I am distracted by a wedding dress photoshoot on my way to Gyunel‘s show at The Savoy and veer in via the wrong entrance, barely making it in time for the show. When I do finally enter, out of breath, it’s to the sound of crackling flames. The Savoy is a fancy venue with a fresco feel (Sistine Chapel as opposed to al) and Gyunel‘s Demi-Couture show is at home in this opulent location, where the clothes are complimented by chandeliers and a luxurious egg-shell blue decor. Supermodel Jodie Kidd is one of the well-known faces in the front row and the circular catwalk makes for a refreshing change to the usual straight up, straight down.
The collection is kicked off with a feather-covered gown in dark blue modeled by Erin O’ Connor. There are some futuristic haircuts and revealing leather, which feel a little Fifth Element, although none of the models sport the giveaway tangerine mop. A Pantone style selection of blues, a dash of white, a dab of purple and some striking cream hoods make up some of the glorious colours in this show. I can’t help but think the dresses have the feel of another era, and the leather-bound models with their billowing train dresses gives me an aftertaste of steam-punk.
My street-side wedding-dress encounter must have been an omen as there’s a traditional, white, flowing matrimony dress in the collection too. This virginal piece is a strong contrast to the sexuality exuded by some of the other frocks, and some of the models are, what my boyfriend would (with a mischievous grin) call, ‘smuggling peanuts’.
The series of white hoods are unexpected and add an aura of mystique to the show. The make-up, provided by AOFM graduates gives the models dramatic, white, metallic eyes; right up to the brow, making them seem simultaneously as though they could be from Narnia and outer space.
Gyunel‘s collection is a well-used deployment of contrasts; leather mixed with chiffon makes for an interesting look, as does the presence of ready-to-wear garments alongside couture. With the strong underlying blue tones and a generous show of skin, the models remind me of Jason’s sirens effortlessly luring men to sea. Perhaps this influence is something I’ve imagined though, as sea salt hairspray is one of the goodie-bag freebies I managed to nab from an earlier show.
You can tell almost everything you need to know about someone from their walk. There is a world of difference between a prance and a skip, a mooch and a stride. I prefer those who amble, and I do a good mosey myself. Models tend to strut, but these catwalk beauties have a stride of their own; they glide. Combined with the make-up and the clothes, the effect is otherworldly. The braids that hold the hair back from their faces adds to the effect and has a trace of Princess Leia making the whole effect, not just of the clothes, but of the entire experience, pretty impressive. Whether it’s the surroundings or the dresses, I feel like I’m in a different universe for the duration of Gyunel’s fresh, varied and fantabulous show at The Savoy.
When did you last hear an amazing story? A tale of derring-do, helpmedical or grand ambition, shop heights scaled, ambulance depths plumbed – simple stand-up human decency or quiet unassuming endurance or some quirky ingenuity fit to inspire generations to come. The kind of stuff they used to sing songs about, and still do.
Sat around their dining table one evening, David and Clare Hieatt pondered. They were rubbing their chins over what they could really do about the things they cared about. They’d started howies back in 1995, something of an awesome inspirational-type clothes company in itself, but this was clearly not enough. From that evening of reflection, they figured that the world’s Doers are the best people to inspire people to go Do something. In David’s words, ‘They show us what is possible. They leave a trail that we can follow. Knowing how they did it helps us to connect the dots about how we can do it. They give us the inspiration, the final push we need to go and do our thing. Whatever that might be. From starting a new business, to inventing something that hasn’t been done before to fighting for your cause, doers seek.’
And so the Do Lectures were born – a series of talks by people who have Done stuff, and might well Do more, if we let them up and at it – a few days gathering each year to share ideas and stories, to meet other fantastic Doers, and thereby get these stories out and about in the world. Here are a few Qs – the As courtesy of David Hieatt – that might give you more of an idea.
Why do people get involved with the Do Lectures?
There isn’t a set of talks like it in Britain. The talks have sustainability at its heart. Their reason to exist is to make a positive change. The speakers do not get paid but we do cover their expenses. Speakers come from all over the world to tell their story. They want to share their learning, they want to share their new ideas, they want to share their journey. They want to tell the world about the change they have made or are seeking to make. It might be a small tent but there are some big ideas being shared. They have a story to tell. People remember stories. They forget facts.
How do you choose your speakers for the Do Lectures?
We spend the year researching the speakers. We find out who has written the most interesting books, written the most thought provoking articles, who is doing the bravest thinking in their field, and then we pull from that research and start to compile a short list. We already have some of the speakers booked for next year. We also have a number of Do mentors throughout the world. They report back to us from time to time. They tell us who their doers are in their part of the world. They we literally get on the phone to the people we are going to invite. Even in the second year, an invite is starting to carry some kudos.
What is the most unusual topic for this year’s Do Lectures?
Maybe, Mount Everests binman. Or a school that aims to create chaos and not order. Maybe the man wants to change how concrete is made. Or maybe the man who’s doodles have ended up on the big screen for what could be the biggest film of the year: Where the Wild Things Are.
Where do you see the Do lectures in 5, 10, 20 years’ time?
In 5 years – There will be a series of How to Do books. That cover the subjects that the talks cover from clean tech to inventing to climate change. Global talks. The talks will take place all over the world. From Sydney, to Bangalore, to Stockholm, to Tokyo, to San Francisco, to Beijing. The talks will over time become an important set of talks, respected throughout the world. In 10 years – The aim for the Do Lectures over the next decade is to build a world resource for Doers and to supply that knowledge for Free for the world to use. To make a positive change. In 20 years – To build A Do school. There will be a physical and a virtual library available free to the world.
So here’s a gathering with a difference. At one thousand pounds a place, you’re less buying a ticket, more contributing to the speakers’ expenses and the future free distribution of the lectures. David and Clare are thinking big – what is fast becoming a respected annual event should attract over a million people across the world this time around to get inspired for free. If you can go, I most humbly and slightly jealously urge you, go. And if a back seat is the order of the day – well, don’t make a habit of sitting there. Once this year’s stories are out and available, I think there’ll be more than enough get-up to go. Yes, I surely Do.
One of Amelia’s Magazine‘s favourite graduates from the Central St Martins MA back in March was knitwear designer Morgan Allen- Oliver, treatment with a selection of horse jockey- meet- Soviet minimalist graphic patterned jumpers. We caught up with him to find out how the last few months have been treating a designer with very British sensibilities.
Hi there! How are you doing? You have nice hair.
Hello, approved thank you. I think both my hair and I are feeling the effects of a rather busy couple of weeks!
What have you been up to?
Well I’ve had my brothers wedding in Somerset, diagnosis where I was making waistcoats for the wedding party, and then I’ve been at the Avalon Camp, the charity I work with (a week in a very rainy, muddy field with 32 children, trying to give them a summer holiday!!) then straight back to London to reacclimatise to city life!
You graduated in March – what have you been up to since then?
I needed a break. It was 18 months of near hell, I loved almost every minute of it but it was emotionally, physically and financially draining – I loved it! Then after a couple of weeks lying in a darkened room, I went back to my old uni, Ravensbourne, to help some very talented young designers pull their collections together ready for Graduate Fashion Week. It was fun but strange at the same time – working so hard only to see someone else get the glory! I have not done that before but I suppose it gets you ready for the real world! Then I started doing some work for Christopher Shannon and Natascha Stolle, sort of knitwear consultancy I guess you could call it? This has actually been very beneficial and given me a lot of creative freedom.
Describe your design aesthetic in three words.
British. Elegant. Me.
Who do you see wearing your clothes?
It is odd, but I always have my friend Ed in the back of my head when I design – I think, “would he wear it?” Then I go with it. I also see my clothes as really easy-to wear, and could work on anybody who wants to wear them – as long as they are happy, I am happy. I think that as long as people are confident in their clothes, they will look good! Man that sounds cheesy!
Who do you admire within the industry? Any other heroes?
A strange choice but I am always really excited to see the new Miu Miu shows when they come out. I know it is mainly womenswear and not my forte, but there is always something fun and new that really gets me. Every now again Burberry come out with some beautiful knitwear that makes me wish I had designed it!
As stupid and as lazy as it sounds, when I was in my last year at Ravensbourne, no one was doing it so I thought it would be a good way to stand out, and it was. You need to stand out in fashion, however possible! But as I got more into it, I actually started to like it and really enjoyed the process, designing as I knitted and being so much freer than when I was working with wovens. I must have enjoyed it I guess as I went on to specialise in it at St Martins!
As a knitwear specialist, are you pleased to see a lot of recent students showing an interest in knitting?
I really am. It was amazing that only two years after I left Ravensbourne as the only only pure knitter, there were six or seven people doing it when I went back, all of whom were doing some of the best and most beautiful work I have seen. I was also really pleased to see so much on show at GFW. I sat through nearly all the shows and the knitwear was definitely the highlight in most shows.
Morgan’s BA collection from Ravensbourne
Now for the important question…you inherit 5 million dollars the same day aliens land and say they’re going to blow up the world in two days… what do you do?(Editor’s note: definitely not lifted from anywhere)
Well I don’t believe in aliens. But if I inherited 5 million pounds (we are in England!) and then the world ended that night, I would probably be too panicked to come up with a coherent plan, so would no doubt waste my time thinking about what to do!
Who or what is your greatest enemy?
Time. There is never enough and I waste it terribly.
Who would you ideally like to work for, and what’s the future for Morgan Allen-Oliver?
I want to work for one of the classic British houses. I feel that is where my style sits best. Then who knows, one day go out on my own? When I was younger, and still finding my style, I always thought New York was the place for me, and actually in the past week, two opportunities have come up over there, but we will wait and see!
To get in touch with Morgan (and maybe get yourself one of those jolly nice jumpers) pop him over an e-mail by clicking here.
Like trojan horses in thrift store suits, edAndy Bichlbaum and Mike Bonanno are the corporate world’s bêtes noires, find causing mayhem and creating chaos in the buttoned up business sector. Seeing that they describe their favourite hobby as posing as the heads of corporations that they hate, this the results of which have caused losses of millions of dollars on the stock market, you can see why these men strike fear in the otherwise impenetrable world of big business.
The exploits of Andy and Mike, otherwise known as The Yes Men, make up “The Yes Men Fix The World”, the optimistically titled documentary which details their journey into some of the biggest, baddest corporations in the world. Before you think that these two are merely time-wasting pranksters, bare in mind that they only go after the organisations which have blood on their hands, and their ultimate mission is to “expose the corporate greed which is destroying the planet”. Their tried and tested manner of political activism is done by ” criticizing those in power with a smile and a middle finger”, a disarmingly effective method which always delivers. The film details one of their most infamous and audacious hoaxes yet – impersonating a Dow Chemical spokesperson on the BBC. A little back history to put this in the correct context; in 1984 a chemical plant in India which was owned by Union Carbide (since purchased by Dow Chemical) leaked 27 tons of the deadly gas methyl isocyanate which spread into the city of Bhopal. Called the worst industrial disaster in human history, the effects were far reaching and horrific. Over 500,000 people were exposed to the gas, and 20,000 have died as a result. It is estimated that 120,000 people still suffer from ailments caused by the leakage, which include blindness, extreme difficulty in breathing and gynecological disorders. Babies born since have been blighted with disfigurements. Since Dow Chemical purchased Union Carbide in 2001, they have refused to clean up the side, provide safe drinking water or compensate the victims, saying that the settlement reached by Union Carbide had fulfilled the financial and moral responsibilities of the victims.
With this in mind, the dogged determination of The Yes Men to focus in the spotlight on Dow by any means possible is quite understandable. In 2004, Andy Bichlbaum appeared on the BBC as Jude Finisterra, a Dow Chemical representative, accepting responsibility for their actions, pledging to clean up the site and compensate the victims.
The fallout was fast and unexpected – Dow’s share price fell 4.2% in 23 minutes, causing a loss of $2 billion in market value. This leads to a Yes Men realisation. As they explain; “we have created a market system that makes doing the right thing impossible, and the people who appear to be leading are actually following its pathological dictates. If we keep putting the market in the driver’s seat, it could happily drive the whole planet off a cliff.”
The film follows Andy and Mike around conferences as they try to explain the ramifications of this situation. Of course, the methods which they employ to do so are not always legit (but funny for us). For example, pitching the concept of a ‘golden skeleton’- which represents lucrative skeletons in the closet, to a London Dow Conference. Surprisingly, those attended loved the concept and afterwards scrabbled to be given skeleton key chains and memorabilia.
The documentary also unveils SurvivaBalls, (which can best be described with photographic examples) on a unsuspecting audience. While they may suspiciously look like fat suits, they in fact “Save managers from abrupt climate change – an advanced new technology will keep corporate managers safe even when climate change makes life as we know it impossible”. As long as the heads of the corporations are alright, eh?
The Yes Men press have this to say about the films release:
COME SEE THE YES MEN GET SERVED?
If you happen to live in the U.K., the Yes Men will be attending the London
preview screenings August 7-10 and will appear live at the nationwide simulcast on
August 11. These are great opportunities to serve the Yes Men legal papers should
you or anyone you know wish to sue them. Please get tickets early to reserve a
seat for these potentially lively events! Note as well that the Yes Men will give
a free “Special Edition” New York Times to anyone who comes to any daytime
screening, or to one of the Monday-Wednesday evening screenings at the Odeon
Panton Street London between August 7-13.
There will also be the chance, a la The Age Of Stupid, to organise screenings in schools and public work places. For full screening dates and times, and to buy advance
tickets, please visit http://www.theyesmenfixtheworld.com/scre
Antwerp has a lot to answer for. It has for the last decade been a fertile hotbed for not only cooler than thou talent emerging from the Fashion Academy but a steady stream of artists, about it photographers, see illustrators and graphic designers. One man who has his fingers in all the fore mentioned creative pies is Frederik Heyman, hospital an Antwerper born and bred, who has been artistically active since the tender age of 7. With not one but two master degrees, one in graphic and illustration design and one in photography, Heyman is more than a hobbyist with a passion.
His portfolio is extensive yet he remains clearly selective about working with people he resonates with; local folk such as Bruno Pieters and Christian Wijnants, as well as red hot publications such as Zoo Magazine (the trendy Berlin based one, not the British poor man’s playboy) Delvaux Magazine, and Mode Depesche.
When I asked him about his most admired artists he explains that while admiration can have negative connotations for him which in turn can kill creativity once you strive for emulation, he has a lot of respect for certain artists and thinks the prospect of collaboration is tricky when you contend with “egos bumping”.
As someone who explores more than one avenue of expression, I wondered whether he had a preference between creating illustrations and shooting photographs. “I believe for me one is inseparable from the other; there is a lot of crossover. I illustrate my images and the atmosphere by putting it on film and vice versa. I believe I’m more of an illustrator who uses a wide range of media, including photography.” Perhaps the attraction of dealing with a range of medias is that it keeps one’s mind and occupied; Frederik claims that if he wasn’t an artist his life would probably be a lot more structured.
One theme that struck me immediately in Heyman’s work is his use of the human form. I was curious where his fascination with bodies came from, especially when he is in turn quite shy of his own. “It’s not a fascination; it’s more the endless possibilities you have with the tool called ‘a body’. It’s more of an automatic feature that sneaks in rather than a present subject in my work. With the body you can sculpt your image, it can be subtle, or it can support the action from the background. Every little movement or gesture can reroute the atmosphere in an opposite direction.”
When the conversation matured into more of a chit chat, I discover that Frederik is lost without his mobile phone, “I can’t stand the silence of not hearing people in a day passing by”, that he can’t deny the musical presence of the Pet Shop Boys in his life “they are permanently in my top 25 listened to tracks!”, and that his only real nemesis is sleep, “I suffer the physical weakness of body and time. I find the days run too short for all the possibilities.”
His work has received widespread interest from a number of blogs and websites; the diversity of his appeal is to his credit, and I’m sure will mean his success can only continue to flourish. Collina Strada designs some very nice bags. And like most things fashion-related around here at Amelia’s Magazine, physician they have a heart and soul, viagra 40mg with a passionate concern for environmentally friendly fashion. Made from organic canvas and using vegetable dyed leathers, medications these new ‘It’ bags truly deserve the label; they really are so much more than just a bag (if such a thing even exists!)
The genius behind the designs is LA based Hillary Taymour, who has brought her vast fashion and business education from the Fashion Institute of Design and Merchandising to her business; covering all aspects of initial design work, production and marketing. Hillary is Collina Strada! Combining her Californian education with her Egyptian background, Hillary’s bags showcase the modernity of American fashionistas mixed with ethnic prints and ethical fabrics no doubt inspired by her African roots. Think zebra stripes meeting modern shapes, expect tribal diamonds printed on envelope bags.
The collection is made with the fashion-forward woman in mind, no surprise considering Hillary’s location. Already celebrated on inspirational fashion blog, rackk and ruin, it’s definitely correct to say that once you have the blogosphere’s support, good things are on their way. Something that makes the bags stand out is their individuality; each bag is different, nothing matches, yet the excellent tailoring and construction hold the designs together.
Inspired by bag-making-legends ranging from Prada, to Balenciaga, to Hermes, Hillary certainly knows her handbag royalty. Alongside her education and background, these formative influences can truly be spotted in the ‘It’ factor to her designs, making functional and modern bags that at the same time stand out as somehow timeless, vintage-look pieces. Look at the effortless draped shape of the Ferra bag, or the dramatic rouching of the Zeba bag, and you’ll see what I mean. Can’t you picture the photos of Sienna, Alexa and the gang parading around London town with these beauties on their shoulders already?
Collina Strada – Where does the name come from?
The name for the collection derived from my name Hillary people call me Hill, in Italian Collina means Hill and Strada means Street.
What was the inspiration behind the collection?
The inspiration for the line was to create a beautiful silhouette with buttery leathers and eco-conscious materials, I wanted to create something beautiful that could allow every woman to show off their individual style.
What do you think makes your bags stand out?
The bags stand out through their unique silhouette with a clean aesthetic, the bags speak for themselves without any added hardware.
What’s in store for the future of Collina Strada?
The future of Collina Strada is expanding, I will be creating functional abstract leather pieces that are not necessarily handbags, I would love to see Collina Strada move forward into a head to toe contemporary women’s collection.
Hillary states on her website that she strives to provide bags that “break free from the rest”. Looking at her 09 collection, they certainly do that.
Written by Becky Cope on Thursday August 13th, 2009 3:48 pm
I’ve never been very napkin friendly. By which I mean, at meals, rather than lay one on my lap, I’m substantially more likely to leave myself open for the peril of meal related stains. A little tomato sauce here, some balsamic vinegar there, it all comes out in the wash in the end, right?! Although my napkinophobia is more likely down to remnants of childhood indignation than a genuine dislike of linen, it is with the interest (and hesitation) of a non-napkin user that I attended the Folded Beauty exhibition at the Holburne Museum in Bath to see the artworks of a genuine napkinophile.
Joan Sallas is the go-to guy for historic linen folding, and this exhibition is the first of its kind in the UK. Recreating examples of table decorations from high society in days gone by, these pieces offer a glimpse into the elaborate creations of napkin foldings past. Sallas’ interest in the art of textille folding was brought about through a fascination with the Japanese art of paper folding and there’s a definite appeal to this unique art, which Sallas has almost single-handedly revived. Centrepieces in the style of those that graced dinners in Royal European Court way back when make for dramatic art. These banquet-side fabric sculptures are based on designs and patterns that go as far back as Renaissance Italy and as far forward as the 17th Century when this dinner-table decoration practice reached its peak. Whether it’s a pair of doves with their beaks pressed together in comfort, or a griffin towering above the tabletop, the variety and skill in the pieces is the most impressive part of this exhibition. Animals and architecture are just a few of the things recreated through folds in this exhibit. Sallas, a Catalan cartoonist and origami artist, created all these works using ancient techniques and patterns with the help of his lovely assistant and a heavy dose of research.
Although before I entered this exhibit I imagined that it might be a little stuffy for Amelia’s, once I’m here, I understand the playfulness of the art form. Napkins and linen are shaped into snakes, tortoises, forts and even mountains as part of this renaissance of the Renaissance art of napkin folding. I’m a sucker for all things cute, and any exhibition that can put a historical context onto a fort filled with bunnies and birds is OK by me. The birds and bunnies are there as a nod to a particular fancy meal in 1593 where live creatures were captured inside a castle decoration and the gates opened so they could escape as the guests entered the room (accompanied by music and fireworks of course).
There are children here, I know there must be before I actually see any because I hear a parental voice repeat “don’t touch anything” at least three times in the same number of minutes. As I crouch down to take a photograph of the fabric snake below the main display table a little girl points at the snake conspiratorially and looks at me. “Ssssss,” she hisses and giggles. “Snake,” she says. She presses her hands against the glass and I imagine for a second how she might see the monochrome exhibition: as a Ballroom sized zoo. I hear her mother say one last time “don’t touch anything,” and they are gone.
The exhibition reminds me that fabric has a tang of cardboard-box-possibilities about it. In the same way a simple brown cube can become a space ship, a cave, an oven or even a submarine on a journey to the centre of the earth, these napkins have become creatures, mythical beasts, flowers and (humping) chickens. It reminds me of coming back to a hotel room after a long day at the beach and finding hearts or crocodiles made from towels on your bed. When I was little, a towel-made mother swan and a hand-towel baby signet were smuggled back in a suitcase by my parents for me, they still sit on my dressing table today. Such is the magic of creating something from nothing, and the potential lasting appeal of a fabric creation. Probably because of those two swans, this exhibition resonates with me in an unexpected way.
Working from engravings and records, this virtuoso folder has brought alive, not just the art-form, but the napkins themselves. The centrepiece of this exhibit is a 1.5m high table fountain surrounded by marvelous heraldic beasts. All the elements of the napkin creations that appear in the exhibit are taken from designs from the Baroque era. It’s great insight into the elaborate dinners of ye olden times and a brilliant example of the potential of fabric. There’s even the opportunity to have hands-on group lessons from the artist to shed light into how these wonderful linen beasts are made.
When you sit down and write exhibition reviews, you discover that if there’s one thing that museums don’t actually provide all that much of, it’s information. This might sound like a strange observation, but when you’re writing a review, a few sentences hardly seems long enough to satisfy your own interest in a piece, let alone the readers. Especially when museum info sheets have been oversimplified to such a degree you can usually count the facts you’ve learnt on one hand. We leave at closing time and when I ask about the possibility of more information, the staff, all around my age, just look at me slightly flumoxed. “We have postcards,” they say. I politely decline.
This show is in partnership with Waddesdon, Nr Aylesbury, Bucks which will host the exhibition from from 22 May to 27 October 2013, meaning that if you’re not located in the Bath area, you might still get a chance to see it. Although the exhibit is moving to a different museum later in the year, once his shows are over Sallas is known for unfolding all his pieces and starting again. This reminds me of short story The Destructors, which I haven’t read, but is infamously mentioned in Donnie Darko. In the story destruction is suggested as its own form of creation. In the same way, the destruction of each of these napkin creations, leads to a new set of wonderful linen beings and objects.
As we exit I fold the exhibition pamphlet in my hands, running my fingers across the paper until it resembles an airplane. I wait for the first gust of wind and I let it go. I don’t look back.