a piece of Martina Spetlova?
Selected pieces from my A/W 2011 and S/S 2012 collection will be soon available at LN-CC. I am also selling my new collection with Osmoda, which is new online shop.

Martina-Spetlova-SS-2012-10
Martina-Spetlova-SS-2012-11
Martina-Spetlova-SS-2012-12
Any future plans or collaborations that you can tell us about?
I am hoping to carry on collaborating with Atlantic Leather, which I have been working with for a couple of seasons now. I am also looking into a shoe collaboration for the new season, to be shown next February. 

Wonderful stuff! You can see more of Martina Spetlova in Amelia’s Compendium of Fashion Illustration.

Martina-Spetlova-SS-2012-13
Martina-Spetlova-SS-2012-14
Martina-Spetlova-SS-2012-15
Martina-Spetlova-SS-2012
S/S 2011 collection

Categories ,A Study In Choreography For Camera, ,A/W 2011, ,Academy of Fine Arts, ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Atlantic Leather, ,Celine Elliott, ,Central Saint Martins, ,Chemistry, ,ecodesign, ,Erin Sleeper, ,Erwin Blumenfeld, ,ethical, ,film, ,LN-CC, ,ma, ,Martina Spetlova, ,Maya Deren, ,Osmoda, ,Paddy Austin, ,poland, ,Prague, ,Roberto De Simone, ,Ruta Balseviciute, ,S/S 2012, ,Shauna Tranter, ,Somerset House, ,Stacie Swift, ,Till Janz, ,Warsaw, ,Zips

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Amelia’s Magazine | Martina Spetlova: New S/S 2012 Season Interview

Martina Spetlova By Shauna Tranter
Martina Spetlova S/S 2012 by Shauna Tranter.

Eco designer Martina Spetlova first caught my eye when I was putting together Amelia’s Compendium of Fashion Illustration last year. She has an inimitable ability to combine materials and colours which has made her past two collections every bit as eye catching as that first one I saw. Time for a catch up me thinks.

Stacie Swift - Martina Spetlova AW11
Martina Spetlova A/W 2011 by Stacie Swift.

For A/W 2011 you shot a more spooky video with a tribal beat, cheap can you speak a bit more about the inspiration for this?
I wanted to work with a dancer and I used a very inspiring film by Maya Deren called A Study In Choreography For Camera as reference. Margarita who performs in my film was loosely choreorgaphed for the piece and then we filmed it over a stretch of a few hours. The music came later and was sourced by Paddy Austin, price who got it from an old Italian opera by Roberto De Simone.


Your use of sustainable leather and zips for A/W 2011 is amazing, how did you mock up trial samples of this range?
I always spend some time researching in the library at the start of a season, but my ideas tend to evolve by experimenting in the studio. I am always testing and mixing the combinations of textures and colours at my studio… playing with various leathers and using zips as connectors and features. 

Martina Spetlova by Celine Elliott
Martina Spetlova S/S 2012 by Celine Elliott.

Your use of colour is very intriguing – where do you get the ideas for your mismatches? Is there something in particular that you look at for inspiration each season, or is your colour choice in your DNA?
In order to be sustainable I work with end of line fabrics and yarns which can be quite limiting in terms of colour. I always have an idea of the main colours I would like to use when I start working on a new collection, but I have to also see what is available and what happy accidents I discover along the way. But I suppose you could say that colour is in my DNA, as I seem to know that the choices and combinations I use are right.


The video for your new S/S 2012 collection is beautiful – what gave you the idea to work with split imagery and different focal lengths?
For my presentation I took the elements that helped create the S/S 2012 collection and separated them out in petri dishes on a large light box. I wanted to highlight the way I experiment when I work, by creating a formula for various processes my designs go through. The film had to sit next to this piece in Somerset House so thats how we thought of using mirrors and a magnifying glass to distort and split images. The film is a collaboration with Ruta Balseviciute and Till Janz, and we were inspired by the short films of Erwin Blumenfeld of course.

Martina-Spetlova-SS-2012-2
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Chemical theory is still a dominant theme, how is this applied to the making of your garments for S/S 2012?
My formula I mentioned above takes the ingredients I use – the end of line fabrics and yarns, ethically sourced leathers, textures and colours of elements such as the zips and knit – and combines them with my own experimentation processes to create the finished piece. I studied a chemistry degree in Prague before I went to Central Saint Martins to study fashion and I found some similarities between the two disciplines. The way I experiment with colours and textures in the design process at my studio echos the blending and mixing of chemicals in order to achieve a prescribed reaction within the laboratory. 

Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper.

You first came to my attention as an eco designer – how has a desire to be ethical continued to influence your work, and how do you make sure that all fabrics are sustainably sourced?
I work with end of line fabrics and yarns from European mills which the industry sees as waste material, but which I am able to use for my limited edition collections. I also work with leather companies which have sustainable policies. 

Martina-Spetlova-SS-2012-6
Martina-Spetlova-SS-2012-7
Martina-Spetlova-SS-2012-8
Martina-Spetlova-SS-2012-9
You’ve recently been doing some teaching – how does this compliment and fit in with your design work?
I have just started teaching fashion on Academy of Fine Arts in Warsaw which is a brand new course and full of energy. It gives me an opportunity to step away from my own work, whilst helping the students develop their own ideas in the same way I was encouraged to at Central Saint Martins.

Martina Spetlova S/S 2012 by Stacie Swift
Martina Spetlova S/S 2012 by Stacie Swift.

Where can people buy a piece of Martina Spetlova?
Selected pieces from my A/W 2011 and S/S 2012 collection will be soon available at LN-CC. I am also selling my new collection with Osmoda, which is new online shop.

Martina-Spetlova-SS-2012-10
Martina-Spetlova-SS-2012-11
Martina-Spetlova-SS-2012-12
Any future plans or collaborations that you can tell us about?
I am hoping to carry on collaborating with Atlantic Leather, which I have been working with for a couple of seasons now. I am also looking into a shoe collaboration for the new season, to be shown next February. 

Wonderful stuff! You can see more of Martina Spetlova in Amelia’s Compendium of Fashion Illustration.

Martina-Spetlova-SS-2012-13
Martina-Spetlova-SS-2012-14
Martina-Spetlova-SS-2012-15
Martina-Spetlova-SS-2012
S/S 2011 collection

Categories ,A Study In Choreography For Camera, ,A/W 2011, ,Academy of Fine Arts, ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Atlantic Leather, ,Celine Elliott, ,Central Saint Martins, ,Chemistry, ,ecodesign, ,Erin Sleeper, ,Erwin Blumenfeld, ,ethical, ,film, ,LN-CC, ,ma, ,Martina Spetlova, ,Maya Deren, ,Osmoda, ,Paddy Austin, ,poland, ,Prague, ,Roberto De Simone, ,Ruta Balseviciute, ,S/S 2012, ,Shauna Tranter, ,Somerset House, ,Stacie Swift, ,Till Janz, ,Warsaw, ,Zips

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Amelia’s Magazine | New S/S 2013 Season Interview: Martina Spetlova

Martina Spetlova S/S 2013 by Sharon Farrow
Martina Spetlova S/S 2013 by Sharon Farrow.

Innovative fashion designer Martina Spetlova introduces her new S/S 2013 collection and explains why you should help fund the movie to showcase her upcoming season on Kickstarter.

Marina Spetlova 'The Print & The Jacket' by Dom&Ink
Marina Spetlova ‘The Print & The Jacket‘ by Dom&Ink.

You are a textile innovator – what is it about different textures that you find so appealing?
Texture is like print for me, juxtaposing diferent textures together gives my designs the power I like to achieve in my collections. I tend to experiment with contrasting colours and opposing textures. I am always trying to find ways to treat standard fabrics to give them different structural properties – for instance by bonding, pleating and weaving satin through leathers – which helps me create a point of difference. That is how I can make my designs stand out but I also have lots of fun creating new collections. I am minimalist in shapes but maximalist in texture.

MartinaSpetlova_SS13_Look11
MartinaSpetlova_SS13_2
Your colour palette is also always very distinctive – what inspired this current season’s colour range?
My selection of colours is always little bit random. I usually start with 3 or 4 colours I like and are available and add more of them while working on my fabric samples.

Where did the graphic patterns come from?
From a photograph of my mum in the 70s.

Martina Spetlova by Alexandria Coe
Martina Spetlova by Alexandria Coe.

How do you source your fabrics?
This season I mainly worked with leather. My supplier in London has certain sustainable policies: I am concern about environment and I try to be as eco friendly as possible with my label.

Who creates your pieces?
All the knitwear is created in my studio in London, which does all samples and production at the moment. We work on domestic knitting machines.

MartinaSpetlova_SS13_Look4
MartinaSpetlova_SS13_1
What was the inspiration for the abstractions in your S/S 2013 film?
I wanted to create a land of Martina Spetlova. Shooting the collection froma microscopic view, showing the collection as a diverse landscape of bold colour and glistening mountains of fabric. It captures the detailed focus of this collection.

Martina Spetlova by Ashley Fauguel
Martina Spetlova by Ashley Fauguel.

Looking forward, what can we expect from the new collection?
The new collection is entirely leather and knitwear and features lots of textures and colours again… My simple twisted yarn knitted dresses and neckpieces accompany every look of 15 silhouettes and are a great compliment to raw edged, un-lined leather jackets, tops, skirts, shorts and trousers. Collars are created by patch-working fish skin leathers and off-cuts of sheep skin and no piece in the collection is flat. Amongst the techniques used are the playful exploration of accordion pleats on leather, cuts punched through soft leathers to create grids on the surface and my satin tape hand-woven technique from last season combined with graphic pattern (seen also on knits). I’m using softly twisted stretchy yarns for knitted neckpieces and dresses in black, light grey and graphic patterns. A/W 2013 uses soft colours of pale blue, moth green, mustard orange, white and black together with acid yellow and orange. I use a high quality of craftsmanship, making pieces by hand in the studio.

MartinaSpetlova_SS13_Look13
Martina Spetlova SS13 by Isher Dhiman
Martina Spetlova S/S 2013 by Isher Dhiman.

You are currently seeking funding on Kickstarter – what will these funds go towards and what can contributors expect in return?
I have set up Kickstarter to help me fund my film presentation in Somerset House during London Fashion Week, which will pay for the space to showcase my film in the Portico Rooms. Everyone who sponsors this event will be invited to Somerset House, and pieces from my collections will be gifted to generous backers. Of course there will also be a BIG THANK YOU to everyone who supports me!

There are six days left to help Martina Spetlova raise £1000 for her film presentation at the LFW – help out on Kickstarter here.

Categories ,Alexandria Coe, ,Ashley Fauguel, ,Dom & Ink, ,Dom&Ink, ,Dominic Evans, ,ethical, ,film, ,Isher Dhiman, ,Kickstarter, ,leather, ,London Fashion Week, ,Martina Spetlova, ,Portico Rooms, ,S/S 2013, ,Sharon Farrow, ,Somerset House, ,textiles

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Hannah Marshall


Hannah Marshall S/S 2011, check illustrated by Erica Sharp

For S/S 2011 Hannah Marshall began with an elegant (though incredibly high in production value) film in keeping with the designer’s singular aesthetic.

For Spring Summer 2011 Hannah Marshall strayed into the world of soft colour, doctor after the first model strode down the catwalk in one of the collections strongest designs, physician a sheer dress that draped to the floor. The jackets for S/S 2011 remain delicately architecture, the shoulders still prominent appeared less fierce but remained purposeful. Hannah Marshall designs strong clothes to be worn by strong personalities.

The title of last season’s show: Army of Me, and it is almost impossible to think of a more apt title, for a collection so intrinsically linked to the vision and physical presence of the designer. This is not to a fault – though one can feel daunted by the possibility in inhabiting the clothes – but a testament to Hannah Marshall that her aesthetic after three seasons of participating in London Fashion Week is so strong. Another designer that conveys a similar sense of strength in her collections identity is the ever fantastic Louise Gray.


Illustration by Erica Sharp

The catwalk presentation was split into two halves, it being the second section in which a soft cream first appeared from backstage. Whilst the addition of ‘colour’ may have been a challenge to the designers colour palate, it was welcomed. The pattern designs remained loyal, as structural rectangle ruffles adorned the sleeves of the signature blazer and the neckline of dresses.

The collection of blouses and a jumpsuit which appeared in the presentation were unified in the embracement sheer material. The heaviest detailing on these garments appeared around the collar and buttons, enhancing the vulnerable visibility of the models flesh.

At times evocative of the 1980s were clothes were a constant symbol of wealth, the restrained addition of colour from Marshall leaves the viewer intrigued for the designer’s direction for A/W 2011.

Categories ,180s, ,BFC, ,black, ,british fashion council, ,Erica Sharp, ,film, ,Hannah Marshall, ,London Fashion Week, ,S/S 2011, ,Somerset House

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Amelia’s Magazine | London Fashion Week S/S 2011: Presentation and Film Review: Ziad Ghanem

Menswear day usually brings out the most stylish men, cialis 40mg buy more about whether sharp sartorial, ask post-punk or borderline ridiculous. Here’s a very quick look at what some of them were wearing for your delectation…

Love this Christopher Shannon print:

I love this guy’s boots. Bang on trend.

These AREN’T men – they are Amelia Gregory and Amelia’s Magazine illustrator Naomi Law!


Illustration by Michelle Urvall Nyrén

I have to say that I was more than a little disappointed when cult couturier Ziad Ghanem revealed, look when I interviewed him last month, that he would be showing a film for ‘Mother Russia’, his S/S 2011 collection, rather than producing a show. How would I cope without Ziad on the catwalk line-up? It was the highlight of my A/W 2010 fashion week by far.

Well, true to form, Ziad still managed to dazzle at swanky Shoreditch haunt Avalon on Monday night. I thought I might miss this one because I had hotted it from central London after the FAD Awards, and it turns out I did miss the live presentation of the collection. Gutted.


Photographs kindly courtesy of Masayo Matsuda

The venue, though, was packed full of the intriguing breed of person that Ziad’s visionary work attracts – people with antlers on their heads, for example. It’s a delight to simply stand and admire these people, who always seem to look amazing no matter what they are wearing. I had a job on trying to distinguish who was in the presentation and who was a guest!

The presentation featured a selection of the outfits from Ziad’s S/S 2011 collection, modelled by some familiar faces who have wurked his dramatic ensembles before. They were, inevitably, incredible.


Illustrations by Michelle Urvall Nyrén

As per usual, the sense of drama in Ziad’s collection was palpable. Models with painted white faces leaped around one of Avalon’s many rooms, wearing theatrical numbers that enveloped them. Enormous a-line dresses that models held up by their sides to create the illusion of wings featured and fabrics were adorned with exotic patterns in all sorts of vibrant colours (some of which I recognised from Ziad’s A/W 2010 collection and are quickly becoming a signature). One-shoulder capes featured on the guys who cavorted and writhed with busty ladies in strapless numbers.


Photographs kindly courtesy of Masayo Matsuda

Alongside this ferocious performance, in another room, the film was screened. The room featured grand antique armchairs and had zero lighting, creating yet more drama that the film would inevitably bring.

Directed by Marnie Hollande, fashion filmmaker who we interview recently, this encapsulated what Ziad Ghanem’s eponymous label has come to represent. Dramatic, Russian-inspired music played like a haunting melody as the models, again firm Ziad favourites, pranced around what looked like an old theatre. It had masses of drama and style, as always, as models leaped across the screen and cavorted with each other.

Enjoy:

‘Mother Russia’ by Ziad Ghanem on Vimeo.

Stills from the film:

The good news is that Ziad revealed on his Facebook page that, due to the generosity of a private buyer who has snapped up the entire collection, the Grand Master and his works of art will return to the catwalk next season. A/W 2011 can’t come some enough.

Categories ,Avalon, ,couture, ,drama, ,fashion, ,film, ,London Fashion Week, ,Marnie Hollande, ,Presentation, ,review, ,S/S 2011, ,shoreditch, ,Vibrant, ,Ziad Ghanem

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Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Carolyn Massey


Illustrations by Izzy Lee

Now showing in his fifth season at London Fashion Week, patient pills Mark Fast showed his debut on-schedule show on the British Fashion Council space.

For those of you who are unfamiliar with Mark Fast, prescription he made his name with electric body conscious lycra knits in 2008 when graduating from the prestigious MA Fashion programme at Central Saint Martins, crafting on his domestic knitting machine in his studio East London.

For S/S 2011 he kept his eye on the lace knitting whilst moving onto heavy fringing and plastic panels, held by hand-manipulated stitches. The result was one of extreme beauty.

Moving on from A/W 2010 where he knitted fabrics and wrapped them up as saris whilst using his trademark lace to craft floaty lower-hip hemmed dresses. S/S 2011 was one for perhaps the more serious woman, something they can and will wear for a more formal affair.

The show opened with a knitted jumpsuit that had fringes running down the leg side seams and underarm seams, creating a vision of destroyed beauty. Referencing from the oil spill where birds have been covered in oil and have lost the ability to fly, this followed with further more black looks where fringing dominated.

Red, pink and turquoise viscose fringes brought bursts of colour to dominant black garments, followed by flashes of yellow, pink, nude and white.

Another key element to the collection was the study of butterfly and insects under microscopes. Using the vivid color from insects and butterflies, knitwear had been encrusted with Swarovski crystals, referencing the study and observation he undertook.

He also continued his take on the “plus size” models he brought into action at London Fashion Week in S/S 2009. The girls looked much more comfortable than in previous seasons.

Mark Fast has made incredible progress over the last few years, bringing knitwear to the forefront of fashion. It’s so exciting to see his collections develop as he cements himself as the pioneer of contemporary knitwear design.

Izzy Lee is the founder of the fashion knitwear blog UrbanKnit


Illustration by Zarina Liew

Hermione de Paula is known for her distinctive screen printing; using hand drawn, doctor painted and embroidered elements she creates beautifully intricate and complex floral textures.  Her website describes the signature style of the label as romantic and sultry, sexually charged yet nonchalant and feminine with a twist. The irresistible philosophy in life of Hermione’s girl is ‘I probably shouldn’t, but I will anyway’. If that doesn’t entice you to explore her collections then I don’t know what will. 

Hermione’s collections are always centered around a female figure; her debut collection was named ‘I heart Elizabeth Berkley’ and took inspiration from the film Showgirls.  A/W 2010 was entitled ‘Polly Crystalline’and featured fabrics printed with pearlised, crystallized and frozen flowers.

http://www.cobaltcafe.co.uk/

S/S 2011 sees de Paula focussing upon ‘the sexual awakening of Flora, the goddess of flowers’.  Garments were layered and fluid; sheer printed silks and chiffon were embroidered loosely with gossamery wisps of cashmere and mohair, adding to the weightless movement of the pieces.  The palette consisted of the delicate muted pink and mauve hues of petals, contrasting with indigo, taupe and black. 






Photographs courtesy Hermione de Paula

Assymetric hems gave a contemporary feel to the collection, along with unfinished, fraying collars and translucent panelling. 

So far it sounds very feminine and demure, but on second glance, the flowing floral prints included unexpected hidden details – dry, wilted blooms, octopus tentacles, thistles, blackbirds and ghostly stems and branches.  

In contrast to the fluttering layers, fraying denim was used to create neckpieces, ankle cuffs, belts and Macramé overskirts. Chunky black crocheted vests, silk shorts and flimsy printed camisoles with denim halternecks were just seen under blouses and dresses.  

http://www.cobaltcafe.co.uk/

The looks were finished with ankle socks in black, taupe and nude, worn with chunky geometric heels by Nicholas Kirkwood.  Hermione is currently working on print consultancy with luxury shoe designer Kirkwood, as well as collaborating with Browns Focus to produce bespoke pieces. Plenty to look out for…


Illustration by Zarina Liew

Hermione de Paula is known for her distinctive screen printing; using hand drawn, viagra buy painted and embroidered elements she creates beautifully intricate and complex floral textures.  Her website describes the signature style of the label as romantic and sultry, illness sexually charged yet nonchalant and feminine with a twist. The irresistible philosophy in life of Hermione’s girl is ‘I probably shouldn’t, diagnosis but I will anyway’. If that doesn’t entice you to explore her collections then I don’t know what will. 

Hermione’s collections are always centered around a female figure; her debut collection was named ‘I heart Elizabeth Berkley’ and took inspiration from the film Showgirls.  A/W 2010 was entitled ‘Polly Crystalline’and featured fabrics printed with pearlised, crystallized and frozen flowers.


Illustration by Zarina Liew

S/S 2011 sees de Paula focussing upon ‘the sexual awakening of Flora, the goddess of flowers’.  Garments were layered and fluid; sheer printed silks and chiffon were embroidered loosely with gossamery wisps of cashmere and mohair, adding to the weightless movement of the pieces.  The palette consisted of the delicate muted pink and mauve hues of petals, contrasting with indigo, taupe and black. 






Photographs courtesy Hermione de Paula

Assymetric hems gave a contemporary feel to the collection, along with unfinished, fraying collars and translucent panelling. 

So far it sounds very feminine and demure, but on second glance, the flowing floral prints included unexpected hidden details – dry, wilted blooms, octopus tentacles, thistles, blackbirds and ghostly stems and branches.  

In contrast to the fluttering layers, fraying denim was used to create neckpieces, ankle cuffs, belts and Macramé overskirts. Chunky black crocheted vests, silk shorts and flimsy printed camisoles with denim halternecks were just seen under blouses and dresses.  


Illustration by Zarina Liew

The looks were finished with ankle socks in black, taupe and nude, worn with chunky geometric heels by Nicholas Kirkwood.  Hermione is currently working on print consultancy with luxury shoe designer Kirkwood, as well as collaborating with Browns Focus to produce bespoke pieces. Plenty to look out for…


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, pills so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed. My general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with as much style as Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail widens their opportunities to criticise. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford

Categories ,accessories, ,Annejkh Carson, ,Carolyn Massey, ,Chris Brooks, ,Desert, ,Doctor’s bags, ,fashion, ,film, ,menswear, ,Portico Rooms, ,S/S 2011, ,tailoring, ,Tibor Kalman

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