Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Ann-Sofie Back | Atelje

Ann Sofie Back S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | BACK S/S 2012 illustrated by Dee Andrews

It’s 7 pm on the first day of London Fashion Week and the rapid advent of my first catwalk show clash; do I see Ashley Isham or Ann-Sofie Back | Atelje? I’m not familiar with either, case though as I clearly requested these invites, I’m sure both must have appealed to me in some form or other. A quick look through past look books online and I’m still undecided. I spy the locations for each show and my mind is made up; Ann-Sofie Back | Atelje at the BFC tent it is. I refuse to walk all the way to Il Bottaccio (again) – one of this season’s London Fashion Week venues, located miles (well maybe just under two miles) away from the hosting venue, Somerset House. If nothing else, it’s a sensible choice and means little time spent queuing and the acquisition of a front row seat.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Michael of Anastasia and Duck comes and sits next to me and chats enthusiastically about Back’s previous London Fashion Week shows and the theatrical element to them; fear inducing ghosts and zombies I’m informed. Not many designers take advantage of the opportunity to stage a memorable avant-garde show, so I’m now super excited to experience this one.

Ann-Sofie Back S/S 2012 London Fashion Week by Geiko Louve

Ann-Sofie Back | BACK S/S 2012 illustrated by Karla Perez aka Geiko Louve

So soon after the show commences, I’m a tad disappointed with the non-drama of the show, though if I’d read the press-release before, instead of after the show, the seemingly non-theatrical element would have made complete sense. This is because Ann-Sofie Back’s Atelje collection is inspired by religion and traditional Lutheran values coined Jantelagen; a set of axioms that frown upon and discourage success, conspicuousness, pride and satisfaction and acuity amongst other things:

The law of Jante
1. Thou shalt not believe thou art something.
2. Thou shalt not believe thou art as good as we.
3. Thou shalt not believe thou art more wise than we.
4. Thou shalt not fancy thyself better than we.
5. Thou shalt not believe thou knowest more than we.
6. Thou shalt not believe thou art greater than we.
7. Thou shalt not believe thou amountest to anything.
8. Thou shalt not laugh at us.
9. Thou shalt not believe that anyone is concerned with thee.
10. Thou shalt not believe thou canst teach us anything.
From Aksel Sandemose’s 1933 novel En flygtning krydser sit spor (A Fugitive Crosses His Tracks)

Ann Sofie Back | Atelje S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | Atelje S/S 2012 illustrated by Dee Andrews

With Sweden being one of the most secularized countries in the world, these rules akin to the ideals of communism, appear contradictory to the character of the Nordic country. But it appears that Jantelagen is very much embedded into Swedish culture, economics and politics and is taken rather seriously.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back doesn’t do savory inspiration; her collections are always a creative battle against or a fight for awareness of some form of oppression/suppression or other and the spring-summer collection is no different; a rebellion against Jantelagen.

Ann Sofie Back | Atelje S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | Atelje S/S 2012 illustrated by Dee Andrews

The garments appear almost two-dimensional in their simple paper like forms; crisp, clear and severe. The colours are neutral: white, sand, ink black and office blue maintaining the illusion of inconspicuousness. However, the acute stripes, the use of flattering soft and iridescent organza and careful features such as pin-tucks and precise folds and creases all offend the Jantelagen commandments by being defiant, boldly standing out and exuding confidence. I rarely wear mute colours, but the white apron dress and white skirt and stripy top ensemble would most definitely find a home in my wardrobe.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back’s BACK collection certainly acquiesces far more to conventional inconspicuous and unostentatious fashion. Linen is the ruling fabric in the collection and is constructed into simple, loose shapes, but almost always accessoriesed with the signature motif, the skinny belt, inspired by – wait for it… Spaghetti! The knitwear is unpretentious and though I can’t touch the the fabrics and see how they feel, I have a feeling they would be a pleasure to wear.

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

My favourites in the BACK line are; the spacious hot pink linen dress and the long blue pleated skirt, very wearable, very chic. The collections haven’t blown my mind though the ideas behind them have certainly provoked curiosity, but they do however have commercial value.

Play the video and watch the show.

All photography by Akeela Bhattay

Categories ,Akeela Bhattay, ,Ann-Sofie Back, ,Article, ,Atelje, ,BFC Tent, ,british fashion council, ,catwalk show, ,Dee Andrews, ,designer, ,fashion, ,Frugal, ,Functional, ,Geiko Louve, ,God, ,illustrations, ,Intellectual, ,Jantelagen, ,LFW S/S 2012, ,London Fashion Week, ,Neautral colours, ,Oppression, ,Rebel, ,religion, ,review, ,September, ,simple, ,Somerset House, ,SS12, ,Suppression, ,sweden, ,swedish designer, ,Swedish Fashion, ,theatre, ,Venue

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Ann-Sofie Back | Atelje

Ann Sofie Back S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | BACK S/S 2012 illustrated by Dee Andrews

It’s 7 pm on the first day of London Fashion Week and the rapid advent of my first catwalk show clash; do I see Ashley Isham or Ann-Sofie Back | Atelje? I’m not familiar with either, though as I clearly requested these invites, I’m sure both must have appealed to me in some form or other. A quick look through past look books online and I’m still undecided. I spy the locations for each show and my mind is made up; Ann-Sofie Back | Atelje at the BFC tent it is. I refuse to walk all the way to Il Bottaccio (again) – one of this season’s London Fashion Week venues, located miles (well maybe just under two miles) away from the hosting venue, Somerset House. If nothing else, it’s a sensible choice and means little time spent queuing and the acquisition of a front row seat.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Michael of Anastasia and Duck comes and sits next to me and chats enthusiastically about Back’s previous London Fashion Week shows and the theatrical element to them; fear inducing ghosts and zombies I’m informed. Not many designers take advantage of the opportunity to stage a memorable avant-garde show, so I’m now super excited to experience this one.

Ann-Sofie Back S/S 2012 London Fashion Week by Geiko Louve

Ann-Sofie Back | BACK S/S 2012 illustrated by Karla Perez aka Geiko Louve

So soon after the show commences, I’m a tad disappointed with the non-drama of the show, though if I’d read the press-release before, instead of after the show, the seemingly non-theatrical element would have made complete sense. This is because Ann-Sofie Back’s Atelje collection is inspired by religion and traditional Lutheran values coined Jantelagen; a set of axioms that frown upon and discourage success, conspicuousness, pride and satisfaction and acuity amongst other things:

The law of Jante
1. Thou shalt not believe thou art something.
2. Thou shalt not believe thou art as good as we.
3. Thou shalt not believe thou art more wise than we.
4. Thou shalt not fancy thyself better than we.
5. Thou shalt not believe thou knowest more than we.
6. Thou shalt not believe thou art greater than we.
7. Thou shalt not believe thou amountest to anything.
8. Thou shalt not laugh at us.
9. Thou shalt not believe that anyone is concerned with thee.
10. Thou shalt not believe thou canst teach us anything.
From Aksel Sandemose’s 1933 novel En flygtning krydser sit spor (A Fugitive Crosses His Tracks)

Ann Sofie Back | Atelje S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | Atelje S/S 2012 illustrated by Dee Andrews

With Sweden being one of the most secularized countries in the world, these rules akin to the ideals of communism, appear contradictory to the character of the Nordic country. But it appears that Jantelagen is very much embedded into Swedish culture, economics and politics and is taken rather seriously.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back doesn’t do savory inspiration; her collections are always a creative battle against or a fight for awareness of some form of oppression/suppression or other and the spring-summer collection is no different; a rebellion against Jantelagen.

Ann Sofie Back | Atelje S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | Atelje S/S 2012 illustrated by Dee Andrews

The garments appear almost two-dimensional in their simple paper like forms; crisp, clear and severe. The colours are neutral: white, sand, ink black and office blue maintaining the illusion of inconspicuousness. However, the acute stripes, the use of flattering soft and iridescent organza and careful features such as pin-tucks and precise folds and creases all offend the Jantelagen commandments by being defiant, boldly standing out and exuding confidence. I rarely wear mute colours, but the white apron dress and white skirt and stripy top ensemble would most definitely find a home in my wardrobe.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back’s BACK collection certainly acquiesces far more to conventional inconspicuous and unostentatious fashion. Linen is the ruling fabric in the collection and is constructed into simple, loose shapes, but almost always accessoriesed with the signature motif, the skinny belt, inspired by – wait for it… Spaghetti! The knitwear is unpretentious and though I can’t touch the the fabrics and see how they feel, I have a feeling they would be a pleasure to wear.

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

My favourites in the BACK line are; the spacious hot pink linen dress and the long blue pleated skirt, very wearable, very chic. The collections haven’t blown my mind though the ideas behind them have certainly provoked curiosity, but they do however have commercial value.

Play the video and watch the show.

All photography by Akeela Bhattay

Categories ,Akeela Bhattay, ,Ann-Sofie Back, ,Article, ,Atelje, ,BFC Tent, ,british fashion council, ,catwalk show, ,Dee Andrews, ,designer, ,fashion, ,Frugal, ,Functional, ,Geiko Louve, ,God, ,illustrations, ,Intellectual, ,Jantelagen, ,LFW S/S 2012, ,London Fashion Week, ,Neautral colours, ,Oppression, ,Rebel, ,religion, ,review, ,September, ,simple, ,Somerset House, ,SS12, ,Suppression, ,sweden, ,swedish designer, ,Swedish Fashion, ,theatre, ,Venue

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Amelia’s Magazine | Graduate Fashion Week 2010: UCA Rochester

Joo-Hee Chun

Emma Box, illness illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.


Live catwalk illustrations by Tom Gilbert

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Categories ,1970s, ,Abigail Daker, ,Alexa Papavasileiou, ,Anachee Sae Lee, ,Art Deco, ,Bad Girls, ,Body-con, ,Carla Grima, ,Catsuits, ,Chandelier, ,Chelsea Bravo, ,Cherelle Reid, ,Digital Prints, ,Donna Summer, ,Earls Court, ,Emma Box, ,Futurism, ,Gareth Pugh, ,God, ,Gold Award, ,Graduate Fashion Week 2010, ,Grecian, ,Hallam Burchett, ,Harem pants, ,Lesley Barnes, ,london, ,Lydia Vousvouni, ,Martin Margiela, ,menswear, ,Oliver Twist, ,Paper Mache, ,Rebecca Watson, ,Sherlock Holmes, ,UCA Rochester, ,Vicky Jolly, ,Victoriana, ,Waif, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: UCA Rochester

Joo-Hee Chun

Emma Box, illness illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.


Live catwalk illustrations by Tom Gilbert

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Categories ,1970s, ,Abigail Daker, ,Alexa Papavasileiou, ,Anachee Sae Lee, ,Art Deco, ,Bad Girls, ,Body-con, ,Carla Grima, ,Catsuits, ,Chandelier, ,Chelsea Bravo, ,Cherelle Reid, ,Digital Prints, ,Donna Summer, ,Earls Court, ,Emma Box, ,Futurism, ,Gareth Pugh, ,God, ,Gold Award, ,Graduate Fashion Week 2010, ,Grecian, ,Hallam Burchett, ,Harem pants, ,Lesley Barnes, ,london, ,Lydia Vousvouni, ,Martin Margiela, ,menswear, ,Oliver Twist, ,Paper Mache, ,Rebecca Watson, ,Sherlock Holmes, ,UCA Rochester, ,Vicky Jolly, ,Victoriana, ,Waif, ,Womenswear

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Amelia’s Magazine | An interview with Simone Lia about her autobiographical graphic novel Please God, Find Me A Husband!

Please God, Find Me a Husband! Simone Lia cover

Illustrator and comic artist Simone Lia recently published her autobiographical graphic novel Please God, Find Me a Husband! – a candid look at life as a 30 something single woman with an unshakeable belief in God. The book is beautifully illustrated in the style that Simone’s numerous fans will be familiar with: crisp black lines filled with minimal flat colour define her characters and landscapes, accompanied by instantly recognisable handwritten type.

Please God, Find Me a Husband! is by turns touching, funny, exasperating and uplifting. I must confess that as someone who knows the author very well and remembers some of the situations that inspired the storyline it’s hard to take an objective view of the novel, but I am sure it will appeal to a wide audience. Graphic novel lovers will appreciate Simone’s beautiful illustrations and clever use of design to move the story forward, whilst many people who do not traditionally gravitate towards comics will relate to at least some elements of her situation. This is an enjoyable and entertaining read, but I’ll let her explain a bit more herself….

Please God, Find Me a Husband! Simone Lia
At what point did you decide to write an autobiographical graphic novel and why?
I had the idea in a flash whilst having a God moment in Leicester Square. I was praying and felt that God was answering my prayer in a subtle and unusual way (through the lyrics of an INXS song!) and I was inspired to go into a deeper journey with God, get to know Him more. In my minds eye I imagined a spiritual journal I suppose, being visualised in a comic format. There was an internal struggle in making visible something as deeply personal as my spiritual life, in parts of the story baring my soul. Mostly the struggle was about not wanting to make myself vulnerable in making my private thoughts public, especially as the devotion which is illustrated in the book is totally counter cultural. I decided to go ahead though because as an artist I have a deep desire to communicate with an audience and hopefully to reach and touch a reader in a very human way and also make the reader laugh! Ultimately what convinced me to make the book was a level of trust that I had in the reader, that they would be able to read the story and perhaps enjoy it without necessarily believing in everything that I believe in.

Please God, Find Me a Husband! Simone Lia
How much of your time did this book take up, and how did you juggle its creation with other work commitments?
It’s a bit tricky to say, I was really lucky to have a couple of regular jobs which meant in theory I had three days a week to work on the project. However the nature of the project was so different to anything that I’d done before because it’s very personal I did keep stopping the project because I couldn’t find the tone or I lacked the confidence to to continue with it. The book took four years from start to finish but in reality the final year was when all the work was done. I’d started the book from scratch and worked like the clappers to get it finished.

Please God, Find Me a Husband! Simone Lia
What was the decision behind your minimal use of colour?
The book was originally full colour. I showed it to Billy Kiosoglou of Brighten the Corners who designed Fluffy and he gave me some frank/harsh feedback. His idea was to go for one colour instead. So we made a compromise and I had a limited palette of about 100 colours ha ha.  

Please God, Find Me a Husband! Simone Lia
Where do you think your very unique sense of humour comes from?
My parents, my mother is rather hilarious. Although our family humour is a bit dark. I was with my mother a few years ago and and we were walking down some shiny stairs in Malta and I slipped and fell. My Mother’s instinct was to break my fall but instead she punched me in the mouth which hurt a whole lot more than falling on my bottom. My lip swelled up double the size for a few days and this is is the sort of thing that we all find hilarious in my family. Pain.

Please God, Find Me a Husband! Simone Lia
You are best known as the creator of Fluffy, which most readers may not have realised contained autobiographical elements as well. Is it important to draw on real life when creating stories?
Yes most readers will not realise that I actually do have a talking bunny at home. Not really! There were a few bits that I nicked from real life in the story and some of it was life imitating art imitating life etc. The trip to Sicily on a train and a boat and a bus, I made that trip and some of the characters that I met on the way did find their way into the book. Some of the bits with the Mother, that was memories of my Grandmother and her children and there was a part with the mafia as well which was taken from real life. Some things that happen in real life are way more unbelievable then fictional stories somehow. I don’t think it’s necessary to draw on real life when creating stories but it’s that old adage isn’t ‘write what you know‘.

Please God, Find Me a Husband! Simone Lia
Reviews have been really good in general (including a glowing one on the Guardian) but there has perhaps inevitably been a few people who struggle to understand your unquestioning commitment to God. What would you say to those people?
I read a couple of those reviews but the reviews that I saw weren’t actually about the book or the story telling etc, it was more about me (deluded I think someone wrote) or wanting the book to be about me justifying/explaining my beliefs. The book wasn’t about that but it was quite interesting reading those reviews. I wasn’t writing this book to be provocative in anyway but I do understand that even by having a belief in God this can be provocative in itself. For most of my life until the age of 30 I was definitely not practicing my faith at all, I didn’t really believe in God. I do remember on the rare occasions when I met Christians who were brave enough to say that they were a Christian – the negative feelings that bubbled up inside towards them: possibly fear, anger, irritation and disbelief that anyone could believe anything so clearly stupid. So I’m not really too surprised by negative reactions towards me for my beliefs.

Please God, Find Me a Husband! Simone Lia
I know you as someone with a great sense of adventure and I think that really comes through in this book – what adventures have you had more recently – can you share any?
I’m not sure that I do have a great sense of adventure in the normal sense of the word but I do get myself into quite random situations that open up possibilities to meeting interesting people. I recently went to Texas and stayed in a trailer for a hermit like experience – this wasn’t the original intention of the trip as Texas is quite a long way to travel to stay in a trailer, the circumstances had changed but I was fully embracing and looking forward to a hermit experience in a field in a small town. Anyway I met so many people, really lovely warm hearted people who were big on hospitality so there wasn’t too much of an opportunity for hermiting.

Please God, Find Me a Husband! Simone Lia
Will there be any more autobiographical stories in the future? Any ideas in the pipeline?
Not at the moment. I’m glad that I did the last one but the process was a bit like pulling out every bit of your body and sticking it back in again. I’m drawing bunnies today and it’s very pleasant. But never say never, if there was something that seemed right for autobiographical or more journalistic I would do it.

Please God, Find Me a Husband! Simone Lia
What new stuff are you working on right now?
Right now I’m working on an illustration for the Sheffield literary festival, Off the Shelf and I’m part of the illustration day this Saturday at Foyles with David Gentleman, Karrie Fransman, Mark Herald and top comics journalist, Paul GravettI’ll be running a workshop in the afternoon. And I will also be at ELCAF on Sunday on a panel discussion hosted by Becky Barnicoat (The Guardian) from 2.30 til 3.30.

Please God, Find Me a Husband! is out now, published by Jonathan Cape. Read my full listing for ELCAF here.

Categories ,autobiographical, ,Becky Barnicoat, ,Billy Kiosoglou, ,Brighten the Corners, ,comic, ,David Gentleman, ,ELCAF, ,Find Me a Husband!, ,Fluffy, ,Foyles, ,God, ,illustrator, ,INXS, ,Karrie Fransman, ,Malta, ,Mark Herald, ,Off the Shelf, ,Paul Gravett, ,Please God, ,Sheffield literary festival, ,Sicily, ,Simone Lia, ,texas, ,The Guardian

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