Amelia’s Magazine | Future Beauty at the Barbican: Beauty Party

Illustration by Lesley Barnes

Illustration by Maria del Carmen Smith

Illustration by Kelly Angood

Illustration by Joana Faria

Illustration by Abby Wright

Illustration by Antonia Parker

Illustration by Lesley Barnes

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, look for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, this forget Topshop!

Coco Chanel the name synonymous with French fashion, so carefully cultivated by Karl Largerfield, he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

So of course how could I pass up the opportunity to listen to JP who has spent the last 13 years researching the life of perhaps the most well known, but least known fashion designer?

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker from the start, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for Women everywhere Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Maria del Carmen Smith

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

JP covered the usual ground her relationship with Boy Capell and the Duke of Westminister, revealing a photograph of Coco and Winston Churchill lead her to the ministery of archives… what did she find? Sadly that was left to be revealed in the pages of her boo

Illustration by Joana Faria

Illustration by Abby Wright

Illustration by Antonia Parker

Illustration by Lesley Barnes

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, shop for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, information pills forget Topshop!

Coco Chanel the name synonymous with French fashion, so carefully cultivated by Karl Largerfield, he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

So of course how could I pass up the opportunity to listen to JP who has spent the last 13 years researching the life of perhaps the most well known, but least known fashion designer?

Illustration by Maria del Carmen Smith – An aside about this image, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets, forcing them to sit side saddle.

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker from the start, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for Women everywhere Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Joana Faria

JP covered the usual ground her relationship with Boy Capell and the Duke of Westminister, revealing a photograph of Coco and Winston Churchill lead her to the ministery of archives… what did she find? Sadly that was left to be revealed in the pages of her book – but let’s just say her reported relationship with a German Soldier may not have been what it has so far appeared to be the work of a traitor, but a (slightly naive…) plan between Coco and Winston Churchill to bring the war to an early end. This may seem rather glib, but to find out more, we will all have to read the book…

Illustration by Abby Wright

Picard touched upon the inclusions of the number 5 etc and the use of stars… magical numbers were part of Chanel’s magical thinking… Tarot Cards. Chanel was interested in simple beauty. Justine attributes this magical thinking to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous chanel star was inspired by the mosiac’s made by Medieval Monks…

Illustration by Antonia Parker

Chanel was funded by Boy Capell, the man sitting on the horse in the above illustration, as soon as the Fashion House started to make money, Chanel paid every last penny back. From the start Coco was to be an independent women. Justine Picard described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…

Illustration by Lesley Barnes

Coco Chanel the name synonymous with French fashion, discount so carefully cultivated by Karl Largerfield, side effects he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, forget Topshop!

How could I pass up the opportunity to find out more about this ever present, but ever distant fashion designer? Especially as I am yet to watch either of the recent films made about her early life…

Illustration by Maria del Carmen Smith – An aside about this image, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets, forcing them to sit side saddle.

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker from the start, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for Women everywhere Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Joana Faria

JP covered the usual ground her relationship with Boy Capell and the Duke of Westminister, revealing a photograph of Coco and Winston Churchill lead her to the ministery of archives… what did she find? Sadly that was left to be revealed in the pages of her book – but let’s just say her reported relationship with a German Soldier may not have been what it has so far appeared to be the work of a traitor, but a (slightly naive…) plan between Coco and Winston Churchill to bring the war to an early end. This may seem rather glib, but to find out more, we will all have to read the book…

Illustration by Abby Wright

Picard touched upon the inclusions of the number 5 etc and the use of stars… magical numbers were part of Chanel’s magical thinking… Tarot Cards. Chanel was interested in simple beauty. Justine attributes this magical thinking to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous chanel star was inspired by the mosiac’s made by Medieval Monks…

Illustration by Antonia Parker

Chanel was funded by Boy Capell, the man sitting on the horse in the above illustration, as soon as the Fashion House started to make money, Chanel paid every last penny back. From the start Coco was to be an independent women. Justine Picard described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…

Illustration by Lesley Barnes

Coco Chanel the name synonymous with French fashion, order so carefully cultivated by Karl Largerfield, this he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, forget Topshop!

How could I pass up the opportunity to find out more about this ever present, but ever distant fashion designer? Especially as I am yet to watch either of the recent films made about her early life…

Illustration by Maria del Carmen SmithAn aside, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets, forcing them to sit side saddle.

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker from the start, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for Women everywhere Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Joana Faria

JP covered the usual ground her relationship with Boy Capell and the Duke of Westminister, revealing a photograph of Coco and Winston Churchill lead her to the ministery of archives… what did she find? Sadly that was left to be revealed in the pages of her book – but let’s just say her reported relationship with a German Soldier may not have been what it has so far appeared to be the work of a traitor, but a (slightly naive…) plan between Coco and Winston Churchill to bring the war to an early end. This may seem rather glib, but to find out more, we will all have to read the book…

Illustration by Abby Wright

Picard touched upon the inclusions of the number 5 etc and the use of stars… magical numbers were part of Chanel’s magical thinking… Tarot Cards. Chanel was interested in simple beauty. Justine attributes this magical thinking to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous chanel star was inspired by the mosiac’s made by Medieval Monks…

Illustration by Antonia Parker

Chanel was funded by Boy Capell, the man sitting on the horse in the above illustration, as soon as the Fashion House started to make money, Chanel paid every last penny back. From the start Coco was to be an independent women. Justine Picard described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…

Illustration by Lesley Barnes

Coco Chanel the name synonymous with French fashion, order so carefully cultivated by Karl Largerfield, what is ed he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, patient the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, forget Topshop!

Illustration by Joana Faria

How could I pass up the opportunity to find out more about this ever present, but ever distant fashion designer? Especially as I am yet to watch either of the recent films made about her early life…

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for women everywhere who wanted to wear trousers, Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Maria del Carmen SmithAn aside, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets.

Chanel was funded by Boy Capell, the man in the above illustration, as soon as the Fashion House produced revenue, Chanel paid every last penny back. From the start Coco was to be an independent women.

Justine Picard covered the usual ground of Chanel’s relationship with men, starting with Boy Capell and touching upon her life spent fishing in Scotland with the Duke of Westminister. Through whom Coco met Winston Churchill in the early 1920′s. The discovery of a picture of the two together lead Picard to the ministery of war archives, specifically the archives on Winston Churchill to explore Chanel’s reported relationship with a German Soldier may not have been what has so far been reported, the work of a traitor, but a (slightly naive…) plan -devised perhaps by Coco and regaled to Winston Churchill- to bring the war to an early end. This may seem rather glib, but to find out more and the outcome of Picards trip to the archives? Sadly the author left this announcement within the pages of her book.

Illustration by Abby Wright

Picard touched upon the inclusions of the number 5 etc and the use of stars… magical numbers were part of Chanel’s magical thinking… Tarot Cards. Chanel was interested in simple beauty. Justine attributes this magical thinking to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous chanel star was inspired by the mosiac’s made by Medieval Monks…

Illustration by Antonia Parker

Justine Picard described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…


WAH Nails, pills illustrated by Yelena Bryksenkova

Unless you’ve been under a rock, view you’ll have seen me banging on about Future Beauty: 30 Years of Japanese Fashion at the Barbican. I did a mammoth post about the exhibition last week; it’s one of my favourite fashion exhibitions ever, store and I couldn’t wait to go back for a second look.

So I was delighted to attend the Beauty Party last Thursday. The name flooded my mind with images of middle-aged women guzzling Lambrini and exchanging salacious stories while passing underwear around a living room on a cul-de-sac somewhere in Huddersfield. The roster of participants was pretty alluring, though – Alex Box, Charlie le Mindu and WAH Nails to name a few.


All photography by Matt Bramford

I went to a Viktor & Rolf event like this a couple of years back and it isn’t the easiest thing to navigate – you have to seek out the various special events – they’re usually tucked away. In tiny rooms behind the exhibition itself, each of the aficionados of beauty had set up their wares. Nails, make-up and hair were covered. What exactly was I going to get out of this? I have very little hair, I bite my nails, and I rarely wear make-up. ‘This is for girls,’ I thought to myself. Well, here’s a little round-up of the night’s events:

Charlie le Mindu

Illustration by Gemma Sheldrake

I’d subconsciously blocked Charlie le Mindu out of my mind after fashion week’s debacle. I feel lucky to be alive after that display, and I thought I had at least six months to recover before braving his (what will undoubtedly be fabulous) show for A/W 2011. Thankfully there wasn’t an arse or tit (or, er, y’know – the other bit) insight this time.

Charlie had created, especially for the occasion, a sculptural creation from human hair that descended from the roof and featured a rider’s helmet with a huge, yellow horse tail that dropped to the ground. On its own, it was beautiful; hanging motionless from the ceiling, it looked like magic. Attendees were able to slip underneath the creation and have their photograph taken, with hilarious results… Some were too short, some were too tall, some just couldn’t make it balance on their heads, but oh, what fun!


Look, it’s Amelia’s Magazine illustrator Naomi Law!


It’s Jenny, who isn’t an illustrator, but a friend nonetheless.

WAH Nails

I love how WAH Nails have single-handedly made nail art cool again. Their incredible designs have had so much press and attention since their debut in 2009. Most recently, they were part of the Eley Kishimoto Flash-On Week pop-up at the Shoreditch Studios, transforming nails with the iconic Flash pattern. Sadly, between the two of them, no matter how quickly the duo revamped nails it was clear the girls I’d gone with weren’t going to get a look in. The list to put your name on was full after fifteen minutes!

Still, it was fascinating to watch the designs come to life.

Alex Box

Illustration by Emmeline Pidgen

I’ve been a fan of Alex’s for a while but I wasn’t sure what to make of a make-up demonstration. A world-famous make-up artist demonstrating her skills in make-up at the front of a cinema, for an hour and a half? Oh, go on then I thought – what’s the worst that can happen? It turns out it was one of the most mesmerising things I (and my pals) had ever seen. Resplendent in a vintage floor-sweeping red frock and fashion glasses that would make half of Shoreditch envious, Alex began creating the first look to the sound of haunting classical music.

To see how quickly she works and how naturally it seems to flow was utterly hypnotising, and surprisingly relaxing. The first look was a Marie-Antoinette inspired ghostly creation, complete with a headpiece and fabrics that were added at the end – absolutely beautiful.

The same poor model then had her face wiped before Look Two began – a more playful look with vibrant colours and jazzy fabrics. ‘Sometimes you have to go against the rules,’ relayed Alex, to a room full of gripped onlookers. A truly wonderful experience.

Illamasqua

Illamasqua‘s team of make-up artists were on hand to provide makeovers. I couldn’t see much of what was going on here because a gaggle of excited teenage girls surrounded them in the hope of a dab of powder from one of these ‘world-famous’ experts. Nothing to see, here.

Of course amongst all this was a chance to see the incredible exhibition again, and it was equally as wonderful as the first time. I’d definitely recommend these evenings, and ooh look – there’s one tonight, starring Fred Butler amongst others!

See all the details here.

Categories ,A/W 2011, ,Alex Box, ,barbican, ,Beauty Party, ,Charlie le Mindu, ,Eley Kishimoto, ,Emmeline Pidgen, ,fashion, ,Flash, ,Fred Butler, ,Future Beauty, ,Gemma Sheldrake, ,Hair, ,japanese, ,Make-up, ,Marie Antoinette, ,Nails, ,Viktor & Rolf, ,WAH Nails, ,Yelena Bryksenkova

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Amelia’s Magazine | Thereza Rowe, Hearts: interview and review

Thereza Rowe_Hearts_cover
A year or so ago Thereza Rowe came over to visit me with an idea for a wonderful, colourful, heartfelt graphic novel. Hearts has now been realised thanks to Toon Books, and I was lucky enough to pick up a copy at the recent ELCAF. The book is aimed at children who are just learning to read, so I have been reading it with Snarfle who is now two years old and in love with letters. He adores the story of a fox travelling through a rich landscape in search of lost love, and asks me to read it again and again. Thereza has a very special way of using clever arrangements of shapes to create a plethora of fantastical images, and although the book is aimed at small people it will appeal just as much to adults, who will probably more closely relate their own lives to this tale of learning to let go and love again.

Thereza Rowe_Hearts_Dolphins
Thereza Rowe_Hearts_lighthouse
When and where did you first dream up the central idea behind Hearts?
It was heading up to my final project for my MA in illustration and the core of my research was based on sequential narrative, comics more specifically. In parallel, my personal life was messy as I was dealing with loss; of a dear close one and that of my cat Flash, which happened within the space of a week. A hard time indeed. The narrative reflected this process of rescuing a little battered lost heart and keeping faith / hope alive that things would be ok in the end. Essentially, it kind of worked as a magical part of my own healing process.

Why is Penelope a fox? we all know of your special love for cats…
But I am a fox, didn’t you know?! Penelope the character just happened as I was doodling her whilst crying all over the paper. It was exactly how I was feeling at that particular moment. I wallowed a lot…

Thereza Rowe_Hearts_king and queen
Thereza Rowe_Hearts_spear
What was your process for putting together the illustrations for Hearts?
After that first scene of Penelope sitting on top of a cliff crying her eyes out, the process developed pretty much on a ‘wing it basis‘. That ‘making it up as you go‘ sort of thing.. after she accidentally drops her heart in the ocean, I suppose, due to the sequential nature of the story, each illustration worked as a response to cause and effect of the characters’ actions… I didn’t really know how it would end, up until the last minute. All I wanted is that she should triumph one way or another in retrieving her heart – but at some point that pesky heart had become so troublesome that maybe a new / renewed one would be the answer. But better not give the whole story away!

Thereza Rowe_Hearts_garden lost things
How did you come up with the Garden of Lost Things?
It comes from the thought of all the things we misplace or lose in life… from tangible ones such as ‘where does that odd sock end up when the washing machine decides to swallow it?‘ all the way to that childhood little something we wish we still had but have absolutely no idea as to what happened to it. And on a more abstract note, feelings and stuff that mattered and/or still matters and lingers at the back of our heads/hearts but we tend to shoo them away until life’s circumstances, for whatever reason, prompts us to look for them and revisit them again.

Thereza Rowe_Hearts_soldiers
When you first showed me your idea for Hearts idea it was far longer, how did you edit the whole into a book format that worked?
It was indeed a lot longer… (as I said, there was a lot of wallowing) and my initial idea for it was more like a wordless graphic novel. But when I showed it to Françoise Mouly (editorial director of Toon Books) we both agreed that it would make a great level one Toon book so together we edited it down to suit the first reader level and also decided to give Penelope a wee voice.

Thereza Rowe_Hearts_castle
How did you get hooked up with Toon Books?
The project was very personal and quite precious to me so naturally I wanted it to get published by a special publisher. I then made a little list with a carefully selected handful of publishers which I knew would take great care of the process of editing the book and that I would be happy to work with and submitted the proposal. As it happened Toon Books was on the absolute top in order of personal preference as I’ve always loved their books and luckily the fantastic Françoise got in touch straight away and I had no doubt that the project would have the happiest possible ending in every sense of the word.

Thereza Rowe_Hearts_Penelope
What new projects are you working on?
I am currently sorting out the storyline for my next children’s book and excited to return to working on a commission involving branding / identity which had to be put on hold for a while due to delayed funding but it’s now back on. And, of course, we are also working on an exciting project together, to be announced soon.

Hearts is published by Toon Books, and is available online and at all good bookshops now.

Categories ,Brazilian, ,comic art, ,ELCAF, ,First Reader, ,Flash, ,Fox, ,Françoise Mouly, ,Garden of Lost Things, ,Graphic Novel, ,hearts, ,illustration, ,interview, ,Learning to read, ,Lost Love, ,Penelope, ,review, ,Snarfle, ,Thereza Rowe, ,Toddler, ,Toon Books

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Amelia’s Magazine | University of Brighton Illustration Graduate Show 2011 Review: the Collagists

Brighton University illustration graduate show 2011-Rosanna Webster
Illustration by Rosanna Webster.

So much to see at the very professionally laid out Brighton Graphic Design and Illustration Graduate Show at the Rochelle School a few weeks ago. There were plenty of lovely prints and limited edition books to buy and the beautifully printed catalogue will likely be the only show catalogue I am keeping once summer is over: high praise indeed as I chuck out most of the bits I pick up straight away. In the recycling of course. (Although I did find a Free Range catalogue from 2004 the other day… which is precisely why I need to throw things out, information pills fast.)

Brighton University illustration graduate show 2011-Jerome Caine Miller
Illustration by Megan Turner-Jones.

A noticeable aspect of illustrative work produced by Brighton students was the emergence of some really distinct themes and methods. Which means that I can loosely arrange my write ups into a few blog posts: I’ll start with the Collagists, viagra approved of whom there were many. You might even call it a trend, which is handy since I am about to write about graduate illustration trends for Eye Magazine.

Brighton University illustration graduate show 2011-Jerome Caine Miller
Megan Turner-Jones collaged old prints, photos of fruit and holiday destinations together to create a wall of art: this was to prove a popular technique amongst Brighton students (collage walls).

Brighton University illustration graduate show 2011 Hyerim Lee
Brighton University illustration graduate show 2011 Hyerim Lee
Hyerim Lee featured what looked like elements of family photos, arm movements and flowers to create graphic designs. His work is influenced by the separated families of his native Korea.

Brighton University illustration graduate show 2011-Rosanna WebsterBrighton University illustration graduate show 2011-Rosanna Webster
Brighton University illustration graduate show 2011-Rosanna Webster
Brighton University illustration graduate show 2011-Rosanna Webster
Brighton University illustration graduate show 2011-Rosanna Webster
Brighton University illustration graduate show 2011-Rosanna Webster
Brighton University illustration graduate show 2011-Rosanna Webster
Rosanna Webster‘s cut and paste approach was far more playful and surreal – skulls, bones, birds and landscapes were used to create beautiful shapes and designs, sometimes overlaid on humans with projections to add another layer of imagery. Rosanna was inspired by primitive beliefs of the fluidity between human and animal form. Her beautifully put together books emulated the tight graphical approach of high quality fashion magazines. I can see her elegant juxtaposition of imagery featuring in glossy mags, as it goes. Follow Rosanna Webster on Twitter.

Zoe Austin
Brighton University illustration graduate show 2011-Zoe Austin
Brighton University illustration graduate show 2011-Zoe Austin
Brighton University illustration graduate show 2011-Zoe Austin
Zoe Austin was also bitten by the collage bug, with restaurant scenes overlaid over extraterrestrial landscapes and surreal flower heads. She is inspired by sci fi novels and cats.

Brighton University illustration graduate show 2011-Anieszka Banks
Brighton University illustration graduate show 2011-Anieszka Banks
Brighton University illustration graduate show 2011-Anieszka Banks
Brighton University illustration graduate show 2011-Anieszka Banks
Brighton University illustration graduate show 2011-Anieszka Banks
Brighton University illustration graduate show 2011-Anieszka Banks
Anieszka Banks is an Amelia’s Magazine illustrator, so I was delighted to see that she had included some of her work for me in her final show, and also the banner that Climate Camp took to Copenhagen back in 2009. Most of her work is influenced by environmental issues such as conservation, sustainability and biodiversity. It’s so good to see that at least one graduating illustrator is engaged in and tackling these issues properly. Her Simple Living book featured some gorgeous photography as well.

Brighton University illustration graduate show 2011-Jennifer Bailey
Brighton University illustration graduate show 2011-Jennifer Bailey
Brighton University illustration graduate show 2011-Jennifer Bailey
Brighton University illustration graduate show 2011-Jennifer Bailey
Brighton University illustration graduate show 2011-Jennifer Bailey
Brighton University illustration graduate show 2011-Jennifer Bailey
Jennifer Bailey juxtaposed painting, photos and fine collaged plant drawings together.

Brighton University illustration graduate show 2011-Chihiro KyozukaBrighton University illustration graduate show 2011-Chihiro Kyozuka
Chihiro Kyozuka followed the collaged theme, using a fixed palette of tropical flowers in reds and yellows, on top of which were placed old photos of her grandmother. These were inspired by her love of Sogetsu Ikebana flower arranging.

Brighton University illustration graduate show 2011-Chihiro KyozukaBrighton University illustration graduate show 2011-Chihiro Kyozuka
Chihiro Kyozuka had produced a series of beautiful postcards that I am tempted to frame (and the images were much admired on twitter) but is let down by a flash website… I can’t get further than the opening animation. Folks, just say NO to flash, please!

Next up… 80s influences and brilliant drawing…

Categories ,2011, ,Anieszka Banks, ,Arnold Circus, ,banner, ,Biodiversity, ,Brighton Graphic Design and Illustration Graduate Show, ,Catalogue, ,Chihiro Kyozuka, ,Climate Camp, ,collage, ,Collagists, ,conservation, ,copenhagen, ,eye magazine, ,Flash, ,Graduate Shows, ,Hyerim Lee, ,illustration, ,Jennifer Bailey, ,Jerome Caine Miller, ,korea, ,Megan Turner-Jones, ,photography, ,photomontage, ,prints, ,projection, ,Rochelle School, ,Rosanna Webster, ,Simple Living, ,Sogetsu Ikebana, ,surrealism, ,sustainability, ,trend, ,typography, ,Zoe Austin

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Amelia’s Magazine | Meet Grande Dame: Special Guest Featured Artist from That Which We Do Not Understand

Amelias_Magazine_TWWDNU_Grande_Dame_Saint_AgathaAmelias_Magazine_TWWDNU_Grande_Dame_Saint_Agatha
Tiff McGinnis, aka Grande Dame, is a highly collectible multi-disciplinary artist who is currently hosting My Voodoo On You, a spectacular solo show at the Ink_D gallery in Brighton. I have been working with Tiff since issue one of Amelia’s Magazine 10 years ago so I am really happy to announce that she has donated a one off silk screen print, featuring loads of 24 carat gold leaf and hand coloured with flouro acrylic paint. Saint Agatha is the Patron Saint of Breast Cancer Patients, Rape Survivors, Bell Ringers, Bakers, Jewellers, Martyrs, Wet Nurses, Fire and Volcanic Eruptions, and is depicted carrying her breasts on a tray because they were cut off when she refused the advances of a high ranking magistrate. Tiff was drawn to this subject because “I went to Catholic school for 12 years and have always been intrigued by religious iconography. Later my mother introduced me to Saint prayers, which are really a kind of personal voodoo for when you want or need something… Although I am not religious, I believe in the power of concentration and visualisation.

Grande Dame_My Voodoo On You portrait
What in particular drew you to Saint Agatha as the subject of your artwork?
I have been fascinated with Saints for sometime now. I went to Catholic school for 12 years, but other than St Francis of Assisi, we didn’t learn about them really. A few years ago my mom turned me on to the power of Saints through prayer. I don’t believe in God and absolutely detest organised religion. But we have this kind of game really. Say you want something, like when I was waiting to hear about my flat. We looked up who the Patron Saint of Home was. It was Saint Joseph. So for 3 weeks, or until I heard back from the landlord, I just chanted his name over and over and concentrated on the flat until I got it. I think my mom does Hail Marys, or some other prayer, but I just repeat their name and focus on what it is I want. I did it the other day when I heard a friend was ill and found the saint for her illness, repeated their name and by the end of the day she was better! Is it coincidence? Or is it power of concentration or positive thought or cosmic ordering? Who knows? But I use it a lot in my life. And I swear it always works!

I was drawn particularly to Agatha, as her story was so bizarre and gory. Many depictions are of her carrying her breasts on a tray, all though some passages have said that Saint Peter came to her and her breasts came back as bells or milk jugs. I have been researching saints for sometime now for a project I want to do and the odd thing is most women Saints were slaughtered and the men were just monks who died of old age… Funny that…

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How was she created?
I drew her in the Flash animation program which I use for all my sketching. Then the black, red and 24 carat gold leaf was silk screened and I hand painted the rest.

Grande Dame_My Voodoo On You 2
You are currently hosting a spectacularly successful solo show, what has been the highlight of the exhibition so far?
The Private View night was amazing! Over 100 people showed up! I was really shocked. I didn’t expect that many people to come, as I don’t know a lot of people in Brighton. But friends came from Hastings, London, Somerset, from all over! It was brilliant! Also yesterday I gave a 2 hour talk on my career and how I ended up being an artist. It was kind of like a live therapy session! Ha! But it was cool to explain to people how I work and how I got to where I am. They seemed to enjoy it too! So yay! Result!

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How long have you been working towards the show and what has been the best and worst parts of being so absorbed in My Voodoo On You for such a long period of time?
It’s been a 5 year project in the making. Wrote the album in 2009. Recorded it in 2010. Animated in 2011, 12 and 13. And spent much of 2014 doing all the art for it. The best part of being absorbed? Hmm… Well my mother always said “keeping busy is the key to happiness“… So I suppose just being focused on this project has been beneficial to my mental state. Although there have been times where I questioned myself as to why was I doing it and was it a waste of my life… The worst parts have been – money. Not having much or any, or worrying where I will get more to finish everything… And the few days before the show opened was so stressful. I worked myself into a right state. In fact the night before the PV I honestly thought I was having a stroke! But all in all – it was worth it! The good & bad!

Grande Dame_My Voodoo On You 4
What is the best thing about merging so many different methods of creativity?
Hmm… There isn’t a best thing really. It’s just how I work. I am a story teller who uses music, moving image and art to convey the meaning of the story… It all goes hand in hand. I would never hire anyone else to make my videos or do my record covers. I have to tell my own story. Also I am a control freak. Ha!

Grande Dame_My Voodoo On You 1
How do you manage to juggle all the various elements of your art making?
It’s not that hard really. Computers allow us to be are own industries. I have to really be in the zone to make music and honestly haven’t recorded anything since I did the album in 2010. Having said that, I’m always writing things & storyboarding ideas in my head. As far as the art side of things. Again – the initial design is done in Flash on the computer so it’s not too difficult to manage. Plus it’s nice to step away from my desk and do a bit of panting or embroidery, or gilding etc…

Grande Dame_My Voodoo on You cushions
You currently live in Hastings – what are the best places to hang out if you are a creative living on the South Coast?
My flat! Ha! I don’t really hang out too much to be honest. This year especially, I just haven’t had the time. But there is a great music and arts scene here. The Royal Standard is great for live bands, and there are always cool warehouse parties happening at artist studios…

Grande Dame terry de haviland couture
What can we look forward to from Grande Dame in 2015?
More art most definitely! I really would like to bang out another animation for this project that I started ages ago. Then it will totally be behind me. And also loads of photographs from my exotic, tropical holiday that I am hoping to go on at some point this year!

You can read what Tiff has to say about her involvement in my book here and pledge for her outrageously wonderful one off artwork on my Kickstarter campaign page here. She receives 50% of profits.

Categories ,art, ,Catholic, ,Exclusive, ,Flash, ,Gold Leaf, ,Grande Dame, ,Hail Marys, ,Hastings, ,illustration, ,Ink_D gallery, ,interview, ,My Voodoo On You, ,Saint Agatha, ,That Which We Do Not Understand, ,The Royal Standard

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