Gabriel Ayala – Page 4 – AmeliasMagazine

Amelia’s Magazine | Portfolio: an interview with illustrator Gabriel Ayala aka Gaarte

Nova Chiu A/W 2013 by Gaarte

Nova Chiu A/W 2013 by Gaarte.

Fashion illustrator Gabriel Ayala is based in New York, from where he has been contributing regularly to Amelia’s Magazine for several years. We always look forward to his idiosyncratic and often spectacular depictions of runway looks from the London Fashion Week shows, and thought it was about time we caught up with the enigmatic illustrator better known as Gaarte.

Ekaterina Kukhareva S/S 2014 by Gaarte

Ekaterina Kukhareva S/S 2014 by Gaarte.

How did you get into fashion illustration?
I first came into contact with fashion illustration through a book in the library at KCC (Kingsborough Community College). This was 10 years ago. I remember flipping through the pages of this book and when I landed on George Stavrinos‘s page I just feel in love. By the next semester, I was at FIT (Fashion Institute of Technology) studying Fashion Illustration. I had a mentor in the school, Bil Donovan, who is a fashion illustrator and encouraged me towards pursuing it as a career.

Fyodor Golan A/W 2013 by Gaarte.

What is your design background?
As far as design goes, I did a semester of menswear (at FIT). By this time I was already in school for about 5 years and I couldn’t take it anymore. Within those 5 years I studied graphic design, photo retouching, commercial illustration and fashion illustration.

Heohwan Simulation by Gaarte

Heohwan Simulation by Gaarte.

What are your design inspirations?
I draw inspiration from other designers’ work. I don’t get inspired by nature, animals, or abstract concepts. I need to keep the work consistent & commercial within extremely tight deadlines. (I know that the response seems very dry but I’m keeping it real).

How do you set about working on a new illustration?
I start every work from a concept written in my sketchbook… I need to decide how this project relates to ME? What is MY perspective. Once I decide how the work speaks to ME then I start sketching ideas. Afterwards I develop the sketches into works that have a commercial sensibility.

Corrie Nielsen by Gaarte

Corrie Nielsen by Gaarte.

What is an essential requirement for you to work happily?
Music videos and music are really essential. I start blasting music, seeing the visuals and that inspires me to work through the illustration. I usually have youtube or MTV hits playing. Depending on how I am feeling I listen to certain types of music. Pop, hip-hop, rock, reggaeton it doesn’t really matter. If I don’t have music then I feel like I’m forcing the work instead of letting it flow. I refer to this a creative constipation.

Here are some songs that I’m digging at the moment:
Jay-Z Ft. Kanye West- Who Gon Stop Me
Eminem – The Monster (Audio) ft. Rihanna
Natalia Kills – Problem
I Luv This Shit (Explicit)

Ong-Oaj Pairam by Gaarte

Ong-Oaj Pairam by Gaarte.

You’ve been contributing to Amelia’s Magazine for some years now, how did you discover it and what keeps bringing you back?
I used to work for a company named stylesight.com and I was tracking an image (from their offices) back through the blog of Tom Hovey. In his blog he had a link to Amelia’s Mag and the rest is history I guess. I think that Amelia’s Mag is a platform for emerging fashion creatives worldwide. And the magazine is the only publication in the world to display photography and fashion illustration in the same article under the same light (at least this is what I believe). And the reason why I keep coming back is to be a part of a publication that promotes and displays fashion illustration.

Carlotta Actis Barone S/S 2013 by Gaarte

Carlotta Actis Barone S/S 2013 by Gaarte.

What has been the best part about creating fashion illustrations for Amelia’s Magazine?
The best part is creating the work. Executing a piece of commercial work for the public is exciting. Having that work live and represent me, my idea, my concept and my brand is dope. It’s better than having your work in a gallery, in-print or on a wall because that is static… it’s a static life. When you get your work out there, especially on a platform like Amelia’s Magazine, then the work has the capability to take on a life of it’s own (I’m not saying that it always takes a life of it’s own… I’m saying it has the capability). It is good to have work featured in the magazine coz that gives you credibility, sort of like Juxtapoz, but for fashion illustration. Then social media allows the artwork to take on another life, another audience.

Ashish S/S 2014 by Gaarte

Ashish S/S 2014 by Gaarte.

You have recently been working with Fashion Group International in New York. Can you tell us a bit about the company and what your role is?
I’ve been with FGI since 2011. They are a membership organization and a non-profit, specializing in events tailored to the fashion professional. There are many different regions, each region organizes events such as retail and beauty symposiums, trend presentations and so on. We recently celebrated our 30th Annual Night of Stars Gala honoring Marc Jacobs. And we are currently organizing our annual Rising Star Awards. I am the first in house graphic designer/ web designer. I’m also involved in social media for FGI. I work with a team of marketers to develop the look and feel of an event as well as design and develop any printed material and eblast relating events. On the social media end of things, I tie the events into the social platforms and try to keep FGI in the conversation (of major fashion news).

Yeashin S/S 2014 by Gaarte

Yeashin S/S 2014 by Gaarte.

Referring back to the inspiration question, when you work with a bunch of marketing people you’re work needs to be on point EVERY single time. So you need to refer to what is happening in the industry and trying to keep up with commercial standards. And there are so many different events so you have to pull inspiration from EVERYWHERE…. so you’re everywhere and no where at the same time.

Nian S/S 2014 by Gaarte

Nian S/S 2014 by Gaarte.

Can you tell us a bit about your everyday life in Brooklyn, New York?
My everyday life is boring… and I love it like that. I am a fitness guy so I begin my day with an egg white protein shake. Then I’m off to the gym to workout. I spend 2 hours at the gym come back home. The rest of my day is spent in front of a computer when I’m not cooking and running around with my nephew. In case if you’re wondering, the majority of the meals that I cook are healthy. I do a lot of research on healthy foods. Most people think that I’m on steroids but I’M NOT. (When I say most people I’m referring to: my co-workers, my friends, my brother and my mother).

Gabriel Ayala self portrait

Self Portrait.

Thankyou so much Gabriel, it’s been fabulous to get a better insight into your everyday life, inspirations and work practice. Do watch out for more artwork from Gaarte in the near future, as he will be one of our very special portfolio illustrators on the new website.

Written by Amelia Gregory on Thursday January 9th, 2014 4:28 pm

Categories ,Bil Donovan, ,brooklyn, ,Fashion Group International, ,Fashion Institute of Technology, ,Gaarte, ,Gabriel Ayala, ,George Stavrinos, ,Juxtapoz, ,Kingsborough Community College, ,London Fashion Week, ,new york, ,Rising Star Awards, ,stylesight.com, ,Tom Hovey

Amelia’s Magazine | An interview with Cat of Howkapow!

Illustration by Gareth A Hopkins

Amelia met a whole load of creatives during her recent ACOFI book tour – illustrators, web designers and makers. It was at Soma in Bristol that she met Cat and Rog from Howkapow – a wonderful website selling allsorts of wonderful items made by new designers all under one metaphorical roof.

Howkapow began only eight months ago but already features over 50 unique designers selling their wares – from brooches to lamps, drug you’ll find an array of interesting and vibrant objects here. I managed to have a chit-chat with Cat about their company, young creatives and self promotion. Here goes:

Cat and Rog of Howkapow, illustrated by Natsuki Otani

Oh hai Cat, how are you?
Ooo in spirits I’m feeling dandy actually Matt, thanks for asking! In body I’m suffering a little – just back from the hospital after an X-ray on my knee… fell off me bike! Wine + cycling = Cat in ditch.

Oh gawd! Well, tell us a bit about Howkapow – when did it start and why?
We opened in December 2010, after we moved from London back to Bristol where Rog (my husband and business partner) and I met at university almost, err, 10 years ago. I had just finished my MA at Saint Martins and we wanted to work together on something that supported creative people and built a community. We had peddled my jewellery at markets in Melbourne and Brick Lane and had met many wonderful people who made beautiful things. But a lot of them either didn’t have a website or any means of self-promotion (like an agency) and so Howkapow was born…

Oh! Howkapow’s an interesting name… where’s it from?
Ah! We merged our second name – ‘How’ – with the fact that all our products are bright, loud and in-yer-face, so… ‘kapow‘!

So do you and Rog split the work equally? How is it – y’know – working with your husband?
It’s bloomin’ brilliant! Nice coffee breaks, decadent lunches and business meetings in the garden, arguments over how to load the printer paper… No, in all seriousness although it was a bit strange at first as we’d only worked for other people before (Rog for the BBC and I was a journo before Saint Martins).
It works really well because we have well defined roles. I split my time between designing and acting as creative director so have (somewhat) complete control over the look of the site as well as stock purchases and sourcing new people. I always ask Rog what he thinks about a certain product but ultimately I RULE! He deals with all the accounts, legal tings, backend web development, site maintenance… y’know the really fun stuff.

Illustration by Claire Kearns

How do you select the designers that you feature and support?
There are around 50 designers and illustrators on the site at any given time, and we’ve been releasing a new designer a week since we opened. Honestly we could release many, many more! But our criteria for choosing them is simple. They have to be a new and / or an independent designer or illustrator and their work has to fit at least two (although ideally all) of our brand values of quality, colour, humour and fun.

Home products available on Howkapow (images courtesy of Howkapow, products selected by Matt Bramford)

How do you think young creatives can stand out in such a saturated environment? Everybody’s at it these days…
Very true! I think it’s a combination of a) doing something original b) doing something useful and ultimately commercial and c) being good at self promotion. Ideally young creatives need to know the market that they are going into. Whether this be design or illustration, you can have a great idea but if it’s not transferrable into a commercial product then it falters. Gosh that sounds a bit cold doesn’t it? But that’s how I choose new designers and illustrators at graduate shows. I was shocked by how many graduating product designers this year had no idea what their wholesale or retail price was for the work they were showcasing…

The flipside of it is, and this is a huge generalisation, but being very creative and original means you’re – more often than not – not massively great at self promotion or PR.

Illustration by Gabriel Ayala

That’s probably why you’re offering The Agency service – tell us a bit about that…?
Yes, the agency. It’s still in it’s infancy (the shop itself is only 8 months old) so we’re currently building up our base of creatives. Instead of it being based on static image-based portfolios, we want to develop it more as a ‘product’ agency where we manufacture a range of products from creatives. There’s the commercial / useful thing again… We can then use these products as a showcase for our illustrators / designers alongside their other work. It means they can be approached by shops as well as ad agencies or whatnot.

What do you offer young designers that they don’t get from websites like Etsy where they flog their own stuff?
Well, the main thing is we hand-pick all our designers to match our brand values so people know exactly what sort of work to expect from our store. As opposed to a web resource which is open-to-all, we ‘curate’ our shop with exactly what we want which enables us to have a really strong brand and identity. We employ a PR company to help promote the shop and our designers; and we’ve also started to collaborate with some of our illustrators on products to then sell on the shop (and to wholesale to other shops). When the agency emerges it’ll be there to help promote our designers even further.

Illustration by Sandra Contreras

Tell us a bit about some of your favourite products or designers… if you’re allowed, that is:
Oooo! Well obviously we LOVE it all (otherwise it wouldn’t be on the shop), but we’ve always greatly admired the work of Scottish illustrator Eleanor Meredith. We’ve recently designed a Tea Tiger and Coffee Chimp mug and a Gin Slug Tea Towel with her.

Illustration by Jenny Robins

What role do you think tools like social media plays in the way we promote ourselves?
HUGE! Never underestimate the power of social media. Twitter, Facebook and Pinterest (recommended to us by Amelia when we went to a talk of hers recently and to which we are now totally addicted) are one of the main ways I find new designers and illustrators. You’ve got to be in it AND on it to win it.

There’s a million different websites for creative people these days. It’s exhausting. What are you favourites and why? Are there any you’d advise against or avoid? MySpace is awful, isn’t it?
Hmmm, yes I have to say Myspace is a bit of a dead duck, isn’t it? We’re literally never on there. It’s true – there are lots of different websites, and actually being on too many can dilute the perceived brand values of your label / work. If I see someone on lots of different open-to-all sites, as a buyer it actually puts me off. Choosing your outlets carefully can really help your brand. Again it’s about knowing your market and where you think your work would suit. There are one or two sites we would advise against, but we’re all about the non-negative vibes here at Howkapow, maaaaan.

What else is on the Howkapow agenda? Do you have sights on a real shop?
Yes indeed! We’re planning to open up a shop in Bath (20 mins down the road from Bristol) early next year. In the meantime we’re working on more collaborations with illustrators on our own Howkapow range. We’ve started to build our selection of jewellery, mugs and tea towels but want to look into other products like trays, ipad / iphone cases, ceramics, cushions and even deck chairs!

Howkapow jewellery and gifts; pictures courtesy of Howkapow, products selected by Matt Bramford)

What else do you and Rog like to do when you’re not Howkapow-ing? (Keep it clean, purlease)
Drinking fine wine! And sharing it with friends, obviously. We’re really into our food so growing our own veg on the allotment and brewing our own selection of (questionable) booze is always high on our agenda. Oh, and cycling on our tandem… although given the state of my knee, maybe not for a while now.

Rog and Cat at Amelia’s book tour at Soma in Bristol; photograph by Amelia Gregory.

Written by Matt Bramford on Tuesday August 2nd, 2011 4:54 pm

Categories ,ACOFI, ,Amelia, ,Bath, ,bristol, ,Central Saint Martins, ,Claire Kearns, ,designers, ,Eleanor Meredith, ,Facebook, ,Gabriel Ayala, ,Gareth A Hokpins, ,Howkapow, ,illustrators, ,Jenny Robins, ,Matt Bramford, ,Pinterest, ,Rog & Cat How, ,Sandra Contreras, ,shop, ,Social Media, ,Soma, ,twitter

Amelia’s Magazine | George Pringle at the Social: Live Review

George Pringle by Maria Montiel

George Pringle by Maria Montiel

It seems strange to think that it’s been three whole years since George Pringle last graced a stage. I’d seen her a few times at various venues around town, a resolutely awkward presence usually at complete odds (musically, anyway) with the other bands she was on the bill with. Describing herself as a “diseuse”, her vaguely autobiographical spoken-word delivery, set to GarageBand beats from a Mac laptop, earned column inches, even before the appearance of her first album, the self released Salon Des Refusés. She also managed to bag a support spot with Air on a European tour, before seeming to disappear from view.

And yet here we are at the Social, in a narrow basement in a narrow bar tucked away from the bustle of a West End Saturday night. Antonioni’s L’Eclisse is projected soundlessly onto a screen behind the tiny stage, with the accompaniment of what sounds like 1970s and 1980s Italian pop tunes playing over the PA. The lighting is low, and a crowd (including friends and family) gathers, awaiting what is described as a “recital” of the long awaited new album.

George Pringle by Sam Parr

George Pringle by Sam Parr

Golfo Dei Poeti (or the Gulf of Poets, apparently a colloquial name for La Spezia, in northern Italy), is Pringle’s first musical work since Salon Des Refusés. Described as “music for lonely cowgirls”, it embraces the same DIY ethic as its predecessor, but it’s a much more sophisticated affair. With the glitchy beats of the first album reined in, Golfo Dei Poeti is both fragile and lush – an electro-pop soundtrack for a late night taxi ride home. Pringle’s delivery has also changed, with her lyrics more spare, and she actually sings now!

As she stepped on to the stage, another difference from the George Pringle of old was clearly evident – instead of solely being accompanied by her trusty laptop, tonight she was the musician, with a keyboard and bass guitar arranged around her.

The set opened with Golfo Dei Poeti itself, the album title track (also, perversely, the final track), a simple repeated phrase bathed in echo and set to a sprightly drum beat and a looping synth line, before a complete change of mood and pace with London, My Lonely Smoke Ring – Pringle’s delicate vocal over a bare, mournful organ (though the crowd got a bit carried away and started cheering during the long pause before the song’s big finish). She picked up a melodica for To Augustus With Love, and returned to it for La Notte, adding textures over the latter’s cascading keyboard melody. The second half of the set featured Pringle on the bass guitar, a highlight being Real As Sound, which built up from a sparse, ominously wailing soundwave, with simple, repeated verses, to a pulsing lo-fi floor filler.

George Pringle by Gabriel Ayala

George Pringle by Gabriel Ayala

Pringle seemed much more confident as a performer than I remember, and there was a fair bit of banter between songs, including reminiscences of people thinking that injuries obtained falling off stage at the Luminaire were all part of the act.

George Pringle by Maria Montiel

George Pringle by Maria Montiel

The set closed with Physical Education (Part 1), the night’s sole representative from Salon Des Refusés, with frantic electro beats and cheeky hints of I Feel Love, before Pringle’s brother took on DJ duties.

It was a welcome return for George Pringle, and I just hope that it’s not such a long wait before we get to see her again.

Written by Richard Pearmain on Tuesday June 25th, 2013 11:46 am

Categories ,Air, ,Electro Pop, ,Gabriel Ayala, ,GarageBand, ,George Pringle, ,Golfo Dei Poeti, ,Maria Montiel, ,Michelangelo Antonioni, ,Salon Des Refusés, ,Sam Parr, ,the Luminaire, ,The Social

Amelia’s Magazine | Shonen Knife at the Scala: Live Review

Shonen Knife by Sally Jane Thompson
Shonen Knife by Sally Jane Thompson

After a month long tour around Europe which kicked off in, information pills of all places, more about Brixton’s Windmill, viagra Shonen Knife arrived at the Scala for their 30th birthday bash. Originally formed in Osaka by sisters Naoko and Atsuko Yamano, along with their friend Michie Nakatani, and influenced as much by 1960’s girl groups as by punk bands (especially the Ramones), Shonen Knife created an energetic, upbeat, irresistibly catchy yet still underground sound (packaged in colourful, often homemade outfits). Their music made its way to the US alt-rock scene and they eventually found unlikely champions in such luminaries as Sonic Youth and, especially, Nirvana’s Kurt Cobain (who invited Shonen Knife on a tour of the UK in the early 90’s). Now on their (at the last count) eighteenth studio album (a set of classic Ramones covers), Shonen Knife were back in town and ready to rock Kings Cross.

Shonen Knife by Fi Blog

I’d first caught Shonen Knife at their Windmill gig in August (I think only their second or third in London in around 15 years) when they were in the guise of the Osaka Ramones, and it was an exhilarating run through of the Ramones’ finest. The Windmill was pretty rammed that night and, filing into the auditorium of this old cinema with our special Shonen Knife wristbands, I could see that the Scala was going to be pretty busy too.

The trio cheerily took to the stage holding bright orange scarves aloft, and then we were underway. On lead vocals and guitar, Naoko is the only remaining founder member, but she is more than capably supported by the ever smiling Ritsuko Taneda on bass, and the band’s newest member, Emi Morimoto, is certainly no slouch on drums.

Shonen Knife by Claire Kearns
Shonen Knife by Claire Kearns

Kicking off with Konnichiwa and Twist Barbie, Shonen Knife started as they meant to continue – fast and frenetic. Their songs may be uncomplicated, they may be about such everyday things as candy or furry animals, but they’re played with such energy and delivered with such enthusiasm that even the biggest grump would find it hard not to enjoy them. Shonen Knife are all about fun!

As well as assorted gems from their back catalogue, there were a couple of tracks from their more recent albums, such as Super Group, the reggae-ish and intensely catchy Capybara (about, yes, a furry animal) and Perfect Freedom (both from last year’s Free Time LP). Ritsuko took time between thrashing her bass for lead vocals on Devil House, whilst Emi was also on vocal duty for the very 1960’s sounding I Am A Cat. Naoko was not to be outdone by the youngsters as Shonen Knife properly rocked out at the end of the set with Economic Crisis (see, they don’t just sing about furry animals!), which had just a hint of Motörhead about it, and Cobra Vs Mongoose.

Shonen Knife by Louise Wright
Shonen Knife by Louise Wright

To the particular delight of the mosh pit that had formed in front of Naoko, the band returned as their alter egos, the Osaka Ramones, and, with Ritsuko once again on lead vocals, launched into Sheena Is A Punk Rocker. Emi took over for The KKK Took My Baby Away before we headed, inevitably (and with the help of a stage diver), towards Blitzkrieg Bop. I’m pretty sure the whole of the Scala was shouting “hey ho, let’s go!” There was no rest for Shonen Knife, though, as they straight away headed to the foyer to sign autographs for the throng of ecstatic (and exhausted) fans afterwards.

Shonen Knife by Gabriel Ayala
Shonen Knife by Gabriel Ayala

As Shonen Knife return home to Japan for some more shows, and with the prospect of a US tour on the horizon, it certainly looks like the party isn’t over just yet!

Written by Richard Pearmain on Tuesday September 20th, 2011 10:34 am

Categories ,alt-rock, ,Brixton, ,Claire Kearns, ,Fi Blog, ,Gabriel Ayala, ,Girl-Groups, ,japan, ,Kings Cross, ,Kurt Cobain, ,Louise Wright, ,Motörhead, ,nirvana, ,Osaka, ,Osaka Ramones, ,punk, ,Ramones, ,Sally Jane Thompson, ,Scala, ,Shonen Knife, ,Sonic Youth, ,underground, ,Windmill

Amelia’s Magazine | Mary Epworth at St Pancras Old Church: Live Review

Mary Epworth by Gemma Cotterell

Mary Epworth by Gemma Cotterell

Hidden away between Mornington Crescent and St Pancras railway station, in that relatively little known area of London that is Somers Town, St Pancras Old Church seems to be undergoing a bit of a reinvention. A church with a long and interesting history (and that’s before we get to the impressive churchyard, with its links to the Romantic Poets, the American Revolution and The Beatles), over the last couple of years it has begun to put on small gigs by many an up-and-coming artist.

Mary Epworth by Sylwia Szyszka

Mary Epworth by Sylwia Szyszka

Escaping a bitterly cold evening, I was immediately struck by how small the place is (apparently a capacity of only around 100 people), especially compared to Union Chapel, another church-cum-music venue about a mile or so to the east. With the scent of incense wafting through the door, I could see that all the seats were already taken, with any late-comers making do with standing room only at the back.

Mary Epworth by Gilly Rochester

Mary Epworth by Gilly Rochester

Playing a venue such as this must have been a bit of a contrast for Mary Epworth, having been at SXSW in Texas a couple of weeks before. Tonight was the first appearance on a whistle-stop UK tour, before some festival dates into the summer. Epworth has been ploughing her own particular musical furrow for a couple of years now, influenced by as much by English folk as by 1960s West Coast psychedelia. She gained recognition following an appearance at a tribute concert to Sandy Denny, and the release of her debut album, Dream Life, last year received widespread praise.

Mary Epworth by Rhi Pardoe

Mary Epworth by Rhi Pardoe

With a slightly reduced version of her trusty Jubilee Band (certainly compared to the gig I saw at the Lexington last summer), Epworth took centre stage in a sparkly black dress and with drum sticks in hand, leading the beat on a snare drum and (drummers may correct me here) a tom-tom placed either side of her. With support from Jim Hanner and Will Twynham, variously swapping bass, keyboards, drums and an upright piano and the redoubtable Citizen Helene supplying guitar and harmonies, she led us through a selection of songs largely drawn from Dream Life.

Mary Epworth by Gabriel Ayala

Mary Epworth by Gabriel Ayala

Playing with a more compact band meant that a lot of the songs felt more, not necessarily stripped down, but intimate, which certainly suited the setting (especially with the low level lighting, which added to the atmosphere). That said, Epworth’s soaring vocals, particularly on Heal This Dirty Soul, could more than fill the room. There was a mournful Two For Joy, with its simple organ chords feeling suitably “churchy” (as Epworth quipped when describing some of her set tonight), and the country tinged Sweet Boy, which sounds not unlike something that Caitlin Rose might come up with. Rather unexpected was a cover of The Four Horsemen by Greek prog-rockers Aphrodite’s Child. Don’t think anyone saw that coming!

Mary Epworth by Sam Parr

Mary Epworth by Sam Parr

The most well known songs, Black Doe and Long Gone, popped up towards the end (Epworth admitting that she actually wrote the latter about a dog), and there was a brief encore, accompanied solely by Twynham on keyboards, to round off the evening for a most appreciative audience.

Mary Epworth by Carley Chiu

Mary Epworth by Carley Chiu

After a bit of a break, Mary Epworth and the Jubilee Band will head off to play at the Great Escape Festival and the Wood Festival, followed by the Lounge On The Farm Festival. There don’t appear to be any new records ready for release on the immediate horizon, but I’m sure that when they do appear, they will be just as special.

Written by Richard Pearmain on Monday April 15th, 2013 12:32 pm

Categories ,Aphrodite’s Child, ,Beatles, ,Caitlin Rose, ,Carley Chiu, ,Citizen Helene, ,folk, ,Gabriel Ayala, ,Gemma Cotterell, ,Gilly Rochester, ,Jim Hanner, ,Jubilee Band, ,Lounge On The Farm Festival, ,Mary Epworth, ,psychedelia, ,Rhi Pardoe, ,Sam Parr, ,Sandy Denny, ,St Pancras Old Church, ,sxsw, ,Sylwia Szyszka, ,the Great Escape, ,The Lexington, ,union chapel, ,Will Twynham, ,Wood Festival

Amelia’s Magazine | Portfolio: an interview with illustrator Gabriel Ayala aka Gaarte

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