Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Ziad Ghanem


Ziad Ghanem S/S 2012 by Aysim Genc

In the hotbox that is Vauxhall Fashion Scout‘s Freemasons Hall venue, approved Ziad Ghanem was about to return to the catwalk in dramatic fashion, symptoms and we would not expect anything less. He’d already tweeted that he’d received up to 3000 ticket requests for his show, about it and while I’m not sure there were that many there, it was bloody packed. We were asked to make more and more room for new guests, to the point where I was almost spooning the girl sitting next to me. And it was SO HOT.


Marnie Scarlet for Ziad Ghanem S/S 2012 by Gilly Rochester

One guy, wearing an outfit only suitable for the front row, idled up and down the catwalk in the hope that someone lesser dressed would offer up his seat. Luckily they managed to squeeze him in a little further down from me. Thank God, I thought – imagine wearing a toilet seat on your head and having to sit fifth! Mortifying.

As I made eyes at Amelia across the catwalk, something rather dramatic happened in the photographer’s pit. A loud bang, as if somebody had fallen, came first – everybody spun to see what was going on. A girl was struggling to maintain her balance and let out a yelp and it was clear that there were some photographers missing. The guy sitting next to me was certain he’d seen fisticuffs; as the photographers vied for space, one had lamped another. It was all very confusing and a little distressing, not least to resist the urge to stand up and cry ‘FIGHT!‘ Ziad, being the gentleman that he is, took to Facebook post-show to offer any injured parties a free outfit. What a lovely man.


Photography by Amelia Gregory

There ain’t no better show suited to a bit of pre-start drama. After the hysteria had settled down and I’d lost a few more pounds in sweat (never a bad thing), the show commenced. This particular collection is inspired by profound Polish film Matka Joanna (Mother Joan); a dark tale of the demonic possession of nuns. Well, what were you expecting? Floaty floral dresses? I don’t think so.


Ziad Ghanem S/S 2012 by Rukmunal Hakim

It’s hard to describe what really happens at a Ziad show. You can’t say ‘the dresses were long’ or ‘the skirts were short’ because every piece is unique and that’s just how Ziad does it. We had a couple walk first, the gent in a cropped white organza jacket, the lady in a glamorous pale pink dress, both with flowers atop their heads and big red eyes.


Photography by Tim Adey

We had performance artist Mr Pustra, who skipped in wearing an exaggarated black ensemble and red PVC gloves, and Marnie Scarlet, wearing one of Ziad’s bridal creations – layer upon layer of white silk and tulle, teamed as any bride would with white PVC leggings. Marnie entered the arena with a PVC umbrella that showered her with rose petals when she opened it.


Photography by Matt Bramford

Intense colours are always the flavour of these shows – this time around monochrome and red threaded the collection together. We had a floor-length translucent number, worn sans underwear. The funny thing is I was thinking I hadn’t seen any vaginas this season after VaginaGate a year ago, and I thought to myself I really wish I hadn’t thought to myself that I hadn’t seen any vaginas, because I suspect that’s why I did.


Ziad Ghanem S/S 2012 by Helena Maratheftis

The rest of the couture pieces celebrated Ziad Ghanem‘s exceptional talent when it comes to making clothes, and it wasn’t all about spectacle. A fishtail gown with incredible lace detail brought audible gasps from the audience and had that timeless quality like the grand dressmakers that precede him. Of course, it was sexed up with leather gloves. Then came a selection of paint-splattered pieces in allsorts of vibrant colours that would have made for a complete collection (and were borderline wearable) if this had not been the mighty Ziad.

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory


Photography by Amelia Gregory

The show featured the usual roll call of weird and wonderful models, including DJ Jackee Word, dancer Laura Cherry (who modelled the aforementioned fishtail dress) and singer Tanya Valensi who looked fiece in a less whacky micro dress with incredible embellishment. My favourite model in this show (and in any, for that matter) has to be Ziad‘s ‘favourite niece’ Janet Younan. A girl aged no more than 10 or 11 sashayed down the catwalk like a bridesmaid from a fairytale with as much confidence and swagger as any other model could muster. The crowd went NUTS for this, and quite rightly – Janet really werked it and looked overjoyed when she brought her uncle out for a post-show bow.


Ziad Ghanem S/S 2012 by Claire Kearns

Amelia and I both remarked that this collection was a little less cohesive than previous seasons, but then this is Ziad Ghanem we’re talking about – master of craftsmanship, creator of drama and intensity and master couturier. Some of the shows you see begin with one outfit and change very little throughout, sometimes making you ponder if they’ve actually made a mistake and sent the same model in the same frock out twice. But you’d never get that at a Ziad Ghanem show – no way José. This was a celebration of haute fashion, of everybody’s beauty, and of a designer’s ability to do whatever the hell he likes.


Photography by Matt Bramford

Long live Ziad Ghanem.

Ziad Ghanem SS 2012 review

Watch the show in full here:

Categories ,Amelia, ,Aysim Genc, ,Claire Kearns, ,couture, ,Fight, ,film, ,Freemasons’ Hall, ,Front Row, ,Gilly Rochester, ,Helena Maratheftis, ,Jackee Word, ,Janet Younan, ,Laura Cherry, ,London Fashion Week, ,Marnie Scarlet, ,Matka Joanna, ,Matt Bramford, ,Mr Pustra, ,Nuns, ,Organza, ,Photographers Pit, ,Polish, ,review, ,Rukmunal Hakim, ,S/S 2012, ,SS12, ,Tanya Valensi, ,twitter, ,VaginaGate, ,Vaginas, ,Vauxhall Fashion Scout, ,Ziad Ghanem

Similar Posts:






Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Ziad Ghanem


Ziad Ghanem S/S 2012 by Aysim Genc

In the hotbox that is Vauxhall Fashion Scout’s Freemasons Hall venue, Ziad Ghanem was about to return to the catwalk in dramatic fashion, and we would not expect anything less. He’d already tweeted that he’d received up to 3000 ticket requests for his show, and while I’m not sure there were that many there, it was bloody packed. We were asked to make more and more room for new guests, to the point where I was almost spooning the girl sitting next to me. And it was SO HOT.


Marnie Scarlet for Ziad Ghanem S/S 2012 by Gilly Rochester

One guy, wearing an outfit only suitable for the front row, idled up and down the catwalk in the hope that someone lesser dressed would offer up his seat. Luckily they managed to squeeze him in a little further down from me. Thank God, I thought – imagine wearing a toilet seat on your head and having to sit fifth! Mortifying.

As I made eyes at Amelia across the catwalk, something rather dramatic happened in the photographer’s pit. A loud bang, as if somebody had fallen, came first – everybody spun to see what was going on. A girl was struggling to maintain her balance and let out a yelp and it was clear that there were some photographers missing. The guy sitting next to me was certain he’d seen fisticuffs; as the photographers vied for space, one had lamped another. It was all very confusing and a little distressing, not least to resist the urge to stand up and cry ‘FIGHT!‘ Ziad, being the gentleman that he is, took to Facebook post-show to offer any injured parties a free outfit. What a lovely man.


Photography by Amelia Gregory

There ain’t no better show suited to a bit of pre-start drama. After the hysteria had settled down and I’d lost a few more pounds in sweat (never a bad thing), the show commenced. This particular collection is inspired by profound Polish film Matka Joanna (Mother Joan); a dark tale of the demonic possession of nuns. Well, what were you expecting? Floaty floral dresses? I don’t think so.


Ziad Ghanem S/S 2012 by Rukmunal Hakim

It’s hard to describe what really happens at a Ziad show. You can’t say ‘the dresses were long’ or ‘the skirts were short’ because every piece is unique and that’s just how Ziad does it. We had a couple walk first, the gent in a cropped white organza jacket, the lady in a glamorous pale pink dress, both with flowers atop their heads and big red eyes.


Photography by Tim Adey

We had performance artist Mr Pustra, who skipped in wearing an exaggarated black ensemble and red PVC gloves, and Marnie Scarlet, wearing one of Ziad’s bridal creations – layer upon layer of white silk and tulle, teamed as any bride would with white PVC leggings. Marnie entered the arena with a PVC umbrella that showered her with rose petals when she opened it.


Photography by Matt Bramford

Intense colours are always the flavour of these shows – this time around monochrome and red threaded the collection together. We had a floor-length translucent number, worn sans underwear. The funny thing is I was thinking I hadn’t seen any vaginas this season after VaginaGate a year ago, and I thought to myself I really wish I hadn’t thought to myself that I hadn’t seen any vaginas, because I suspect that’s why I did.


Ziad Ghanem S/S 2012 by Helena Maratheftis

The rest of the couture pieces celebrated Ziad Ghanem’s exceptional talent when it comes to making clothes, and it wasn’t all about spectacle. A fishtail gown with incredible lace detail brought audible gasps from the audience and had that timeless quality like the grand dressmakers that precede him. Of course, it was sexed up with leather gloves. Then came a selection of paint-splattered pieces in allsorts of vibrant colours that would have made for a complete collection (and were borderline wearable) if this had not been the mighty Ziad.

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory


Photography by Amelia Gregory

The show featured the usual roll call of weird and wonderful models, including DJ Jackee Word, dancer Laura Cherry (who modelled the aforementioned fishtail dress) and singer Tanya Valensi who looked fiece in a less whacky micro dress with incredible embellishment. My favourite model in this show (and in any, for that matter) has to be Ziad’s ‘favourite niece’ Janet Younan. A girl aged no more than 10 or 11 sashayed down the catwalk like a bridesmaid from a fairytale with as much confidence and swagger as any other model could muster. The crowd went NUTS for this, and quite rightly – Janet really werked it and looked overjoyed when she brought her uncle out for a post-show bow.


Ziad Ghanem S/S 2012 by Claire Kearns

Amelia and I both remarked that this collection was a little less cohesive than previous seasons, but then this is Ziad Ghanem we’re talking about – master of craftsmanship, creator of drama and intensity and master couturier. Some of the shows you see begin with one outfit and change very little throughout, sometimes making you ponder if they’ve actually made a mistake and sent the same model in the same frock out twice. But you’d never get that at a Ziad Ghanem show – no way José. This was a celebration of haute fashion, of everybody’s beauty, and of a designer’s ability to do whatever the hell he likes.


Photography by Matt Bramford

Long live Ziad Ghanem.

Ziad Ghanem SS 2012 review

Watch the show in full here:




Categories ,Amelia, ,Aysim Genc, ,Claire Kearns, ,couture, ,Fight, ,film, ,Freemasons’ Hall, ,Front Row, ,Gilly Rochester, ,Helena Maratheftis, ,Jackee Word, ,Janet Younan, ,Laura Cherry, ,London Fashion Week, ,Marnie Scarlet, ,Matka Joanna, ,Matt Bramford, ,Mr Pustra, ,Nuns, ,Organza, ,Photographers Pit, ,Polish, ,review, ,Rukmunal Hakim, ,S/S 2012, ,SS12, ,Tanya Valensi, ,twitter, ,VaginaGate, ,Vaginas, ,Vauxhall Fashion Scout, ,Ziad Ghanem

Similar Posts:




























Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Úna Burke (by Amelia)

Una Burke A/W 2011 by Joy Chokchai
Una Burke A/W 2011 by Joy Chokchai.

I really don’t know what it is about fashion that attracts so many people with a dark sensibility. Is it because an obsession with the way we look can easily tip into self flagellation? Maybe encouraged by the desire to strive for but never being able to attain perfection? Punishment, approved pain and even death are a major inspiration for all sorts of fashionable creativity… and ideas provoked by S&M were present in spades at this LFW, more about as always.

Una Burke A/W 2011. Photography by Amelia GregoryUna Burke A/W 2011. Photography by Amelia GregoryUna Burke A/W 2011. Photography by Amelia GregoryUna Burke A/W 2011. Photography by Amelia Gregory

Úna Burke presented her leatherwear collection at Fashion Scout accompanied by a somewhat disturbing film that my more erudite boyfriend informed me was similar to the work of Bjork’s one time other half Matthew Barney. It featured scenes of a semi clad model in a dungeon – opening her eyes in gory close up before grappling her way towards the light and a crowd of bemused onlookers.

Una Burke A/W 2011. Photography by Amelia GregoryUna Burke A/W 2011. Photography by Amelia GregoryUna Burke A/W 2011. Photography by Amelia GregoryUna Burke A/W 2011. Photography by Amelia GregoryUna Burke A/W 2011. Photography by Amelia Gregory
Una Burke A/W 2011. Photography by Amelia Gregory.

In cabinets we were invited to admire the bondage inspired pieces up close, splayed out and presented alongside grainy black and white photos, stills from the film. Her website cites her stated aim to create leather objects which are both visually captivating and technically challenging. Úna Burke inhabits that grey area between art and fashion – making wearable art. Using traditional techniques, there is undoubtedly a fine sense of craftsmanship to her work. All well and good for a bit of sex play, but this kind of presentation leaves me wondering – what exactly is the market for this? Can one make a living this way? Or must one diversify into slightly more commercial pieces to survive? Witness the Maria Francesca Pepe exhibition a few days later…

You can read Matthew Bramford’s complimentary review of the same presentation right here.

Categories ,Fashion Scout, ,film, ,Freemasons’ Hall, ,Joy Chokchai, ,Limbic Lullaby, ,Maria Francesca Pepe, ,Matthew Barney, ,S&M, ,Úna Burke

Similar Posts:






Amelia’s Magazine | Leutton Postle: London Fashion Week S/S 2014 Digital Presentation Review


Leutton Postle S/S 2014 by Lynne Datson

On Saturday afternoon I popped into Canon‘s digital space at Somerset House with fifteen minutes to spare to see fashion’s hottest duo – Leutton Postle. Whilst Amy Gwatkin‘s S/S 2014 film was projected onto the wall, the luxury knitwear label’s model India sat elegantly in a corner fingering Mills & Boon novels.


All photography by Matt Bramford

Large scale, freehand illustrations come to life for S/S 2014. The crudeness of doodling and the simplicity of bold, vibrant shapes are transformed through Jacquard knits and raised embroidery. On white garments, starting as blank canvases, layers of neons are manipulated to create striking, unique pieces that you won’t find anywhere else on the London Fashion Week schedule. This season, plastics carrying the rich designs were juxtaposed with the softness of cottons, on wrap-around skirts, dresses and trousers.


Leutton Postle S/S 2014 by Lynne Datson

Amy Gwatkin‘s hypnotising film, shot in a quaint, typically English home, marries Martin Parr‘s cynical view of Middle England with the comedic vox pops of British favourites like Creature Comforts. India, the model, moves between rooms adorned with lowbrow decorations and soft-furnishings popular with old ladies (the film was set in one of the twosome’s neighbour’s homes) while musing on eccentricities of everyday life. The dulcet tones of the voiceover are in stark contrast to the surroundings in which they are delivered. Fashion films are brilliant, I thought, as I made my way through cocktail number three.

Categories ,Amy Gwatkin, ,Canon, ,digital, ,fashion, ,film, ,Jenny Postle, ,Leutton Postle, ,lfw, ,London Fashion Week, ,Lynne Datson, ,Presentation, ,S/S 2014, ,Sam Leutton, ,SS14

Similar Posts:






Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Hermione de Paula

Hermione de Paula by June Champoomidole.
Hermione de Paula by June Chanpoomidole.

Waiting in the crush outside the venue for the Hermione De Paula show I bumped into my old friend Xerxes (well, viagra buy he’s not old, approved he’s very young actually, but I met him when he was a lot younger) nonchalantly lounging his tall willowy self against a pillar. I haven’t really spoken to him in many years; I guess our paths must have diverged at some point. We had time for a few moments catch up before his attention was diverted by some other trendy young things and it turns out he’s engaged! Yet another young ‘un getting married, a fact which makes me very happy. So many people of my age and older seem to have skipped this stage of life and then discovered it’s too late to have some of those things they really wanted, like a family. Maybe those a decade younger have seen how miserable some of their older single friends are and gone “uh-uh, I ain’t fallin’ into that trap, life sure looks easier with someone at my side. Maybe I will get settled in my twenties.”

Hermione de Paula show
This isn’t Xerxes, this is fashion editor Matt Bramford in the crush with me outside the show.

Of course, Xerxes is not on facebook, so like a few other refusniks I have no idea what he is up to. One thing you can’t fault facebook for is the way that it allows you to easily keep up with what out-of-date friends are up to, or even what up-to-date-but-I-never-get-a-chance-to-see friends are up to. But Xerxes knew what I do because he reads all my Amelia’s Magazine emailouts (subscribe on the left hand side of any page on my website). I forget that so many people follow my life, either via twitter, or my emailout, or facebook. Xerxes is now a consultant to lifestyle brands, that fancy well paid job that I always thought I’d do given that I have, ooh, six years of running a cult magazine with an impeccable pedigree in a wide range of cultural niches under my belt, but hey I’m still waiting for those phonecalls. He’s helping Gucci to make more money out of being sustainable. Nice work if you can get it, though I’m not sure how entirely ethical that could be in reality.

I then got pulled into a small booth hastily set up in an alcove by the All Walks Beyond the Catwalk Campaign to get more curvy women into fashion. A large cutout letter was planted in my hand and a photograph taken before I had so much as a chance to check me lippy. Apparently the pics will go up on the website but I have no idea when or where. Ironically enough, posing right next to a crush of skinny young fashion things, I felt too exposed to take my coat off and flaunt my definitely curvy figure with any amount of glee. But I do admire Mark Fast and all those fashion designers who have chosen to make clothes for larger models (i.e. normal sized women) for whilst I may love some of the looks presented on rake thin lasses, I think that curvy ladies are waaaaaay sexier – and well clothed sexy ladies are to be encouraged at every turn.


Hermione de Paula by June Chanpoomidole.

Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione De Paula. All photography by Amelia Gregory.

This was Hermione de Paula’s fourth show at London Fashion Week. Apparently her first was inspired by a character from that saucy mid 90s film, Showgirls: I remember going to see that in a Swindon cinema complex with my dad (my parents lived nearby for awhile when I was at college, okay?) and being highly embarrassed by all the graphic sex scenes. For this show, entitled Polly Crystalline, Hermione explored the idea of trapped femininity, using extreme shapes to emphasise “tits and hips” together with beautiful prints inspired by the forms of ice crystals, and the girls took to the catwalk at a fair old lick as you’ll see from my photos.

Hermione de Paula by June Champoomidole.
Hermione de Paula by June Chanpoomidole.

Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione De Paula A-W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione De Paula. All photography by Amelia Gregory.

This confident collection was a radical break in style from most other shows I saw during fashion week, the resulting outfits presenting a kind of babydoll meets goth rocker look, all wonderfully styled with severely bobbed wigs in pastel shades of grey, pink, baby blue and yellow, and large handheld lock and keys. The plastic corsets and apron dresses may not have been practical for everyday wear but there was plenty here to lust over, including the flouncy tailored tops and jackets in both Hermione’s signature black and white crystalline print and a more traditional rose design. Even the lizard like shoulder-frilled dresses were very obviously wearable.

Hermione de Paula

When Hermione popped out to take her bow at the end she looked utterly adorable, if far less glamourous than in the press shot on her website. (I want one of those. Make me look glamourous someone!) I think this lady will go far.

Categories ,All Walks Beyond the Catwalk, ,Curvy Models, ,film, ,Freemasons’ Hall, ,Hermione de Paula, ,June Champoomidole, ,London Fashion Week, ,Mark Fast, ,Showgirls, ,Swindon

Similar Posts:






Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Hermione de Paula

Hermione de Paula by June Champoomidole.
Hermione de Paula by June Chanpoomidole.

Waiting in the crush outside the venue for the Hermione De Paula show I bumped into my old friend Xerxes (well, he’s not old, he’s very young actually, but I met him when he was a lot younger) nonchalantly lounging his tall willowy self against a pillar. I haven’t really spoken to him in many years; I guess our paths must have diverged at some point. We had time for a few moments catch up before his attention was diverted by some other trendy young things and it turns out he’s engaged! Yet another young ‘un getting married, a fact which makes me very happy. So many people of my age and older seem to have skipped this stage of life and then discovered it’s too late to have some of those things they really wanted, like a family. Maybe those a decade younger have seen how miserable some of their older single friends are and gone “uh-uh, I ain’t fallin’ into that trap, life sure looks easier with someone at my side. Maybe I will get settled in my twenties.”

Hermione de Paula show
This isn’t Xerxes, this is fashion editor Matt Bramford in the crush with me outside the show.

Of course, Xerxes is not on facebook, so like a few other refusniks I have no idea what he is up to. One thing you can’t fault facebook for is the way that it allows you to easily keep up with what out-of-date friends are up to, or even what up-to-date-but-I-never-get-a-chance-to-see friends are up to. But Xerxes knew what I do because he reads all my Amelia’s Magazine emailouts (subscribe on the left hand side of any page on my website). I forget that so many people follow my life, either via twitter, or my emailout, or facebook. Xerxes is now a consultant to lifestyle brands, that fancy well paid job that I always thought I’d do given that I have, ooh, six years of running a cult magazine with an impeccable pedigree in a wide range of cultural niches under my belt, but hey I’m still waiting for those phonecalls. He’s helping Gucci to make more money out of being sustainable. Nice work if you can get it, though I’m not sure how entirely ethical that could be in reality.

I then got pulled into a small booth hastily set up in an alcove by the All Walks Beyond the Catwalk Campaign to get more curvy women into fashion. A large cutout letter was planted in my hand and a photograph taken before I had so much as a chance to check me lippy. Apparently the pics will go up on the website but I have no idea when or where. Ironically enough, posing right next to a crush of skinny young fashion things, I felt too exposed to take my coat off and flaunt my definitely curvy figure with any amount of glee. But I do admire Mark Fast and all those fashion designers who have chosen to make clothes for larger models (i.e. normal sized women) for whilst I may love some of the looks presented on rake thin lasses, I think that curvy ladies are waaaaaay sexier – and well clothed sexy ladies are to be encouraged at every turn.


Hermione de Paula by June Chanpoomidole.

Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione De Paula. All photography by Amelia Gregory.

This was Hermione de Paula’s fourth show at London Fashion Week. Apparently her first was inspired by a character from that saucy mid 90s film, Showgirls: I remember going to see that in a Swindon cinema complex with my dad (my parents lived nearby for awhile when I was at college, okay?) and being highly embarrassed by all the graphic sex scenes. For this show, entitled Polly Crystalline, Hermione explored the idea of trapped femininity, using extreme shapes to emphasise “tits and hips” together with beautiful prints inspired by the forms of ice crystals, and the girls took to the catwalk at a fair old lick as you’ll see from my photos.

Hermione de Paula by June Champoomidole.
Hermione de Paula by June Chanpoomidole.

Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione De Paula A-W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione de Paula A/W 2010 photography by Amelia Gregory
Hermione De Paula. All photography by Amelia Gregory.

This confident collection was a radical break in style from most other shows I saw during fashion week, the resulting outfits presenting a kind of babydoll meets goth rocker look, all wonderfully styled with severely bobbed wigs in pastel shades of grey, pink, baby blue and yellow, and large handheld lock and keys. The plastic corsets and apron dresses may not have been practical for everyday wear but there was plenty here to lust over, including the flouncy tailored tops and jackets in both Hermione’s signature black and white crystalline print and a more traditional rose design. Even the lizard like shoulder-frilled dresses were very obviously wearable.

Hermione de Paula

When Hermione popped out to take her bow at the end she looked utterly adorable, if far less glamourous than in the press shot on her website. (I want one of those. Make me look glamourous someone!) I think this lady will go far.



Categories ,All Walks Beyond the Catwalk, ,Curvy Models, ,film, ,Freemasons’ Hall, ,Hermione de Paula, ,June Champoomidole, ,London Fashion Week, ,Mark Fast, ,Showgirls, ,Swindon

Similar Posts:




























Amelia’s Magazine | Flik Hall: New S/S 2012 Season Presentation Preview and Interview

Flik Hall S/S 2012 by Milly Jackson
Flik Hall S/S 2012 by Milly Jackson.
 
Flik Hall is becoming a bit of a regular here at Amelia’s, and is it any wonder when the Central Saint Martins graduate continues to deliver covetable collections season after season? Speaking with Amelia’s earlier this year, she enlightened us on her past work with fashion heavyweights House of Holland and Giles Deacon; almost one year on and their influence and handed-down expertise is beginning to shine through more and more.


Flik Hall S/S 2012 by Milly Jackson
Flik Hall S/S 2012 by Milly Jackson.

Flik Hall dubbed herself a novice back then, but with three successful London Fashion Week seasons under her belt, she could have quite easily fooled me otherwise. Since then, print-enthusiast Flik has gone on to create two more delectable collections, continuing to incorporate her love for printed leather and structured silhouettes. The latest collection sees a new direction from the London-based designer, and I was lucky enough to see, hear and learn a little bit more about the creative process behind such bold and imaginative designs.


Flik Hall SS 2012
Flik Hall SS 2012
 
I first clapped eyes on the new collection earlier this month at the Rendez-Vous Femme trade show in Paris, where Flik Hall was successful in ruffling a few Parisian fashion feathers with her experimental vision. Amongst the vast number of exhibitors, not to mention the throngs of buyers, journalists and trend reporters, there was one corner of the room that instantly caught my eye. Flik’s designs are the definition of innovative. Whilst many designers stick to a time-honoured formula resulting in them fading into a background of summery floral prints and tassels, Flik Hall’s ever-developing penchant for experimentation earns her some serious print-infused brownie points for S/S 2012.

Flik Hall SS 2012

Back in London, the press event for next season’s collection was held at the uber-cool Vyner Street Gallery: an underground platform for emerging talent nestled in the depths of Hackney and the heart of Londons contemporary art district. Walking into the gallery space was like entering into Flik Hall’s world: a world of mythical fantasy. Accompanied by an eerie soundtrack, a short spellbinding film directed by artist Ashley Joiner was projected across the back wall, whilst the clothes on show delivered a sense of femininity juxtaposed with a strong, dynamic edge.

Flik Hall SS 2012
The small, intimate space had a very personal feel to it, and it was a real pleasure to meet Flik Hall, who revealed to me that she didn’t always want to be a fashion designer, ‘I used to want to be an artist when I was younger,’ she disclosed. ‘But my designs always seemed to naturally fall around the figure, so it all eventually transpired into fashion.’ And is it any wonder? With her choice of ethereal colour tones and that trademark use of eye-catching prints, the collection was successful in capturing my attention all over again.


Flik Hall SS 2012
S/S 2012 takes its inspiration from the deep blue sea as Flik Hall looks to the texture and intricate detailing of octopi skin for direction. Never one to shy away from experimentation, it is this imagery that makes up the signature print within the collection incorporating close-up screen prints of octopus skin and tentacles transferred onto soft leather pieces. ‘I’ve always been interested in Roman mythology and mythical creatures,’ Flik explained. ‘I was interested in the octopus and how its fluidity can be interpreted in strange and wonderful ways.’ The result is unexpectedly beautiful prints that call to mind A/W 2011’s equally striking doll arm designs, confirming how Flik can expertly convert creepy connotations into something imaginative and wearable, whilst maintaining the label’s other-worldly appeal.
 
Flik Hall S/S 2012 by Kate Copeland
Flik Hall S/S 2012 by Kate Copeland.

Last season’s dark and moody colour palette of black, and more black (don’t get me wrong – I am a fan of black), has been overthrown next season with only the smallest dose of raven undertones to be seen. ‘I like to mix it up quite a lot with a dark collection followed by a lighter collection, my aim is to keep it fresh,’ said Flik. Keeping in with next season’s sea-theme, innocent whites and delicate creams are highlighted with muted sea shell tones of pink, peach and lilac, whilst rich sand and deep petrol blue give added depth to the range. When asked about the creative process behind each print that she creates, Flik Hall explained that the whole process is very hands on, ‘I take lots of pictures, print out lots of images, collage them and then distort them,’ she said. ‘It’s just all about trying to figure out what’s right for me.’

Flik Hall S/S 2012 by Kate Copeland
Flik Hall S/S 2012 by Kate Copeland.

A delicate contrast to that of previous collections, next season offers a more feminine approach that is both ethereal and elegant. Layered silk and trademark printed leather was seen next to metal eyelet details: a representation of octopi suckers that reinforces Flik’s creative mind and attention to detail. Describing the collection as ‘ambiguous, sensuous and wet‘, Flik Hall has turned to opaque and sheer fabrics that contrast each other on narrow skirts and floor-length dresses, while her original flare is highlighted by the careful use of wetsuit-inspired Neoprene. As something that in my opinion could quite easily have gone horribly wrong, Flik pulls it off with structured mini dresses and voluminous jumpsuits that maintain a sense of femininity, whilst reconfirming that dynamic edge the label is beginning to be known for.
 
Flik Hall SS 2012
Though colour and print have been replaced with a more romantic aesthetic, Flik Hall‘s structured silhouette remains. The adoption of Neoprene is a clever addition to an already inventive collection, marrying structured shapes with semi-transparent fabrics. The overall desired effect is successful as I can’t help but conjure up swirling images of the deep sea, whilst one glance at the model’s intricately placed hair – mirroring that of curling tentacles – is enough to confirm the key influence of the mythical half-octopus-half-human creature known as Cecaelias

Flik Hall S/S 2012 by Alia Gargum
Flik Hall S/S 2012 by Alia Gargum.

I was mesmerised once in Paris, and mesmerised all over again in London; Flik Hall is constantly pushing herself forward and thinking outside of the box. Even if she does insist on keeping the label small and exclusive, S/S 2012 sees a stellar collection from one of London’s best up-and-coming designers that predicts a promising future for the Flik Hall brand.

Categories ,Alia Gargum, ,Ashley Joiner Central Saint Martins, ,Cecaelias, ,film, ,Flik Hall, ,Giles Deacon, ,House of Holland, ,illustration, ,Kate Copeland, ,london, ,Milly Jackson, ,Neoprene, ,Octopus, ,paris, ,Rendez-Vous Femme, ,S/S 2012, ,Vyner Street Gallery

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week Interview: Northumbria’s Naomi New

Illustration by Dan Heffer

Around the monolithic event that is Graduate Fashion Week at Earl’s Court, unhealthy there exists what might be known as satellite events. This is no way refers to the quality of work that is on display only to the difference in size between shows. I was lucky enough to visit the millenary on show at Kensington and Chelsea College’s end of year show.

I’m not sure whether it’s the wedding’s I’ve been too recently or the constant press attention regarding the ladies hats at certain races (hello Ainscourt) but recently I’ve been paying more attention to headwear.

Illustration by Lauren

The quality of the work on display was unmistakable and a joy to photograph through the sculpture shapes. Each Milliner had created a story around their final product, treatment some of the topics covered envoked narcassim, link Alice in Wonderland to old myths and Legends.

Illustration by Krister Selin

Photographs by Sally Mumby-Croft

Illustration by Dan Heffer

Around the monolithic event that is Graduate Fashion Week at Earl’s Court, prescription there exists what might be known as satellite events. This is no way refers to the quality of work that is on display only to the difference in size between shows. I was lucky enough to visit the millenary on show at Kensington and Chelsea College’s end of year show.

I’m not sure whether it’s the wedding’s I’ve been too recently or the constant press attention regarding the ladies hats at certain races (hello Ainscourt) but recently I’ve been paying more attention to headwear.

Illustration by Lauren

The quality of the work on display was unmistakable and a joy to photograph through the sculpture shapes. Each Milliner had created a story around their final product, some of the topics covered envoked narcassim, Alice in Wonderland

to old myths and Legends.

Illustration by Krister Selin

Photographs by Sally Mumby-Croft

Naomi New was undoubtedly one of the highlights at Graduate Fashion Week 2010. Her incredible costumes dazzled the press and had me bouncing up and down on my seat at the Northumbria show and the Gala Show, medical for which Naomi was one of very few students selected.

I had a chance to have a chat with Naomi about her experience of Graduate Fashion Week, her advice for next year’s brood, and what the future has in store.

Why did you choose to study fashion?
I have always been fascinated with clothes, how they define who we are and communicate that to others. When I was young I used to dance and loved designing my own costumes, picking fabrics and even helping sewing on sequins; so from early on I have always known I was going to be a fashion designer.

Did you undertake any placements during your studies?
I did two internships. I spent one month with womenswear designer Aimee McWilliams, then went on to spend five months with a high street supply company, Pentex Ltd. This gave me a fantastic insight into working in fashion in two different areas.

What inspires you, both for this collection and generally?
I am a hands on designer who immerses themselves into the brief. I believe that inspiration is all around us and never leave home without a camera or a sketchpad. I like to visit as many exhibitions and museums as possible, visit archives to get a closer look at my subject and always feel inspired by theatre and film. The inspiration for my collection came from my life long love of horse riding and a visit to the royal armouries at the Tower of London where they were showing Henry VIII armour. As my research developed I looked at military wear and most importantly the post-apocalypse films Mad Max.
The concept behind the collection really came from the Mad Max Road Warrior film, where Max battles with both good and bad to survive in a world that had been abused; where survivors were left with nothing. I felt that the story wasn’t too dissimilar to what we are living now, with the recession. I wanted to make a collection to equip the modern day woman in her quest to be successful throughout her life.

Your collection was one of the most flamboyant and creative of any I saw at GFW. Did you consciously decide to avoid commercial viability, or was this not a factor?
I didn’t set out to make something crazy and out there, I just knew that that was what was going to happen – it’s just me and I am very happy you think my collection was one of the most creative at GFW. That’s a massive compliment.
When designing and making the collection I was very conscious of the fact that this was probably going to be the only chance I would have to do something totally me and totally the way I wanted it. I took a risk in doing so but I worked very hard to ensure the collection was theatrical and flamboyant while still beautiful with intricate and authentic details. I think the risk paid off, the collection is everything I dreamed of.

You made use of materials with high aesthetic appeal and avoided bright colours. Is there any reason for this?
The colour story of my collection was inspired by the Mad Max film I have mentioned – in the film two rival gangs fight, one dressed in white and the other black, so I decided to have halve the collection with these colours.
I wanted each look to make a statement, so I decided to have each look mainly one-block colour for the most graphic impact.
From my equestrian and armour influence I knew I wanted to use leather, suede, metal and neoprene, all fabrics that protect the body. But the Mad Max film inspired me to push the metal hardware content and look to further alternative materials such as ostrich, bone, chain, horse hair and human hair.

What did you like about Northumbria and Newcastle in general?
I chose to study at Northumbria for its amazing reputation and facilities. I couldn’t have asked for better tutors and technical staff. I’m also based close by in Sunderland and at the time of applying for universities I felt it would be foolish to move away when I live so close to a great university. Living at home also ment that I have been able to really focus on my studies.

How did it feel to be selected for the Gala show? Did you expect to win?
I never in a million years thought I would be chosen for the gala. I was delighted to show at GFW and that was enough for me, seeing my collection open the Northumbria show was amazing. In fact, as soon as the last look in my collection left the catwalk, I couldn’t stop crying! It was so overwhelming and what I had dreamed for.
When I found out about the gala I couldn’t believe it, it is such an honor that the judges liked my work and it was a privilege to show the gala judges my portfolio. The gala show itself was amazing and I got to meet some great people through it, too.

Does this open even more doors?
I think being in the top ten has opened more doors for me, I have had a lot of interest from stylists and photographers who want to use pieces after seeing them in the gala show, which is fantastic. A few looks are possibly going to China in the next couple of weeks for a promotion event for GFW, which is amazing too.


Photographs by Matt Bramford

You received a lot of attention from the press, who compared your collection to both Lady Gaga and Elvis‘ wardrobes. How does that feel?
I was over the moon with all of the press attention. My muse is Lady Gaga, so when I read the references to her I was delighted. I admire her strength and individuality and feel she is the prime example of a woman who has had to use dramatic fashion in the battle to be noticed and be successful. When working on the collection having Lady Gaga as my muse gave me confidence to keep pushing myself further and further, to create something people could see her wearing, it would be a dream to see them on her. The Elvis suggestions are a compliment too, I grew up with my dad always playing Elvis’ music and I have always regarded him as one of my personal fashion icons, so this must have shown through.

Which designers do you admire or look to for inspiration?
As you can see from my collection I like drama in fashion and have always admired Alexander McQueen’s showmanship and rebelliousness. I am also really inspired by the work of Iris Van Herpen; she uses a lot of leather in her collections with amazing detail so I worked hard to aspire to her standards when making my collection.

What advice would you give to students preparing their collections for GFW 2011?
I would tell them to go with their heart and work harder than you ever thought you could work. Always look for ways that you can improve and develop your work and ask for and listen to feedback from tutors and peers. It is the most amazing year you will ever have and all the hard work really does pay off – you will want to do it all over again.

What do you have planned for the coming months?
In the next couple of months I will be sending some pieces to China as I said and will also be showing some pieces from the collection at Pure London where they are organising a similar GFW show, which is really exciting. I want to continue making one off pieces that have a similar feel to my collection. Other than that I will be looking to relocate in London where I will be open to all opportunities that (hopefully) come my way!

Categories ,Aimee McWilliams, ,Alexander McQueen, ,Armour, ,China, ,dance, ,drama, ,Elvis, ,fashion, ,film, ,Gala Show, ,Graduate Fashion Week, ,Henry VIII, ,Iris Van Harpen, ,Lady Gaga, ,london, ,Mad Max, ,Matt Bramford, ,Naomi New, ,Newcastle, ,Northumbria, ,Pentex Ltd, ,Pure London, ,Sequins, ,theatre, ,Tower of London, ,Womenswear

Similar Posts:






Amelia’s Magazine | Grey Gardens at Rich Mix

Having spearheaded the new London folk scene with their debut album, there medical Noah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.

0819%20noah3.jpg
Photos by Katie Weatherall

Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?

Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.

AM: And the live shows must add another dimension to that?

CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.

AM: And is there anything in particular that has done this or has it been the natural progression of the band?

CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.

AM: Was there anything in particular you were listening to whilst making the record?

CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco

AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?

CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.

The First Days Of Spring Teaser from charlie fink on Vimeo.

There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.

AM: And Daisy Lowe stars in it, how was that?

CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.

AM: So is film making something you want to continue with?

CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…

AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?

CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.

AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?

CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.

0819%20noah2.jpg

AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…

CF: I can’t really remember how I write… I was writing last night but… do you drive?

AM: I just recently failed my test.

CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.

AM: Is being in a band everything you imagined it to be?

CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.

AM: So are there any untapped creative pursuits left for you?

CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.

AM: So how about acting?

CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.

AM: Do you prefer the full creative potential a director has?

CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.

0819%20noah1.JPG

At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.

Monday 24th August
Mumford and Sons
The Borderline, more about London

UK’s answer to Fleet Foxes, online Mumford and Sons, visit this celebrate their music video to the first single off their debut album in North London tonight.

Mumford-and-Sons-otw.jpg

Tuesday 25th August
Wilco
The Troxy, London

If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.

wilco_2008.jpg

Wednesday 26th August
The Hot Rats
The Old Blue Last, London

Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.

The%2BHot%2BRats%2BCool%2BHat.jpg

Thursday 27th August
KILL IT KID
Madam Jo Jos, London

Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.

kill%20it%20kid.jpg

Friday 28th August
Swanton Bombs
Old Blue Last, London

If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.

swanton%20bombs.jpg

Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist
Vibe Bar, London

It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.

teenagersintokyo.jpg

Sunday 30th August
The Gladstone Open Mic Night
The Gladstone, London

As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!

moonmusicorchestra.jpg
Sunderland born designer Rosie Upright is truly passionate about design. Aren’t we all I hear you say? Well, health she’s up, recipe all hours, medical day or night… cutting away with her trusty stanley knife… stopping only when her numb fingertips plead for rest. Do your fingertips bleed? I thought not! Rosie developed her unique hand-crafted techniques whilst at university in Epsom, where she learnt all the usual computer design programs… and then decided to steer clear of them. She’s fled the suburbs of Epsom now, to live in London town with all the other hopeful new freelancers. She spends her days photographing, drawing, organising balls of string… and deciding what hat to wear.
We caught up with Rosie for a little chat…

Rosie-fightforyourright.jpg

Hi, how are you today?

I’ve got a bit of a sore throat coming on, the irritating children over the road are noisily playing some kind of shooting game, a car is beeping its horn continuously just below my window, itunes is refusing to play anything other than Billy Idol (which I’m not in the mood for), my coloured ink cartridge has just ran out, I’ve got a blister from my favourite pink shoes, an uninvited wasp is stuck in my blinds, my ginger hair has faded to a weird brown, I forgot to buy milk and Ronnie Mitchell is still crying on Eastenders – but apart from that I’m topper thanks.

What have you been up to lately?

Fingers in pies, fingers in pies!
Including…cross-stitch and a week in a cottage in Norfolk (no telephone signal or internet connection, bloody lovely!)

Which artists or illustrators do you most admire?

I don’t think I would have done a degree in graphic design if my ever-encouraging parents hadn’t taken me to a Peter Saville exhibition at the Urbis in Manchester many moons ago. Made me see the ideas process at its very best and the crucial-ness (that’s not even a word!) of initial doodles and sketchbooks.
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Where would any of us be if it weren’t for Dr Seuss?
I really love a bit of Russian Constructivism, in particular Alexander Rodchenko and Varvara Stepanova, bloody genius.
Mr Vaughan Oliver, for making us all think differently about where to crop the image, for being an ongoing influence and for that opportunity.
Harry Beck, Robert Doisneau and most recently Philippe Petit.

RosieUpright-cut%20out.jpg

If we visited you in your hometown, where would you take us?

Stroll down to Seaburn beach because when you don’t live next to the sea anymore you really miss it, and it has really nice sand. Then to my very best friend Sarah Bowman’s house, to play with Peggy Sue the kitten, have mental vegetarian sandwiches off a cake stand, and a glass of red wine, ice cubes and coke. We should pop to an art shop in Darlington and then to The Borough, the best pub for tunes, a pint of cider and a Jaeger bomb.

RosieUpright-fragile.jpg

Who would most love to collaborate with creatively?

Mike Perry and YES art studio please. Thank you.

When did you realise you had creative talent?

When some hippy artist came into my junior school to create banners for some event at the local library with us. I was told after five minutes of colouring it in that I had to go away and read because I couldn’t keep within the lines.

RosieUpright-wood%20pigeon.jpg

If you weren’t an artist, what would you be doing?

A teenage Mam or an actress, haven’t decided which yet.

Where would you like to be in 10 years time?

I’d like to be the designer than graphic design students hate because their tutors always tell them to get their book out of the Uni library. And I’d quite like to have my own shop in London, Brighton or maybe Newcastle (or all three, and maybe Paris then if we’re going crazy) selling things made by me!

What advice would you give up and coming artists such as yourself?

Take other peoples advice but make your own mistakes, don’t be a dick and always colour outside of the lines.

RosieUpright-mouth%20shapes.jpg

How would you describe your art in five words?

Hand made/ typography/ narrative/ personal/ I’d like to say idiosyncratic too but don’t want to sound like a twat.

What is your guilty pleasure?

Seeing people fall over.
(and cake)

RosieUpright-1final.jpg

If you could time travel back or forward to any era, where would you go?

It was horrific enough moving away to University and into London and trying to find a job and start my life up. I think if I had to go backward or forward to another era I would probably just straight up die. Having said that though I would like to be a highwayman’s assistant.

Tell us something about Rosie Upright that we didn’t know already.

I can’t wait till I’m an old lady so I can wear those lacy nighties from Marks & Sparks and I love animals in clothes.

What are you up to next?

Going to make a cuppa tea, kill this wasp and then take over the world.
While most of us at the tender age of 19 rooted our existence in smacking down vodka jelly shots at the bar with kebabs at four in the morning and the Hollyoaks omnibus on a Sunday, pilule some people, of course, are born to shine in different ways. Take, for instance, London College of Fashion student Millie Cockton, somebody who has already had their work featured in a shoot for Dazed and Confused, styled by Robbie Spencer.

As a lover of clean lines and beautiful silhouettes, Millie looks for the wearer to bring their own identity to her gender non-specific pieces. At the moment under new label Euphemia, with her AW09/10 about to be stocked in London boutique and gallery space Digitaria, after being chosen to be the first guest designer at the Soho store. Check out the Dazed piece to see some brilliant Shakespearian-style ruffs that Millie has also created working with paper (a material proving popular as with Petra Storrs, who I featured last week).

Each to their own, mind you. I could totally do all that, if I wanted to.

millie.jpg

At the age of 19 you’ve already received quite a lot of attention – how has that been?

It’s been great so far! It’s very flattering but its also very daunting! I am on a constant learning curve and my work is developing all the time so although the attention is great it creates a lot of pressure!

Describe your design aesthetic in three words.

Clean, sculptural, understated.

Who do you see wearing your designs? Are they reflective of your own personality?

I like to think of a real mixture of people wearing my designs. I love the way that the same garment can look completely different on different people- for me its all about the individual and how they carry themselves, bringing their own identity to the piece.

I don’t think that my designs are necessarily a true representation of my personality and personal style. I feel that my designs are more of a reflection of the aesthetic that i find desirable and aspirational.

millie2.jpg


Thinking about the ruffs featured in Dazed, people have touched on the theatrical nature of your designs – is the idea of performance important to you in fashion?

The idea of performance within fashion is something that interests me but I wouldn’t say that it’s a key element within my own designs. I like the notion of a performative element within a piece or a collection as i think that it helps gain a further understanding and insight of the designers thought process and inspiration.

What else do you respond to?

I am constantly discovering new sources of inspiration, being so young I know that I still have so much to learn!

Who are your fashion icons?

Yves Saint Laurent, Katherine Hepburn, Grace Jones.

millie3.jpg

Is craft something else you’re interested in too?

I like to use elements of craft within my designs, such as origami style folding. Craft elements can add interesting details to simple pieces.

What are your plans for the future? Who would you like to work for?

I am about to launch my new collection which will be stocked in Digitaria, recently opened on Berwick St, Soho. I have just started to work with Digitaria’s creative director , Stavros Karelis and stylist Paul Joyce on some future projects which are really exciting and I am thoroughly enjoying. I want to continue learning and developing my ideas, challenging myself and most importantly keep having fun!

red_trousers_silver_harness.jpg

‘Having fun’ of course might well translate to ‘becoming future fashion empress of the galaxy’. This is a talent to watch out for.

Photographs:George Mavrikos
Styling: Paul Joyce
Model: Antonia @ FM models

CC-poster-blog.jpg
Image by Mia Overgaard

The Camp for Climate Action 2009 is almost upon us – now’s the time to gather ourselves and prepare to swoop. Convinced that the response to climate change needs more? Ready to share skills, stomach knowledge and experiences? To be part of the grassroots swell of people demanding a difference? To get out there and do something?

Climate Camp is for you.

Be ready next Wednesday, 12th August, from noon, in London. We’re going to swoop on the camp location together. The more people the better. Secret until the last moment, you can sign up for text alerts and join one of the groups meeting scattered about central London before moving together to the camp.

Why Camp? We can all meet each other and learn stuff – reason enough? – I mean, an enormous, public, activist-friendly child-friendly student-friendly climate-friendly gathering with an ambitious and well-prepared programme of workshops covering all things from Tai Chi for those of us up early enough, through histories student activism, DIY radio, pedal-powered sound systems, legal briefings, stepping into direct action, singing, dancing, jumping and waving.

0819%20camp%20birdflock.jpg

Why London? Climate Campers have listed ten reasons to focus on London – right up the top of that list is : tall buildings and low flood plains. London is big corporate central, the City square mile itself accounting for a huge proportion of the UK economy, that FTSE100-flavoured slice of barely accountable, shareholder driven pie. And yet, as the Thames Barrier should always remind us, the whole city sits low on the ground. Just check out what the centre looks like with a few metres rise in sea level.

So what’s first? The Climate Camp Benefit party/shindig/jamboree/palooza/knee’s-up/gala ball/discotheque/rave/soiree at RampART, 9pm-3am this Friday 21st August. Consisting of fun/revelry/ribaldry/tomfoolery/jocularity/jive/merriment/high kinks, low jinks, jinks of all stature/cheer/gambol/horseplay & frolic. With bands & DJ’s including Rob the Rub & Sarah Bear & those amazing skiffle kids ‘The Severed Limb’. That’s at:

9pm-3am
rampART, 15 -17 Rampart Street,
London E1 2LA (near Whitechapel, off Commercial Rd)
Donations on the door much appreciated (and needed!) – all going straight to Climate Camp

And then? The Swoop – Night Before – Londoners and out-of-town visitors are welcome to ‘the night before the swoop’ – near the bandstand in Lincoln’s Inn Fields, 7-8.30pm, Tuesday 25th August – for any last minute info, a legal briefing and an opportunity to join an affinity group and get excited. Lincoln’s Inn Fields is just behind Holborn tube station – this map here might help.

Awesome. See you soon.

ColorTripod-blog.jpg
Ctrl.Alt.Shift dropped us a line to let us know about a comics-making competition so get your promarkers and layout pads at the ready. Ctrl.Alt.Shift Unmarks Corruption is giving you the opportunity to design a unique comic style story. Ctrl.Alt.Shift is the experimental youth initiative politicising a new generation of activists for social justice and global change. The competition hopes to raise awareness of the Ctrl.Alt.Shift and Lightspeed Champion goals and views by inspiring this generation of designers to work together.

COMICA.FLYER_AW.jpg

Oscar nominated Marjane Satrapi, medical V V Brown and Lightspeed Champion are amongst the judges for the Ctrl.Alt.Shift Unmasks Corruption competition launched today. Corruption is both a cause of poverty, and a barrier to overcoming it. It is one of the most serious obstacles to eradicate.

Persepolis3.jpg

Entrants to the competition will be in with the chance to create a unique comic style story in collaboration with acclaimed musician and writer Dev Hynes aka Lightspeed Champion. After the first round of judging at the end of September, shortlisted entrants will be given Lightspeed Champion’s comic script as inspiration and asked to create a visual adaptation of the story.

COMICA_A5_FLYER_AW.jpg

The winning commission will be published in a comic alongside new work exploring the issue of Corruption by some of comic’s greatest talents. The work will also be showcased as part of a new exhibition, Ctrl.Alt.Shift Unmasks Corruption, later this year at Lazarides Gallery, Soho.
To enter the competition please send relevant examples of your visual work along with your contact details to Ctrl.Alt.Shift by Friday 25th September by visiting www.ctrlaltshift.co.uk/unmaskscorruption.

ctrl.alt.shirt.jpg

Five short listed artists will then be given a comic brief to respond to and a winner chosen by a panel of judges including: Marjane Satrapi (Writer and Director of Academy Award Nominated Animated Film Persepolis) Paul Gravett (Comica founder), V V Brown and David Allain (Musician and Comic Book Writer/Artist duo), Lightspeed Champion and Ctrl.Alt.Shift.

The competition is restricted to UK Residents only
For further information about the competition please contact John Doe on 020 7749 7530 or Hannah@johndoehub.com / Jo.bartlett@johndoehub.com
Brooke Roberts is my favourite new designer. Why? Well, more about after exchanging several emails with her over the last few weeks, for sale for a young designer making such waves in the industry, her witty and playful personality has impressed even via my inbox! Having worked with such characters such as Louise Goldin and Giles, her avant- garde aesthetic really shines through in her highly tailored and retro-feel designs. Miss Roberts is going places, and she’s more than willing to take us along with her!

brooke3.JPG

What made you want to be a designer? What’s your design background?

I’m definitely not one of those designers who always knew that’s what they wanted to do. I did a degree in Applied Science at Sydney University (I’m from Australia) and worked as a radiographer for a year before moving to London to find out what I wanted to do. I did some work as a stylist with a fashion photographer (random hook-up). I knew his girlfriend and she knew my massive extensive collection of vintage clothes and shoes. My mum had a boutique when I was growing up and I loved clothes – I just never knew it was going to be my career.

I did a few jobs in London (pub, bank – more randomness) before realising I wanted to study fashion. I went to London College of Fashion and Central St.Martins (graduated 2005) wanting to be a pattern-cutter or tailor. I really wanted to create, rather than design. I get most satisfaction from making beautiful things and being involved in the whole process. I have a close working relationship with my suppliers, and go to the factories to develop my garments. I cut them all myself, which is probably bordering on control freakery, but I feel it shows in the final product and I can realise my designs exactly as I imagine them.

I’m waffling. I worked for Giles for two seasons after I left Uni, and started with Louise Goldin when she launched her label. We worked together for three years (until last October when I launched my label).

What are your inspirations for your collections?

I get lots of inspiration from my radiography job (I do that part-time to fund my label). So I’m running between the hospital and my studio all the time. I have used CT (cat) brain scans this season to create knit fabrics and digital prints. My obsession with reptile skins never seems to go away, and I have worked with Anwen Jenkins (awesome print designer) to create skull slice python skin prints. Basically, the python scales are replaced with multi-dimensional skull slices.

Apart from that, I research at museums and LCF Library. This season went to the British Museum and discovered Yoruba sculpture and traditional costumes. I researched these for silhouette and style lines. I also looked at Niger garments. They’re beautifully colourful, vibrant and flamboyant.

brooke%201.jpg

What are your favourite pieces from your latest collection?

Umm. I wear the cat suit most. I actually met my boyfriend the first time I wore it. So I’m renaming it Lucky cat suit. I also love the Flex jacket in red snakeskin. The razor sharp points make me feel like I am ready for world domination!

What was it like working with Giles Deacon and Louise Goldin? What did you learn from them?

I learnt that I hate taking orders from others! I’m really not one to toe-the-line. I am a perfectionist and this drives other people mad sometimes. I was a pattern-cutter at Giles, doing mostly tailoring, which suited me fine. Most people wanted to do the showpieces, but I was most happy cutting jackets. Giles is a really lovely bloke. Working with him was really my first experience of doing shows and the pressure and stress of getting everything done.

With Louise, my job was broader because in the beginning it was just the two of us. I learnt so much, I can’t even write it down. I worked in the London studio and the knitwear factory in Italy. I had the opportunity to learn knitwear programming, selecting yarns and cutting and constructing knit. I still work in the factory for my own label and really love it. The other big thing was learning about running a business and starting from scratch. The hoops you have to jump through, the process of getting sponsorship, doing shows, sales and production… It’s a massive undertaking starting your own label. And I still chose to do it! Bonkers.

brookegood.JPG

Who do you think are the most important designers of your generation?

Hmm. Well, I like the work of Tina Kalivas and Gareth Pugh. If we’re talking most important, it has to be Gareth.

I’m really a lover of 80′s and 90′s designers. I find the work of Gianni Versace, Thierry Mugler and Rifat Ozbek most relevant to my style and most exciting.

What do you think are the problems facing young designers at the moment?

The biggest problems are funding and dealing with suppliers, particularly for production. Creating a beautiful product that you can reproduce is actually really difficult! You need to understand the technicalities of fabrics and construction (or hire someone who does) otherwise it all goes wrong.

brookegood2.JPG

What’s next for Brooke Roberts?

In fantasy land, what’s next for Brooke Roberts is a holiday. In reality, I’m working hard on marketing and sales for London Fashion Week. I’m collaborating with jewellery designer Chris Edwards and shoe and bag designer Laura Villasenin on side projects for the label. Look out for skull slice stacked rings and metal bone-fixation embellished super-soft bags for SS10!!

Find Brooke stocked at the King and Queen of Bethnal Green.

Not slim tomatoes, viagra dosage narrow cucumbers or squashed, um, squashes – no, we’re talking about digging for victory in our own meagre abodes. With allotment waiting lists stretching beyond a century in Hackney and not many of us owning the half-county some how-to books seem to assume, options on grow-your-own approaches might look limited. But before you get the howling fantods at the piling impossibilities. As those of you who read the Amelia’s Magazine review of Growing Stuff (an Alternative Guide to Gardening) will know well, even the meagrest city apartment can burst forth in cornucopic life.

0820%20max%20gardening3.jpg
Illustrations by Maxime Francout

And but so then it seems the thing to do is simply to get a pack of seeds and a container and get growing, no hesitation about it. If a brief pause in favour of screenreading sounds like it could lead to better inspiration, I entreat you, read on. There’s a glut of blogs and enthusiasts all over the place to speak to or read up upon. Here are just a few of our favourites.

Life on the Balcony tells Fern Richardson’s encounters with gardens small and smaller, great for fresh faces and old hands alike, with an awesome friendly dirt cheap ways to garden.

Carrie, of Concrete Gardening blogging fame (true in a juster world), digs organic urban gardening, and has gotten into gardening without the erm, garden, since buying a house in the city (Philadelphia) and sees all the possibilities of planting up, sideways and over – just recently blogging about taking things to the next level and climbing up on her roof to plant out veggies, seedlings to sit and soak up sun.

0820%20max%20gardening1.jpg

Herbs and Dragonflies is written by a group set up by Kathy Marshall back in 2008 for the Pudsey Carnival and have been creatively, craftily planting since, encouraging others to get their green fingers dirty – doing activities with children and volunteering about the place. Most recently, they encouraged us blog-readers to leave the comfort of plastic planters and terracotta pots – most anything can sit with some soil in it. They suggest novelty Cadbury’s Fingers tins, I’ve used fancy jamjars, and seen anything from skips to wellington boots enlisted in the service of greenery.

Emma Cooper (I’m cribbing now from the ‘Growing Stuff’ contributor biogs page) lives in Oxfordshire with two pet chickens – Hen Solo and Princess Layer – and six compost bins. She has written an ‘Alternative A-Z of Kitchen Gardening’, which Karen Cannard The Rubbish Diet reckons is ‘an inspirational tour of an edible garden that can be recreated in the smallest of backyards. An essential guide for a new generation of gardeners who are keen to join the kitchen garden revolution.’And she blogs about anything from compost to pod plants to the future of food…

0820%20max%20gardening2.jpg

Madeleine Giddens loves herbs, which I guess you’d guess from the name of her blog – Mad About Herbs. But there’s nothing off the wall about any of it, she’s plunged into an obsession and come out smelling of roses and lavender, buzzing about bees too, recently, and their favourite flowers.

So there you have it, just a few spots and pointers. Good evening, and wishes for a fruitful weekend from Amelia’s Magazine.
The Royal Bank of Scotland. RBS. Formally known with pride as the “oil and gas bank” due to their close alliance with the fossil fuel industries. What on earth would I have to do with them? They may have lost the unfortunate moniker, treat partly due to a hugely successful campaign by People and Planet student activists who launched a spoof ad campaign and website named the Oyal Bank of Scotland before delivering a host of greenwashing awards – but they’re certainly not due for any special ethical mentions yet.

Not yet.

RBS%20building.jpg

There was of course a massive £33 billion bank bailout from the taxpayer for RBS last year. But RBS didn’t spend the money on anything worthwhile. Oh no, the truth is that RBS still has oily blackened hands. Most people will remember the Fred Goodwin debacle, he who managed to retire at the age of 50 on a £16 million pension funded by taxpayers. But that’s not the whole of it – since the bailout some of our money has been used to arrange loans for the fossil fuel industries worth a staggering £10 billion, including a substantial sum for E.ON, the company that wants to build a new coal fired power station at Kingsnorth. Despite the best efforts of activists –  there was an impromptu snowball fight during the winter, Climate Rush held a luncheon dance and Climate Camp set up camp down the road at BishopsgateRBS continues to invest in unsustainable resources.

But the good news is there is hope for change!

RBS_LOGO-oyal.jpg

As I’ve got more and more involved with activism I’ve got to know members of PLATFORM, who together with People and Planet and the World Development Movement have launched a legal challenge against our government to make sure that public money used for bailouts is put towards building sustainability. PLATFORM is an organisation that combines art with activism, research and campaigning, so in many ways we are perfect partners and I was really excited when they recently approached me to collaborate on an exciting new project at the Arnolfini gallery in Bristol.

As part of a wider festival named 100 Days, PLATFORM will be co-producing over 50 events, installations, performances, actions, walks, discussions and skill shares over a period of two months. This season is called “C words: Carbon, Climate, Capital, Culture” and is intended to highlight what needs to be done to change the world in the run-up to the incredibly important (but unlikely to solve anything) COP 15 conference (think Kyoto 2 – it failed first time around so why would it succeed now?) in Copenhagen in December.

Your part in this audacious experiment?

We’re going to re-envision RBS as a bastion of sustainability – the Royal Bank of Sustainability in fact. And it will be down to you to create the artwork… once more I will be running one of my becoming-somewhat-regular open briefs. We would like you to submit either a logo or a poster (or both) that will suggest a swing in the direction of all things sustainable in the most imaginative way possible. Around ten of the best artworks will be shown for a week at the prestigious Arnolfini gallery in Bristol as part of the whole shebang, culminating with a public judging and prize-giving overseen by yours truly and helped out by the folk at PLATFORM and no less than the Marketing Manager of the Arnolfini, Rob Webster, and Fiona Hamilton of Soma Gallery (Bristol), a woman with great taste in the arts who runs a cult art shop that has been a long standing supplier of my print magazine. We might even invite someone powerful from RBS! (invite being the operative word) After the event PLATFORM will profile you on their website with links to yours, and prior to the actual event I’ll be posting the best entries onto my website – one good reason to get your artwork in as quickly as possible.

If you are interested read on:

RBS-cashcoal.jpg

What you need to know:

Ideas:
Yeah yeah – we all know wind turbines are great news and polar bears are having a terrible time, but for this brief we’d like you to think a bit outside the box. We’ll be looking for the most refreshing ways of thinking about how we can live in the most sustainable way possible, and most importantly how RBS could play a possible role in aiding this transition to a low carbon world. Don’t forget that we, the taxpayers, own 70% of RBS – why not make it into the people’s bank? You should make clear in your chosen design the re-imagining of the old RBS into the new. Instead of investing in carbon-intensive industries the new RBS will serve the public interest by investing only in socially conscious, ethically driven, and environmentally sound projects.

rbs-logo.jpg

Style:
Think serious or earnest, kitsch or ironic, warm and fluffy, abstract or illustrative; whatever best communicates the concept and appeals to the broader public, the press and perhaps even people in government. It should engage and inspire. You can collage photography on your computer or paint with your fingers and toes – what matters is the outcome. We want to see imagery that speaks of something new, radical and POSSIBLE. Think positive social force. We love the Obama image that was used in the run up to his election – the reworking of his image in a simple pop art style somehow speaks volumes about new, positive change – and has fast become an iconic piece of graphic design, so we thought we’d use it here to demonstrate that you don’t have to be too literal in your interpretation of the brief to create a successful image. If you choose to create a poster remember that it could be made as an advert.

obama.jpg

Technical specifications:
your image should be created to these sizes and scannable or put together on a computer:
A1 for the poster.
A2 or squared off A2 for the logo.
Please send me a lo resolution version but make sure you work to these sizes. We will arrange for the printing of your image should it be chosen.

Deadline:
We need your submissions to reach me by Monday 2nd November. Please send lo res versions of your design to info@ameliasmagazine.com

Future projects:
Please bear in mind that if we really love your work we might want to use it in further literature and exhibitions. Just think, your work really could persuade RBS to change course at a pivotal point in our history. What a fabulous idea!

Join the facebook event here to stay in touch with updates
And join the “Stop RBS using public money to finance climate change” facebook group here

Below is a list of links you might want to peruse for inspiration:

PLATFORM’s website
Transition Towns
Centre for Alternative Technology
Zero Carbon Britain
Post Carbon Institute
the Oyal Bank of Scotland
Capitalists Anonymous
Britain Unplugged
Climate Friendly Banking
Banca Etica
GLS Bank

Get scribbling folks! Any queries please contact me directly via email rather than on the comments below.
If you have been to a UK festival in the last few years, pharm chances are that at some point you found yourself dancing in the OneTaste tent. Having residency at Glastonbury, sickness Big Chill and Secret Garden Party to name but a mere few, OneTaste have acquired a devoted fan base of festival goers who want a guarantee that when they walk into a tent they will get the following components; top quality live music, an high-spirited and friendly crowd, and twenty four hour revelry.

onetastepichydepark.jpg
OneTaste in Hyde Park, London

Yet their festival appearances are just one aspect of the multifaceted music troupe. When they are appearing at say, SGP or Glasto, they perform as a collective of musicians, poets and artists who, for many of the festivals, break bread and share space with Chai Wallahs. When they put on events in Greater London and Brighton, (where every night is different from the last), their roots run deep, towards diverse and innovative singers, performers and spoken word artists. They are fiercely proud of their reputation of facilitating and nurturing emerging talent; promoting, not exploiting it, connecting with the audience and creating a true OneTaste family, both onstage and off.

onetastepichydepark2.jpg

I have known of OneTaste for years, being friends with some of the artists who have performed with them. Having shamelessly utalised their tent at this years Secret Garden Party to dance, drink, chill, detox and then re-tox, I felt it was time to get to know them a little better. The perfect opportunity came at the recent OneTaste night at the Bedford in Balham which I attended recently on a balmy Thursday night. The vaudeville past of the Globe Theatre within the Bedford was an apposite setting for the style of event that OneTaste puts on. As the preparation for the evenings entertainment began in this deeply historical building, I managed to catch a quick chat with the creator of OneTaste, Dannii Evans, where we talked about the rhymes, reasons and the meaning behind this unique and innovative event.

onetastehydeparkpicby%20kim-leng%20hills.jpg
photograph by Kim Leng Hills

When I saw OneTaste’s excellent night in the Jazz Cafe a while back, I saw a lot of different styles of music and spoken word. What would you say is the one common thread that unites everyone?

We’ve always been trying to find out what the thread is! It is definitely not genre, we do every single style and welcome every style, probably the only genre we haven’t booked yet is heavy metal! The thing that links us all together .. (pauses)… is that everyone has got a massive social conscience; it is not always explicit, but it is implicit within a person, it’s in their art. It’s something that holds us all together, everyone at OneTaste has that in mind – that there is a bigger picture and that we need to better ourselves in everything that we do.

onetastebedfordcharlie.jpg
Charlie Dark performs at OneTaste Bedford

How did OneTaste begin?

The OneTaste music and spoken word night, started four and a half years ago by myself, and Jamie Woon. We basically started it in order that these musicians can do something where they could get paid.

You pay the performers? That’s so rare!

Definitely. We wanted to put on a night where the quality of every single act was really high and it could be where musicians could start their career, so that was the premise. Also the concept is that the event is always half music, half spoken word.

So is it a collective, a record label, an event? I’m kind of confused!

It started off as an event, with us meeting a number of artists and acts that we got on really well and gelled with, who we took on tour around festivals, and then out of spending three months together we formed the OneTaste collective. It started becoming an artist run collective where people would help with the actual event production and then it ended with them all collaborating on material together.

Who are some of the artists involved?
Portico Quartet, Stac, Inua Ellams, Gideon Conn, Kate Tempest, Newton Faulkner, to name just a few!

onetastebefordball.jpg

How do artists become part of OneTaste? Is it something that they can dip in and out of?

Absolutely, it’s not exclusive. It grew organically, it’s not an in or out thing – it happens more naturally than that.

Do you have to audition to get in?

To take part in the OneTaste night, either myself or someone running it have to have seen them live. Audience engagement is very important to us, to reach out and to be able to communicate with the audience is really vital. The live aspect and their live dynamic with the crowd is so important, so while they don’t audition, we do need to see how they will perform.

So it seems to have grown hugely in the last four years; Can you give me an idea of the numbers of acts that you have worked with?

In the collective, we have around 30 acts that we are currently championing, but in the last four years we have worked with around 300 artists. The audiences have grown from 40 people to 300 here at the Bedford, 500 at the Jazz Cafe, and 5,000 at the recent gig we did in Hyde Park.

How does OneTaste promote its artists?

It has always been very grass roots, we’ve never done an advert, it’s always just been people coming down and then telling their friends and from that it grew really quickly.

onetastebedfordgirl.jpg

Are there many of the artists signed to labels, and do you help them along their way?

We do, we give them industry advice – we develop their music, or spoken word, we try to help where we can. Some of the artists like Jamie Woon or Portico Quartet have gone on to get more media attention and they kind of carry the OneTaste name with them and still do gigs for us.

What is the direction that OneTaste is heading in?

Potentially, we might have our own venue at festivals next year, which is really exciting. We have a digital compilation coming out, the first one will be coming out in September, and eventually we may form a OneTaste record label.

onetastebedfordgideon.jpg
Gideon Conn performs at OneTaste Bedford.

Dannii and I continue chatting for a short while, and after this she has tasks to do. The audience is filling up, and the night is about to start. Sitting on a bench in the back with a big glass of red wine, I watch the event unfold. The performers are electric, and completely different from one another, yet equally complimentary. Most appear to be old friends, and loudly cheer each others performances. The atmosphere is infectious, I can’t remember the last time I enjoyed myself so much at a gig (and it’s not because of the wine!). I’m quite au fait with the open mic nights and acoustic gigs of London, but I haven’t been to a night which is as cohesive and inclusive as OneTaste. If you want to experience it for yourself, OneTaste are easy to find. Check out their Facebook, MySpace, YouTube and Flickr for images, articles, and dates about upcoming shows, which include a September 8th gig at The Distillers in Hammersmith and 27th September at The Hanbury Club in Brighton.
This week Climate Camp 2009 swoops on London, this site aiming to pressure politicians ahead of the Copenhagen climate change summit in December. Climate Camp will achieve this by encouraging individuals to think about lifestyle changes possible both collectively and personally to prevent climate change.

Sharing these sensibilities, the French Collective Andrea Crews encourage a new life philosophy outside the corporate rat race so often associated with London and other major cities. Being introduced to the fashion/art/activist collective Andrea Crews felt like a breath of fresh air often associated with Amelia’s magazine, a long time supporter of sustainable fashion, craft, activism and individual design.

sunsetempire.jpg

flocage.jpg

Andrea Crews Collective express their desire for economic and social change through “the use and the reinterpretation of the second-hand garment” calling it “a social, economic and ethical choice.” A choice displayed by the sheer volume of abandoned second hand garments used throughout the catwalk shows, art exhibitions and activist events. The group criticise the relentless waste of modern consumption, fast fashion has helped to create, through visualising the stress on land fill sites around the world in their staged events. Subsequently by ignoring market pressures: mass seduction and seasonal calendars, Andrea Crews re-introduces a slower, more individual fashion culture through the processes of sorting and recycling.

jedinomindtrick.jpg

ANDREACREWS-47.jpg

The Crews Collective march to the same tune as Climate Camp, not only by caring for the environment but in their dedication towards an alternative developed sustainable economy. Andrea Crews encourages mass involvement stating that the project “answers to a current request for creative energy and social engagement. Recycling, Salvaging, Sorting out, are civic models of behaviour we assert.” Thus the power of low-level activism or grass roots activism becomes apparent, if enough people participated with Climate Camp or The Andrea Crews Collective. The pressure on governments to look for an alternative way of living would be undeniable.

orlan.jpg

neoud.jpg

The ever-expanding coverage of ethical, eco fashion on the internet plays testimony to the idea that the individual is changing. The Andreas Collective through their exquisite catwalks –particularly the Marevee show with the appearance of clothes mountains which the models scrambled over to reach the runway- draw attention to the powerful position regarding sustainability, fashion can occupy if it so chooses.

mareeve.jpg

All quotes and images are from the Andrea Crews website.
DIY LONDON SEEN
The Market Building
Covent Garden, doctor London WC2 8RF
Until 5th September

DIY%20LONDON%20SEEN.jpg

DIY LONDON SEEN hopes to illustrate the growth of the movement inspired by the ‘Beautiful Losers’, doctor which is now a global phenomenon, generic by showcasing the work of local artists whose work takes the ethos of the Alleged gallery Artists and runs with it.

KNOT EXACTLY
Hepsibah Gallery

Brackenbury Road, London W6

Show runs from: 28th August- 2nd September ’09,
with a preview on the 27th September from 6.00-9.00pm

KNOT%20EXACTLY.jpg

Artists: Ellen Burroughs presents intricate technical drawings of a surreal nature, Sophie Axford-Hawkins shows bespoke jewelery that follows an identical theme.

The Jake-OF Debut UK Solo Show
Austin Gallery

119A Bethnal Green Road,
Shoreditch London E2 7DG
Running from the 3rd-16th September.
The opening evening is on the 3rd at 6:30pm.

Jakes%20Quink%20Painting%201.jpg

Featuring a collection of his best print, sculpture and instillation work from the past four years. The show will include prints from the Quink series and the first original Quink painting to be exhibited.

So Long Utopia
East Gallery
214 Brick Lane
?London ?E1 6SA

Until 2nd September

SOlONGUTOPIA.jpg

EASTGALLERY is proud to present the first solo exhibition of UK artist Sichi. ‘So Long Utopia’ will feature a thematic collection of new paintings and drawings. ??‘So Long Utopia’ is an energetic exhibition focusing on the theme of the lost Utopian dream. The artworks in this collection are of portraits, statements and imagined characters, where any premonition of ‘Utopia’ is quickly dispelled by the creatures inhabiting Sichi’s dystopian world.

Art In Mind
The Brick Lane Gallery
196 Brick Lane,
London E1 6SA

Opening 19 August 6:30 – 8:30
20th – 31st August
Free

Art%20In%20MindBrickLane.jpg

A busy August Bank holiday weekend is almost upon us, dosage and if you cant make it to Climate Camp starting on Wednesday there is plenty of other events to keep you occupied this week.

Festival of The Tree 2009

Delve into the world of wood and trees with sculptors, workshops, walks, art exhibitions and more with all proceeds going to treeaid, a charity that is enabling communities in Africa’s drylands to fight poverty and become self-reliant, while improving the environment. Weston Arboretum has a week long run of activities, with the organisers calling it a radical transformation from last year with exciting new additions.

tree%20pic.jpg
Check the full programme of events here.
From Monday 24 – Monday 31 August… 
Open daily from 9am-5pm?Admission: Adult £8, Concession £7, Child £3.?

Camp for Climate Action

A week long event kicking of this wednesday with with a public co-ordinated swoop on a secret location within the M25, make sure you sign up for text alerts and watch Amelias twitter for updates. Join your swoop group here, the locations have been revealed so get planning your route.
Check the great list of workshops here, and get ready for some climate action.
There’s workshops to suit everyone from direct action training to consensus decision making for kids, as well as evening entertainment from the Mystery Jets among others. Come along for a day or the whole week.

cc.jpg

Wednesday 26 Aug 2009 to Wednesday 02 Sep 2009
E-mail: info@climatecamp.org.uk
Website: www.climatecamp.org.uk

Carshalton Environmental Fair

The Environmental Fair is one of the biggest events in the London Borough of Sutton. 10,000 people attend with over 100 stalls with environmental information, arts and local crafts, with stages showcasing local musical talent, a Music cafe and a Performing Arts Marquee. Food stalls and a bar thats also showcasing some local talent. There is a free bus operating from Sutton.

eco%20fest.jpg

Adults £3, concessions £1 and kids get in free.
Monday 31st August
Contact: fair@ecolocal.org.uk
Website: http://www.ecolocal.org.uk/

Green Fayre

Range of Green craft workshops where you can learn about the most pressing environmental issues and how you can live a more sustainable life, all set in the Welsh country side. Yurt making, permaculture design, spinning, screen printing, pole lathe, bird box making, cooking from the hedgerows and much more.

Date: Friday 28 Aug 2009 to Monday 31 Aug 2009
Weekend Camping for the family £40?E-mail: info@green-fayre.org
?Website: www.green-fayre.org

Benefit gig for Anarchists Against the Wall

At RampART social centre, music with Hello Bastards, Battle Of Wolf 359,Suckinim Baenaim (Israel), Julith Krishum (Germany). The AWW group works in cooperation with Palestinians in a joint popular struggle against the occupation.

Monday 24 August 2009 19:00
RampARTSocial Centre?15 -17 Rampart Street, London E1 2LA?(near Whitechapel, off Commercial Rd)

London Critical Mass

Cyclists get together to take control of the roads around London usually with a sound system in tow. The London Mass meets at 6.00pm on the last Friday of every month on the South Bank under Waterloo Bridge, by the National Film Theatre. critical_mass.gif
Not got a bike, dont worry, any self propelled people from skateboarders, rollerbladers to wheelchairs are welcome.

Friday 28 August 2009
Website: http://www.criticalmasslondon.org.uk/
Earth First Gathering 2009 was held over last weekend. It’s an event we’ve been looking forward to since it appeared in our diary back in July. Check out our Earth First preview for more information. We all pitched up our tents in the wettest place in Britain which unluckily lived up to its name, doctor but although it didn’t feel like summer it didn’t stop any of the numerous workshops from going ahead and there was even a handy barn where people could take refuge if their tents didn’t survive the downpours.

efintro.jpg
There were chances for people to get to grips with water activities like building rafts and kayaking on the nearby Derwent lake, help plenty of discussion groups and chances for people to learn new skills. A forge kept many enthralled, viagra me included, and it was great to see the dying trade in action and people learning from the experienced blacksmiths.

forge.jpg
Seeds for change, a group that holds workshops for action and social change, were down at the camp, get in touch with them if you’re thinking of holding your own event and they will be willing to facilitate a range of engaging talks and discussions.
Tripod, a Scottish based training collective working with grassroots and community groups is another to check out – there is plenty to benefit from with training and support that gears towards social action.

Earth First has been going for decades and with direct action at the heart of what they do, it has helped and nurtured many to get involved and start taking action themselves rather than relying on leaders and governments. Look out for the next gathering, as EF notes, “if you believe action speaks louder than words, then Earth First is for you.”
We legged it up the amazing waterfall that created a great backdrop to the camp before tea one evening to get some great views over the valley.

ef%20veiw.jpg
Joining the queue for our meals was a daily highlight, you could browse the radical bookstall along it that had numerous zines and books for sale. Then the food, put on by the Anarchist Teapot, was amazing and i was queueing up for seconds at every opportunity. Evening entertainment was put on by a ramshackle group of poets and musicians and hecklers, and sock wrestling was also a new experience for me, got to try that one again.

slowcc.jpg
On cue the heavens opened on the last night, but I managed to get my tent down and joined the chickens in the barn where I literally hit the hay.
Just thought I’d say well done to the police FIT team who were able to navigate the windy and tricky road to turn up most days: good effort!
The Legion in Old Street has undergone a bit of a refurb since the last time I was there. Vague recollections of dodgy sauna-style wood panelling on the walls and a Lilliputian stage awkwardly occupying one corner are now banished by what seemed like an even longer bar than was there before. The venue has had a fresh wave of new promoters which appears to have progressed it from a jack of all things club-based, website like this in an area drowning in the like, there to somewhere incorporating a broader musical palette. A case in point tonight, being the headline band, Death Cigarettes.

Death%20Cigarettes%201.JPG

I’d seen Death Cigarettes a couple of times around various East London venues over the last twelve months. For a band whose reputation is in part founded on an explosive live show, the cavernous confines of the Legion seemed to take some of the sting out of them, compared to more intimate settings.

Musically, they inhabit that driving New York No Wave inspired sound – thrashing guitars, pounding drums and rumbling bass coupled with urgently delivered vocals. An obvious comparison is with early Yeah Yeah Yeahs, and there is certainly more than a touch of Karen O in enigmatic lead singer Maya.

Death%20Cigarettes%202.JPG

With this band though, the music is only half the story. Coming on unusually late for a Sunday night, Maya emerges from the encaves of a slightly startled audience to take the stage to join the rest of the band as they thrash away around her. It’s not long though before she heads back out into the throng… One group of people were ensnared by her mic lead, another was treated to an intimate introduction with a flying mic stand before Maya suddenly reappears behind the audience, exhorting the crowd before her from atop a table. At this point, the guitarist also wanted a piece of the audience action and decides to go walkabout, before concluding the set with a piece of probably not premeditated Auto-Destruction, reducing his guitar to matchwood.

Death%20Cigarettes%203.JPG

Death Cigarettes have certainly been making a few noises of late, with the likes of Artrocker and The Fly singing their praises, and they are set to appear at the Offset Festival (new guitar permitting). For a band with a distinct approach to their music and performance, it will be interesting to see if they will, over time, develop their sound to the same extent that NYC steadfasts, Yeah Yeah Yeahs, have so spectacularly done.
Liberty prints have become something of a British Institution in the fashion world, cialis 40mg inspiring the current vintage scarf and headband trend as well as influencing designers to include whimsical prints in their own creations (basically everybody on the high street). Prints conjure up an image of refined country values, thumb and have a truly English feel to them, stomach reminding us of our grannies chicly riding their bicycles in winding country lanes after World War 2 (maybe that’s just my overactive imagination!)

Until 2nd September an entire exhibition is being dedicated to this quintessentially British item on the fourth floor of the London Liberty store, and Amelia’s Magazine think you should get in touch with your inner fifties housewife and check it out!

carbaby-st1.jpg

Aptly entitled Prints Charming, the designs at Liberty’s exhibition certainly do what they say on the tin. Six designers were invited to contribute to the show to create their own unique take on Liberty’s iconic prints. Designs span from the pottery artist Grayson Perry’s enigmatic creations featuring tombstones, teddy bears, knuckle-dusters, swings, roundabouts and bicycles mounted on fabric, to uber-famous Meg Matthews’ teeny floral print wallpaper pieces given an injection of rock and roll heritage (like Meg herself) with snakeskin and skulls motifs. Other artists involved with the project include Paul Morrison, Mike McInnerney, Michael Angove, Anj Smith and Simon Hart, each taking an individual and modern approach to the eponymous Liberty print.

graysonperry.jpg

IMG_8094.jpg

The exhibition reads like a piece of installation art. In fact, art aside there is much more happening. Take note of the furniture and décor (mirrors, chairs, chandeliers and tables) coated in Liberty prints, heavily featured throughout the window display designed by Interiors company Squint. Not forgetting that the store’s entire exterior is decorated in the Betsy micro-floral print. The show also includes full size dolls dressed in Liberty rags, a Wendy house covered in strips of print by artist Helen Benigson, and vintage bicycles by classic bike-maker Skeppshult redesigned with a Liberty twist (complete with feather headdress!)

squint.jpg

Liberty_Wendy-House.jpg
(Image from: fashion-stylist)

Being an exhibition, the history of the iconic print is thrown in for good measure too. Documentation of the label’s historic collaborations can be found throughout, featuring modern legends such as Chloe Sevigny for Opening Ceremony, APC, NIKE and Kate Moss for Topshop. This is an art-fashion collaborative experience not to be missed!

IMG_8101.jpg

Everything designed is available to buy; whether that be in fabric, notebook, scarf, luggage tag, boxer short, wellie boot or lampshade form! With the endless list of talent involved, there’s no doubt something to catch anyone’s magpie eye. Several prints are one-off pieces made especially for the show, such as Matthews’ wallpaper, therefore ensuring a chance of grabbing a piece of history in the making. And who doesn’t love a bit of print patterning? After all, with the current revival of all things retro, Liberty prints are up there with shoulder padding and acid wash in fashionistas’ hearts! So get down to the exhibition before the opportunity to soak up the artistic atmosphere disappears (like most the stock will be sure to do!)
Swap shops, ampoule Freeshops, generic give away shops, visit this site they all aim to go against the capitalist framework, and often people can’t quite get their heads around the idea, that, yes it is free and you can take it!

doshfreeshop%20screen%20copy.jpg
Illustrations by Thereza Rowe

When I dropped by the free shop near Brick Lane, I received firsthand experience of this when a woman asked the way to the ‘trendy’ Shoreditch area and when invited to look around the Freeshop declined with a shrug of the shoulders. It appears it just wasn’t hip enough, that or she couldn’t quite comprehend the idea of a piece of clothing for under 50 quid.

fh.jpg

When speaking to some of the squatters, the Freeshop felt like an organic progression from the original squat in the building: “The idea of this Freeshop had come out from a series of workshops held in the squatted building last month. Originally, the building was opened up for a free school, and when that was over we realised we had this shop front on Commercial Street and felt it would be interesting to kind of undermine the shops down the road.” Donations from friends helped to get it off its feet and now they seem to be undated with more than enough.

fh2.jpg

With our ‘throw away society,’ Freeshops can form direct action and can engage people to think about the way they live and consume. They also see it as a chance to try and engage with the community, which means the squatters don’t get isolated in the neighborhood. They also feel the shop was an important medium of communication to people. It seems to be working well with most people having a chat or picking up leaflets when they come in to look around. The basic idea is that it should not just be about taking things, but sharing ideas too.

The squatters make efforts to engage with the community, with flyers sent out when they set up shop. Although the state has rigid bureaucratic rules to follow regarding squats they hope that support from the community will help their cause. The court date regarding an impending eviction is on 28th August, but they are hopefully looking to get it adjourned. Signatures and people giving support certainly can’t hinder their defense.

swaptillyoudrop%20screen%20copy.jpg

As well as offering clothes, shoes and household items, the Freeshop also has space for regular workshops and events where members of the community and network can get involved. A wind turbine course is in the pipeline so make sure you drop in to check when it’s happening.

I had a chat with one of the squatters to get a better insight into the ideas and experiences behind the Freeshop.

Have you had any experiences of Freeshops before you came here?

Berlin, Barcelona, Bristol all have set up freeshops and there are plenty more around the world. One time in Barcelona went down the main commercial road with a stall, loads of people came to pick up stuff, completely ignoring the chain stores. It was like people were just interested in consuming products wherever they came from. The cops were called of course.

Can you get moved on for that?

Maybe, I mean, but look at the number of people selling sausages in the centre of town – it depends on how big or moveable the stand is. We had the idea of maybe setting something up down in Hanbury Street, just at Spitalfields Market, but that’s just an idea so far.

What kind of people do you get coming in?

Some homeless people come in and others, how shall we say, are like the kind of people who go down Brick Lane on a Saturday or Sunday afternoon. There’s a really broad range.

Can people get involved in the Freeshop?

Come along to say hello or to the meeting on Tuesdays, that’s a good place to start, talk about and organise things we want to make happen, maybe do a shift in the shop.

Do you look to publicise, and how do people find out about the Freeshop?

There’s a big difference between being on the net and Facebook/social networking, and just relying on old style traditional methods, just by being here, and it works like a shop that people can just come into. It’s good to see how far just traditional ways can get us, and if that works well, then maybe others will do the same. It’s not rocket science, there’s no big intellectual concept behind it, it’s just a free shop.

fh3.jpg

Located on Commercial Road at the end of Quaker Street, drop in to pick up some new stuff while it lasts and offer your support.
What was formerly the Lush store in Covent Garden’s main piazza is now host to the exhibition ‘DIY London Seen’, this site a homage to the subjects of the film ‘Beautiful Losers’.

BL_EFlyer.jpg

The film recounts the story of a group of likeable young suburban artists who, approved despite creating work outside the established art system in 1990s NYC, more about very quickly rose to commercially vaunted fame and success.

Their ethos, borne of skateboarding, punk, graffiti and DIY living, was to be an artist without adhering to art history or education. Doing what you love whatever the rest of the world thinks. These artists, Harmony Korine, Ed Templeton, Mark Gonzales, Barry McGee, Shepard Fairey, Jo Jackson, Thomas Campbell, Deanna Templeton, Stephen Powers, Chris Johanson, Mike Mills and the late Margaret Kilgallen were united by the then curator of Alleged Gallery, Aaron Rose, now Director of the film “Beautiful Losers’.

In the 90s, the Beautiful Losers’ work was outsider. In 2009, the art exhibited at DIY London Seen is mainstream commercial fodder that is regularly used for major branding.

However, this fact doesn’t reflect negatively on the spirit of the artists’ work or the exhibition itself. It merely highlights an unprecedented support for the arts (commercial or otherwise) and a vastly adjusted attitude about what it means to be an artist where to be commercial does not mean being a ‘sell-out’.

The space is donated by Covent Garden London, which provides gallery space in the West End to diverse forms of art through part of Covent Garden’s Art Tank movement.

The exhibition is curated by Bakul Patki and Lee Johnson of ‘Watch This Space’. Their previous experience in the commercial and critical art markets spans over ten years and as a result, they know how to put together a good exhibition.

charlie_woolley.jpg

The private view, replete with canapés filling enough to make a full dinner, was packed mainly with trendy young adults in their 20s and early 30s and a few stylish characters in their 40s. The invitees milled about in the two-storey, three-roomed space, drinking free cider, looking at the art and gathering in pockets outside to chat and smoke.

The exhibition space boasts 52 pieces of mainly original art including a seven foot tall mirror-tiled bear created by 21-year-old Arran Gregory and a lightbulb suspended from the ceiling, revolving on a record as it spins (I kept hoping that the bulb would eventually melt the record but instead the record keeps endlessly spinning).

LS_200809_004.JPG

There is a lot of illustration and photography of the sort you see around in many galleries in East London and on various advertising paraphernalia and as usual, some of it is good.

What stands out most about the exhibition is how, in a decade and a half, enough has changed so that what might once have been outsider art is now perfectly at home and fully catered for in the bustling centre of one of London’s most well-trafficked areas.

Young artists and older artists, property organisations, the public and the commercial world are a blur, shaking hands in every direction.

Disused property is now the breeding ground for emerging artists and successful commercial art curators are there to provide fully functioning and well-run exhibitions.

Whether the Beautiful Losers were the seminal artists paving the way for opportunities afforded to such artists as those of London Seen or not, they were lucky enough to rise to success. The acceptance of skateboard, graffiti, DIY culture could have come earlier, later or not at all.

London Seen and Beautiful Losers are reminders that in a commercially driven market making art isn’t about how much the public loves, or ignores, what you do. As trends come and go, their message is to never forfeit the ethos of doing what you love whatever the rest of the world thinks. History will always move forward and with it, the randomness of success.

Check out DIY London Seen in Covent Garden until 5th of September at 11, The Market Building, Covent Garden, London WC2 8RF.

Beautiful Losers is now available on DVD from the ICA.

Images courtesy: Joshua Millais (bear) and Watch This Space.

COMICA_FLYER_AW.jpg

Are you a budding comic artist? By that I don’t mean stand-up of course, approved but rather someone who fancies themselves as a bit of a comic stripper…

Well, visit this if so you might fancy getting your teeth sunk into this little competition from Ctrl.Alt.Shift.http://www.myspace.com/lightspeedchampion Judged by such luminaries as Dev aka Lightspeed Champion and Paul Gravett – who directs the Comica festival at the uber cool ICA and has authored countless books on comic art – this should be an excellent chance to get your work seen by a wide audience.

All that is required is for you to submit some examples of your work to Ctrl.Alt.Shift. by Friday 25th September.

So what happens then? If your work is picked as the winning entrant you will be asked to interpret a comic script written by Dev, which will then be featured in a 100 page book about corruption in politics and contributed to by all the best names in the world of comics and graphic novels. 5000 copies of the book will be sold in aid of charity and your work will feature in a month long exhibition about political comic art in the Lazerides Gallery in Soho during November.

The suggestion is that you pick as your submission something that is applicable to the theme of the competition (ie. corruption in politics), but bear in mind that the final entrants will be chosen on the basis of their visual flair rather than subject content. You can see the competition flyer below.

This is your chance to have your work included a really great project with a whole host of the best names in comic art. Plus it’s for a really worthwhile cause… Sounds like a great plan to me!

COMICA_A5_FLYER_AW.jpg

Here at Amelia’s Magazine, sales we’re aligned more with uplifting, buy information pills good time folk than gut wrenching, angst-y emo. We just think, why be so sombre? So when an album lands on the doormat like the Mariachi El Bronx‘ new output, well, we couldn’t be happier. Those formerly depressed LA lads in The Bronx, have employed a guitarrón, knocked back a heavy dose of tequila and picked up their maracas to deliver an album that is more Latino fun times than their usual emotional dirge.

mariachi-el-bronx1.jpg

A quick glance over the track listing tells you that they haven’t lifted their mood all that much, as the titles still bemoan tales of ‘Cell Mates’, ‘Litigation’ and ‘Slave Labor.’ Although tracks on this album have been masked by a scrim of vihuela solos, trumpet fanfares and accordion bellowing.

mariachielbronx2.jpg

Mixing traditional music with a hardcore ethos is nothing new – think 90s Finnish folk metal of Finntroll and Moonsorrow – which blend a 6-piece folk band with paganism tales. This combination of Hispanic sounds and wailing of lyrics, such as “The dead can dance if they want romance/All I need is some air” on ‘Quinceniera’, seems to make perfect sense when you consider the Mexican celebration, Day Of The Dead, where they leave out food and gifts for the deceased.

dayofthedead.jpg

Despite sounding like the tough LA outfit have gone soft and found God, take a closer listen to tracks like ‘Silver Or Lead’ and you’ll find they’re singing, “Quit asking Jesus for help/Go out and find it yourself.” Rather a rebellious punk rock move, when sung in the musical style of a devoutly Catholic culture.

marichielbronx3.jpg

El Bronx might not be everyone’s cup of tea (-quila), but it’s a fun, refreshingly, tongue-in-cheek album whose Mexican flight of fancy will have you in the mood for a corona and nachos in no time. I say more bands should get out of their comfort zones and explore new genres like El Bronx have – ¡Arriba!

Grey Gardens is a documentary by Albert and David Maysles on the lives of Big and Little Edie at their East Hampton Mansion of the same name, more about Grey Gardens.
When watching the film, treatment the fashion influence of Little Edie becomes undeniable, ambulance beginning with the 1940′s inspired shoulders and nipped in waist, (an Autumn 2009 trend) to the headscarf held in place by jewellery combination (also seen on recent catwalks) finishing with the 1950′s shaped swimming costume worn during interviews. Not forgetting, it is Little Edie’s stamp, which is all over the luxurious granny chic trend favoured by Mary Kate Olsen and the catwalks in recent seasons. All this is without mentioning her quirky fashion advice!

“Why wear a skirt upside down? You do if your waistline has expanded and you can’t close it at the waist.”

greygardens2.jpg

The fashion community from Marc Jacobs to Ashley Olsen (The Twins are often credited with continuing to have fun and make ‘mistakes’ with fashion) has embraced little Edie’s alternative style and self-expression. Play is inherent in her choice of clothes and embellishment. It is Edie acting as herself that transformed her into a style icon. The film is a credit to Albert and David Maysles skill and compassion as documenters in how they managed to capture the two Edie’s individual spirits. For this reason the film becomes truly special as it replicates on screen their at times complex loving, resenting and co-dependent mother/daughter relationship.

The documentary is peppered with half-told remembrances to make past lives bearable, poignant for Big and Little Edie’s heartbreaking denouncement of each other’s memory. The dialogue throughout the film is often refreshing for their –intentional or unintentional- political philosophical undertones.

Near the start of the film, a five-minute conversation discusses the symbiotic relationship between freedom and support (Little Edie argues the opposite to her mother, saying without support you can’t be free). A prophetic conversation, whose sentiment is applicable to the British Government’s ever increasing reliance on business and continuing refusal to accept the pressure big business places on the climate.

Big Edie: “You can’t get any freedom when you’re supported.”

How can the Government make a rational decision on Climate Change when they build over-familiar relationships with Heathrow BAA and the aviation business?

Big Edie: “When are you going to learn Edie your part of the world?”

Whilst Big Edie’s comment is more of an undertone, this is what I hope the Government will realise this week during the Climate Camp protests. That governments and societies cannot exist without the physical world. We must be accountable for looking after the planet.

The film is beautifully composed enabling Big and Little Edie to have their moments in front of the camera, both alone and together. The film’s editing conveys an idea of a romantic time endlessly passing, though quite still and almost stagnant. It is the perfect fashion moment and Little Edie’s style becomes timeless in it’s absence.
The film watches Little Edie reminisce refuting her life choices, whilst Big Edie forever reminds of how different the past looks as one ages stating, “everyone thinks and feels differently as they get older.”

The documentary records the power struggle between the two women choosing and not choosing their unconventional decaying life style. Within each conversation, the viewer senses that Big Edie is the controlling personality and Little Edie the controlled. The relationship is summarised with the phrase “I didn’t want my child taken away, I would be entirely alone.” The sadness of the film occurs at the references to the stories off stage, which appear to surround the two Edies’ day after day. Forever acting out their parts within their own play. In front of the Maysles camera the endlessly groomed Little Edie becomes a star. Grey Gardens is a celebration of complex relationships and the unique individual, additionally highlighting the frequency at which fashion’s history is plundered to influence catwalk designs today.

See Grey Gardens and Little Edie’s outfits at Rich Mix Cinema as part of the Fashion on Film Season

http://www.climatecamp.org.uk/
Grey Gardens is a documentary by Albert and David Maysles on the lives of Big and Little Edie at their East Hampton Mansion of the same name, case Grey Gardens.
When watching the film, the fashion influence of Little Edie becomes undeniable, beginning with the 1940′s inspired shoulders and nipped in waist, (an Autumn 2009 trend) to the headscarf held in place by jewellery combination (also seen on recent catwalks) finishing with the 1950′s shaped swimming costume worn during interviews. Not forgetting, it is Little Edie’s stamp, which is all over the luxurious granny chic trend favoured by Mary Kate Olsen and the catwalks in recent seasons. All this is without mentioning her quirky fashion advice!

“Why wear a skirt upside down? You do if your waistline has expanded and you can’t close it at the waist.”

greygardens2.jpg

The fashion community from Marc Jacobs to Ashley Olsen (The Twins are often credited with continuing to have fun and make ‘mistakes’ with fashion) has embraced little Edie’s alternative style and self-expression. Play is inherent in her choice of clothes and embellishment. It is Edie acting as herself that transformed her into a style icon. The film is a credit to Albert and David Maysles skill and compassion as documenters in how they managed to capture the two Edie’s individual spirits. For this reason the film becomes truly special as it replicates on screen their at times complex loving, resenting and co-dependent mother/daughter relationship.

The documentary is peppered with half-told remembrances to make past lives bearable, poignant for Big and Little Edie’s heartbreaking denouncement of each other’s memory. The dialogue throughout the film is often refreshing for their –intentional or unintentional- political philosophical undertones.

Near the start of the film, a five-minute conversation discusses the symbiotic relationship between freedom and support (Little Edie argues the opposite to her mother, saying without support you can’t be free). A prophetic conversation, whose sentiment is applicable to the British Government’s ever increasing reliance on business and continuing refusal to accept the pressure big business places on the climate.

Big Edie: “You can’t get any freedom when you’re supported.”

How can the Government make a rational decision on Climate Change when they build over-familiar relationships with Heathrow BAA and the aviation business?

Big Edie: “When are you going to learn Edie your part of the world?”

Whilst Big Edie’s comment is more of an undertone, this is what I hope the Government will realise this week during the Climate Camp protests. That governments and societies cannot exist without the physical world. We must be accountable for looking after the planet.

The film is beautifully composed enabling Big and Little Edie to have their moments in front of the camera, both alone and together. The film’s editing conveys an idea of a romantic time endlessly passing, though quite still and almost stagnant. It is the perfect fashion moment and Little Edie’s style becomes timeless in it’s absence.
The film watches Little Edie reminisce refuting her life choices, whilst Big Edie forever reminds of how different the past looks as one ages stating, “everyone thinks and feels differently as they get older.”

The documentary records the power struggle between the two women choosing and not choosing their unconventional decaying life style. Within each conversation, the viewer senses that Big Edie is the controlling personality and Little Edie the controlled. The relationship is summarised with the phrase “I didn’t want my child taken away, I would be entirely alone.” The sadness of the film occurs at the references to the stories off stage, which appear to surround the two Edies’ day after day. Forever acting out their parts within their own play. In front of the Maysles camera the endlessly groomed Little Edie becomes a star. Grey Gardens is a celebration of complex relationships and the unique individual, additionally highlighting the frequency at which fashion’s history is plundered to influence catwalk designs today.

See Grey Gardens and Little Edie’s outfits at Rich Mix Cinema as part of the Fashion on Film Season

Read more

Amelia’s Magazine | Fashion Film: Diana Vreeland: The Eye Has to Travel


Diana Vreeland by Maya Beus

‘When we think about an iconic person, an editor; we always say Diana Vreeland’. A pretty bold opening statement launches this fashion film, but by the end it’s impossible not to agree.

Diana Vreeland: The Eye Has To Travel is the latest in a series of fashumentaries that I’m obsessed with (I’m pretty sure I haven’t coined fashumentaries myself, but it’s the best I could come up with at 11pm last night) . Halston’s Ultrasuede, Valentino’s The Last Emperor; a rare glimpse into the fantasy world of fashion through the stories of those who lived it.

This particular film documents the life and times of Diana Vreeland, from her first glimpses of fashion growing up during La Belle Epoque to her revolutionary efforts at the Metropolitan Museum of Art’s Costume Institute. The movie is fused together with transcripts of conversations between Vreeland and George Plimpton, her biographer, retold by actors who’ve captured Vreeland’s dulcet vocals perfectly.


Diana Vreeland

Vreeland states that her greatest asset was ‘arranging to be born in Paris’. Legendaries like Diaghilev popped in for tea and Vreeland spent summers in the Rocky Mountains with Buffalo Bill. At times you wonder if she’s making it up. Peppered amongst archive footage of various world-changing events are Vreeland’s rare on-tape interviews with a number of American interviewers. Her wide-eyed responses are captivating, as is her innate and often wicked sense of humour in a language that isn’t her first. ‘Diana, where you always pleased with the way you looked?’ asks one. ‘Good God, NO!’ she recalls in horror, ‘You can’t go around like a smug mademoiselle from about seven years up, mmm mmm’. Vreeland explicitly states that she was never comfortable with her looks until she met Reed Vreeland, a New York banker. It was ‘love at first sight’, she tells us, whilst later admitting that even afer 46 years, she still felt shy around him. ‘Don’t all women feel shy around men?’ she asks, coyly.


Harper’s Bazaar 1965 by Shy Illustrations

A difficult childhood provided the impetus to climb the fashion ladder. The ‘ugly duckling’ of the family, she describes her mother as a ‘wild woman’ and her father as ‘an Englishman – there was little visible emotion.’ Her first passion was, in fact, dancing, but it was to be her ‘roaring twenties’ and an acute, unashamed desire for popularity that would build the character we’re familiar with.

‘The best thing about London is… Paris!’ Diana declares as we’re thrusted into her teenage years. Here we enjoy archive clips of classic Chanel collections and clips of those notorious stairs. But it was a lingerie shop in London that would decide her fate. After a fitting with Wallace Simpson, she later discovered that the homewreckin’ harlot was off for a dirty weekend with the current King Edward VIII at the beginning of their love affair. In essence, it was Vreeland’s lingerie shop that ‘brought down the monarchy’.

These dramatic events provide a basis for the film’s synopsis. From Lindbergh flying over her and her son on his maiden voyage across the Atlantic, to Vreeland’s shocking publication a bikini fashion story, the first to do so; to discovering Lauren Bacall, putting her on the cover and introducing her to Hollywood and the world.


1970s Harper’s Bazaar by Amyisla McCombie

One evening Vreeland met Carmel Snow, then editor-in-chief of Harper’s Bazaar, at a dance. Snow approached Vreeland to compliment her on her dress – ‘Chanel, of COURSE’. The two struck up a friendship and Snow demanded she joined the Harper’s team. A simple invitation – ‘Why don’t you work for Harper’s?’ turned into the infamous ‘Why Don’t You‘ column. So here’s Vreeland, in an age of austerity not dissimilar to the slump we’re currently in, advocating that you wash your daughter’s hair in Champagne to keep it golden, or ‘Why Don’t You… wear violet velvet mittens, with EVERYTHING?’ It was an absurd, frivolous column but one that captivated readers and provided fantasy and escapism – key commitments that would be the themes Diana stuck to for the rest of her illustrious career.


Twiggy by Simon Myers

The film is flooded with the key events that punctuated Vreeland’s career at Harper’s, particuarly her obsession with British street culture and the Swinging Sixties. Speaking about Twiggy, she exclaims, ‘such a face, such a girl, such a WOW!’ The Beatles fueled Diana’s love for contemporary music, and when British Vogue dismissed a photograph offered by David Bailey of Mick Jagger for being a ‘nobody’, it was Diana who published it in Harper’s. ‘Those LIPS!’ she squeals. Vreeland had a reputation for highlighting unusual features and celebrating beauty in an alternative way – she shot Barbra Streisand in profile; focussed on long legs and necks; made the gaps in models’ teeth into a feature rather than something to be hidden away.

Vox pops come from the great and good of fashion – designers such as Diane Von Furstenberg, Oscar de la Renta, Hubert de Givenchy and Calvin Klein; photographers Richard Avedon, David Bailey, Lillian Bassman, magazine publishing mogul John Fairchild; models China Machado, Penelope Tree and Lauren Hutton and one of my favourite actresses, Anjelica Huston. They all talk of the innate skill and awareness that nobody, in fashion at that time, rivalled. A fashion story might be shot six times, and even when Vreeland declared she adored a set of pictures, she might still reshoot for some frustrating reason – ‘no languor in the lips’. ‘I wanted to strangle her,’ declares Penelope Tree.

Towards the end, the film explores the sadness of Vreeland’s dismissal from Vogue before bouncing back with her work at the Metropolitan Museum of Art‘s Costume Institute. Vreeland ‘got the people through the door’ with blockbuster fashion showcases of Balenciaga, Russian costume and Yves Saint Laurent, paving the way for fashion exhibitions as we know them.


Diana Vreeland by Maya Beus

This is a beautifully made film with archive clips that will have fashion fans squealing, alongside humour, wit and poignancy. It’s a fitting tribute to a fashion legend.

To celebrate the launch of Diana Vreeland: The Eye Has to Travelon DVD, we’ve got 5 posters signed by Diana’s director granddaughter, Lisa Immordino Vreeland to give away – head over to our Facebook page for more details!

Categories ,chanel, ,David Bailey, ,Diana Vreeland, ,DVD, ,fashion, ,film, ,Harper’s Bazaar, ,Matt Bramford, ,Maya Beus, ,new york, ,paris, ,review, ,Shy Illustrations, ,Simon Myers, ,The Eye Has to Travel

Similar Posts: