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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: John Rocha

John Rocha SS 2012 by Sarah Harman
John Rocha S/S 2012 by Sarah Harman

Harold Tillman, information pills Hilary Alexander and James Goldstein were just a few of the fashion bigwigs to take their prime seating positions in anticipation of the latest John Rocha collection. This was much the same scenario when I attended Rocha’s show last season and the high-flying professionals seem to have become a favoured crowd for Rocha’s front row. And it’s not surprising when, information pills needless to say, cure the designer is a long-standing, treasured feature of London Fashion Week who is widely celebrated and, most of all, respected.

John Rocha by Duilio Marconi 1

John Rocha SS 2012 by Duilio Marconi 2

Model Abbey Lee Kershaw opened the show and took to the runway in the opening outfit. Sporting an all-black voluminous textured dress, her entrance had photographers’ flashes illuminating the BFC tent. Kershaw, who was finally dubbed a supermodel this year by V magazine, had also been presented as a key feature in Rocha’s A/W 2011 show back in February, suggesting that Rocha has seemingly taken quite a shine to the 24 year-old Australian.

John Rocha SS 2012 LFW by Nicola Ellen 2
John Rocha S/S 2012 by Nicola Ellen

John Rocha SS 2012 by Duilio Marconi

Also just like last season, (Rocha loves his traditions!) the models were styled with wind-swept nymph hair and long braided plaits. Make-up was minimal, pure and simple with pale fresh-faced skin and nude colouring; an overall effortless ethereal look to compliment John Rocha’s signature design ethic.

John Rocha SS 2012 by Duilio Marconi

Much to their delight, I’m sure, John Rocha was one designer that gave models’ skinny-pins a short break from killer heels. In their place were black platformed flat sandals, adding an updated feminine grunge look (minus all the pain!).

John Rocha SS 2012 by Duilio Marconi

Rocha SS 2012 LFW by Nicola Ellen 1
John Rocha S/S 2012 by Nicola Ellen

To name a few of the many more intricacies that went into Rocha’s elaborately crafted collection, ribbons were attached to hair and hung long next to plaits and all models sported either wire or feather headdresses. The problem with this idea was that because Abbey had opened the show in a wired headdress with black feathers, I was almost convinced that a major fashion disaster had occurred. Models were appearing with bare wire headdresses; no feathers. They looked absolutely bizarre so I naturally assumed that their feathers must have fallen off. What a nightmare, I thought. This wasn’t the case at all. It was purposeful. Just John Rocha keeping us on our toes, I suppose.

John Rocha SS 2012 by Duilio Marconi

Just as was the case with his A/W11 collection, the colour palette was ultra-minimal with neutral tones dominating throughout. In fact, there were only three colours on the agenda; all rich-black ensembles led to cream creations which then led to head-to-toe stark white. With only black, cream and white, the focus shifted away from colour to texture instead. Texture was intricately and ornately crafted with Abbey’s opening black raffia dress, raw raffia that made up other ensembles, loops of black rubber and Lurex threads intertwined in the cream and white garments.

John Rocha SS 2012 by Duilio Marconi

John Rocha Catwalk LFW by Nicola Ellen jpg
John Rocha S/S 2012 by Nicola Ellen

John Rocha SS 2012 by Duilio Marconi

Towering tall over John Rocha, Abbey Lee Kershaw once again led the Hong Kong born designer down the catwalk for another of his gracious finales. And, as has become tradition, he placed a kiss on Abbey‘s cheek at the feet of the snapping papz, and then John Rocha was off, thanking and bowing to the audience as he went.

John Rocha SS 2012 by Duilio Marconi
All photography by Duilio Marconi

Written by Georgia Takacs on Thursday September 29th, 2011 12:13 pm

Categories ,Abbey Lee Kershaw, ,Amelia’s Magazine, ,BFC Catwalk Space, ,BFC Showspace, ,BFC Tent, ,black, ,british fashion council, ,Cream, ,Debenhams Rocha, ,Duilio Marconi, ,Georgia Takacs, ,Harold Tillman, ,Headdresses, ,Hilary Alexander, ,Hong Kong, ,James Goldstein, ,John Rocha, ,lfw, ,LFW S/S 2012, ,LFW S/S12, ,London Fashion Week, ,London Fashion Week S/S 2012, ,London Fashion Week S/S12, ,Lurex, ,Myth, ,Mythologies, ,Myths, ,Nicola Ellen, ,Nymphs, ,Raffia, ,Rubber, ,S/S 2012, ,Sarah Harman, ,Simone Rocha, ,Somerset House, ,Texture, ,Warriors, ,White

Amelia’s Magazine | Kay Kwok: London Collections: Men S/S 2014 Catwalk Review

Kay Kwok S/S 2014 by Gabriel Ayala

Kay Kwok was actually my first show of the London Collections: Men S/S 2014 schedule. When I turned up on the Sunday morning, I had a bit of a meltdown outside. I’d returned from holidays and suddenly found myself standing in a standing queue waiting to get in to a venue to watch a designer’s show that I knew nothing about. As street style snappers snapped street style snappers and people behind me in the queue had banal conversations about how they’d selected which shoes to wear, I thought, ‘What the hell am I doing here? I don’t belong here’. It all seemed rather tedious. I yearned to be at home watching the Coronation Street omnibus in my pants, eating Crunchy Nut Cornflakes.

The security guy in the background isn’t part of Kay’s creative direction, he was an actual security guard. Was going to remove him but I like how his poses change from shot to shot…
All photography by Matt Bramford

When I finally got inside, the venue was ludicrously empty. I couldn’t believe it. What was all that al fresco fuss about? I decided to dust myself off and get on with it, and when the lights dimmed and the music started, I realised that this wasn’t such a bad place to be after all. Yeesh, I go on, don’t I? Anyway, let’s talk about Kay Kwok.

Born and raised in Hong Kong, Kay Kwok graduated from the London College of Fashion only last year. He’s already establishing himself on the London fashion menswear scene with a little help from the endorsement of GQ China. This S/S 2014 he brought his blend of ‘cosmic fashion’ to the collections.

Kay Kwok S/S 2014 by Gabriel Ayala

Opening with a wide v-necked tunic top and fitted trousers, this would turn out to be a multifaceted collection. A sea of garments revealing bare chests with this familiar v-neck design followed: beiges and blacks were used heavily for blazers, jackets and further tunics.

Kwok relies heavily on futuristic, architectural forms. T-shirts featured apron-like overlays and wide-leg trousers continued up to the chest with geometric panels. Rigid leather jackets and trousers transformed the shapes of models.

Later came graffiti-like acidic prints, with which, I’m told, Kwok is more closely associated. These were cleverly applied to long coats and accompanying trousers: at first carefully on sleeves, and then with abandon across all garments. Futuristic footwear came courtesy of fellow LCF graduate Youngwon Kim.

As the finale walked past I felt like I’d witnessed two separate collections – both of which were equally exciting. Comparisons have been drawn with J.W. Anderson but I think Kay Kwok‘s aesthetic is a more appealing one and he’s a welcome addition to the London Collections line-up.

Written by Matt Bramford on Monday June 24th, 2013 6:44 pm

Categories ,catwalk, ,Coronation Street, ,fashion, ,Gabriel Ayala, ,GQ China, ,Hong Kong, ,LCM, ,LCMSS14, ,London Collections Men, ,Matt Bramford, ,menswear, ,review, ,S/S 14, ,SS14, ,Victoria House

Amelia’s Magazine | Lazy Summer Days with Handmade Ethical Clothing from Lowie

Lowie by Emma Jardine.

Lowie was set up by Bronwyn Lowenthal – born in the UK, site raised in Tanzania, with Jewish roots and a Welsh name. She was trained in marketing and went on to become brand manager for Ben Sherman before setting up Lowie nine years ago, which she started by importing Turkish made hats and socks to sell in Portobello Market. She quickly realised that there was a niche for brightly coloured handmade knitwear and found a supplier to produce larger quantities for her in Hong Kong.

I Love Lowie handmade ethical clothing by Kathryn Edwards.

Lowie Playsuit by Alejandra Espino.

The Lowie Parlour Dress.

Lowie has now expanded into ‘wovens’ – pretty cotton fabrics that feature darling floral sprig prints, all printed in a fair-trade factory in India. These are made into flirty dresses with full skirts and nipped in waists and cute little playsuits. The brand is sold in Heals, Anthropologie and ASOS to name but a few.

Lowie by Avril Kelly.

Lowie Crochet Bow Dress by Michalis Christodoulou.

Lowie didn’t start life as a specifically eco brand but has gradually moved in that direction over the years. At one point Lowie was the only brand producing eco knitwear in jewel bright colours, so they have helped to lead the market away from boring ethical neutrals, opening the door for some of the much more exciting eco fashions that are around today.

Lowie by Jane Young.

The Lowie Culotte Playsuit.

All wool jumpers and accessories are now made in China from wool that is produced in Australia. Although all Lowie cotton products are organic the wool is not, so they are currently looking into new types of eco yarns, for example those made from bamboo, which can feel as good or even nicer than wool.

Press Days March 2011-Lowie red bow
A close up of the bow detailing at press days.

Press Days March 2011-Lowie
A couple of the Lowie girls looking pretty in Lowie dresses. Hannah on the left manages the studio.

In the meantime Bronwyn travels overseas a few times a year to overlook factories and ensure production fits ethical fair-trade standards – all clothes are manufactured by home workers who run small domestic workshops in their living space.

Press Days March 2011-cupcakes Forward PR
A totally self indulgent photo of cupcakes at the Lowie press day. Just because they were so pretty.

You can find the new Lowie collection on their website. I absolutely adore the breezy Lowie style, especially for summer.

Written by Amelia Gregory on Monday June 13th, 2011 10:34 am

Categories ,Alejandra Espino, ,Anthropologie, ,ASOS, ,australia, ,Avril Kelly, ,Bamboo, ,Ben Sherman, ,China, ,cotton, ,cupcakes, ,Dresses, ,eco, ,Eco fashion, ,Emma Jardine, ,ethical, ,fairtrade, ,florals, ,Forward PR, ,handmade, ,Hannah, ,Heals, ,Hong Kong, ,India, ,Jane Young, ,Kathryn Edwards, ,knitwear, ,London Kills Me, ,Lowie, ,Michalis Christodoulou, ,Playsuits, ,Portobello Market, ,Press days, ,print, ,Turkey, ,Welsh, ,wool

Amelia’s Magazine | Lazy Summer Days with Handmade Ethical Clothing from Lowie

Lowie by Emma Jardine.

I Love Lowie handmade ethical clothing by Kathryn Edwards.

Lowie Playsuit by Alejandra Espino.

The Lowie Parlour Dress.

Lowie by Avril Kelly.

Lowie Crochet Bow Dress by Michalis Christodoulou.

Lowie by Jane Young.

The Lowie Culotte Playsuit.

Press Days March 2011-Lowie red bow
A close up of the bow detailing at press days.

Press Days March 2011-Lowie
A couple of the Lowie girls looking pretty in Lowie dresses. Hannah on the left manages the studio.

Press Days March 2011-cupcakes Forward PR
A totally self indulgent photo of cupcakes at the Lowie press day. Just because they were so pretty.

You can find the new Lowie collection on their website. I absolutely adore the breezy Lowie style, especially for summer.

Written by Amelia Gregory on Monday June 13th, 2011 10:34 am

Amelia’s Magazine | Graduate Fashion Week Interview: Nottingham Trent’s Phoebe Thirlwall

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Knitwear design student Phoebe Thirlwall was an unquestionable highlight of Graduate Fashion Week 2010. Her work demonstrated an impressive level of craftsmanship, story receiving recognition even before the shows when one of her dresses was photographed by Rankin. Phoebe’s final collection, consisting of six looks, was a feast of beautiful and intricate knitwear. I caught up with Phoebe to learn a little more about the work that went into her final collection, and after the chaos of that week, what she plans to do next!

Graduate Fashion Week is a fantastic opportunity for students. How did it feel to have your work selected for the show?
It was really exciting because I had never expected to be selected, and when I found out I was obviously over the moon. It made such a difference to see my work on a raised catwalk, it felt so professional, and although I was really nervous when it went out, it was a great feeling to see it up there and being photographed. It is an amazing opportunity for students and it is a shame that everyone doesn’t get to go.

Why did you choose to study Knitwear Design over a general Fashion degree?
The Knitwear course at Nottingham Trent University involves a sandwich year in industry, which was one of the reasons I chose to study the course. Employers always want experience, so I felt that a year in the industry would be attractive to potential employers. I never particularly preferred knitwear over wovens, but when you are designing knitwear you have so much more freedom to create exactly what you want. If you are making an outfit from woven fabrics, although you can print on them etc, you are still limited by the fabric itself. When you knit an outfit, you can control the whole thing. You can knit the fabric however you want it and create different textures and patterns. Also, I like knitwear because you can knit the pieces of fabric to size. You can approach the whole outfit in a different way.

Where did you complete your work experience and how valuable was it to you?
My year in industry was spent in a family run knitwear factory called GH Hurt and Sons in Chilwel, Nottingham. It is a fairly small factory where lace knit is designed, made and constructed into various pieces. They create baby shawls and christening blankets sold in high end department stores and items of clothing for a number of luxury catalogue retailers. We also produced a lot of items for retailers overseas, such as the USA and Hong Kong. I was able to learn about the first steps of the process – receiving yarns on cones and in big hanks, to designing and knitting the pieces and finally how each item is made and finished to a high standard. It was also nice to see the items for sale and being worn because I always thought -’I made that!’ – which is a great feeling.

Can you explain a little about the techniques that you used? Did you have a lot to learn in terms of advanced skills?
The outfits I made are knitted mostly in silk and bamboo, with an elastic yarn that I used to create the patterns. I developed the technique by experimenting on a knitting machine to see what types of fabric I could create. I knew that I wanted to use elastic because it developed from my concept of skin, and also that I wanted to work with luxury fibres such as silk. I used a combination of rippled stitches, stripes and transferred needles on the front of the bed of the knitting machine to create the fabrics that I made my collection from. These are all techniques that I had learned in previous years, but putting them together required a lot of experimentation, and luck.

Was there much change in your work from the conception of the idea to the work we saw on the catwalk?
Yes. I had worked on the project since Christmas, so there was a lot of time for ideas and concepts to change. Initially, I had no idea what my collection was going to look like and I still didn’t until a few weeks before the show. I had no idea what type of fabric I would use, or what techniques. It wasn’t until I developed a fabric that I was happy with that the collection began to come together. At the beginning, I was thinking about the concept of shedding skin, more than the skin itself. This gradually changed throughout my research and development, into a more specialised study of the skin. I know that if I had stuck with my original thoughts, then the collection would look a lot different. It would probably be a bit more structured, rather than the more subtle and slim-line way it is turned out.

Which of the other graduate collections were you impressed by?
There were so many great collections. It’s good to see other peoples work because it is all brilliant. I loved all of the collections from Nottingham (slightly biased obviously), but there were many other Universities that I liked aswell. I was backstage when the De Montford show was going on, and some of those were amazing!

Nottingham has made a bit of a name for itself as a hub of creativity. What it has it been like for you?
I like Nottingham because it is a small city. It’s more like a town and everything’s quite compact. There are a lot of creative people who come to study here, but everywhere is quite laid back, which I like. It’s not over crowded with arty types. There are lots of students with different interests, and there are good places to go to eat, drink or shop. I suppose it has got a bit of a name for itself, but it’s a fairly down to earth city to live in. I’ve lived just outside the city centre for 2 years, and I’m going to be sad to leave.

You described your collection as ‘based on skin and flesh on the human body’. Where did this inspiration come from, and what else inspires you?
The inspiration for my collection came originally from a general interest in the skin and flesh. I think that this comes from being a vegetarian since I was 11. I have a strange relationship with food. I like things that are untouched. I won’t eat meat. I took this fascination with meat and flesh and developed it into a concept which I could look into for my collection. I get inspired by anything and everything really, usually something small and ordinary because you can look at it in more detail. I think that even something small and boring to others can become inspiring if you look at it enough.

New designers such as Mark Fast have shown us some other unique techniques with knitwear. Have you thought about how you could further your own skills?
It’s strange to think that a technique can be what ‘makes’ a designer. To me, Mark Fast developed this brilliant technique and ran with it. That’s great because I had never thought about design from that angle before. I always thought you had to constantly create different pieces all the time. Designers like Mark Fast are inspirational because they open your eyes to the possibilities of what can be done on a knitting machine. Missoni also creates such beautiful and unique knitwear. In a way, I would like develop my technique further, but I also would like to focus on new tasks and new direction.

Phoebe Thirwall, photographed by Rankin

One of your dresses was photographed by Rankin. How did it feel to learn that your dress was selected?
Amazing. It was sent down to London, but I never expected it to be photographed. Apparently the university sends items down every year and they rarely get selected to be photographed. When I found out that it had been chosen to be photographed I was really happy, by Rankin especially! The fact that Kate Shillingford from Dazed and Confused actually chose the pieces is overwhelming. It was about 2 months later that the pictures were released. Seeing my work on the Vogue website was mental!

You also received praise from the fashion bloggers. How have you found the attention?
It’s been completely surreal having people like Susie Bubble write about my work. She said it was one of her favourites from the photos, and so did Lucy Wood. I used to read about fashion graduates and imagined they had such exciting lives, but I’m just in my room with my cat and not really doing anything. It’s really strange seeing photos and articles about my work. I feel now like it isn’t even mine and I’m looking at someone else’s. It doesn’t seem real.

It has been two weeks since the show. What’s the plan now?
Is that all? It feels like a lot longer ago than 2 weeks. My collection is being sent over to Shanghai in September for Spin Expo, and a few of the outfits are being used in a photo shoot in July. My plans now involve finding a job, going to interviews and hopefully being hired. I want to move down to London to be nearer to my boyfriend. Ideally, I want to see clothes that I have designed, being made. I also really want a long holiday, somewhere nice and hot, where I don’t have to think about knitting!

Written by Miranda Williams on Friday June 25th, 2010 11:59 am

Categories ,catwalk, ,Dazed & Confused, ,De Montford, ,fabric, ,Fashion Bloggers, ,Fashion degree, ,Flesh, ,GH Hurt and Sons, ,Graduate Fashion Week 2010, ,Hong Kong, ,Kate Shillingford, ,knitwear, ,Lucy Wood, ,Mark Fast, ,Missoni, ,Nottingham Trent University, ,Pheobe Thirlwall, ,Rankin, ,Shanghai, ,Skin, ,Spin Expo, ,Susie Bubble, ,Technique, ,usa, ,Work experience

Amelia’s Magazine | Graduate Fashion Week Interview: Nottingham Trent’s Phoebe Thirlwall

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Phoebe Thirwall, photographed by Rankin

Written by Miranda Williams on Friday June 25th, 2010 11:59 am

Amelia’s Magazine | Emesha: the Hungarian born ethical fashion designer who now lives in Shoreditch

Lisa Stannard, <a target= illness shop Emesha S/S 2010″ title=”Lisa Stannard, Emesha S/S 2010″ width=”480″ height=”576″ class=”alignnone size-full wp-image-32247″ />
Emesha S/S 2010 by Lisa Stannard.

Emesha is created by Emese Nagy, who was named after the lead lady in a myth about the creation of the Hungarian kingdom. She grew up between Hungary and the United States before moving to London, all of which has made her very open-minded and observant. My travels have been a great inspiration to me as a designer. She particularly likes the quirky style of places such as Shoreditch in east London.

Being a socially sensitive type who wants to help others it was natural that she took an ethical stance for her brand especially as she began to understand more about the origins and manufacturing of clothing. As a strict vegetarian she doesn’t use fur or leather in her designs, and only natural materials. An internship at Vivienne Westwood taught her about precision in complicated patterns, and at Jasper Conran she was given the confidence to create a collection from start to finish. I was involved in all the stages of production which gave me a good insight into how the final garment comes together…

Read the rest of this interview with Emesha in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Written by Amelia Gregory on Wednesday January 19th, 2011 4:07 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Eco fashion, ,Eco Fashion Week Vancouver, ,Emese Nagy, ,Emesha, ,Ethical Fashion, ,Hungarian, ,Hungary, ,Jasper Conran, ,Lisa Stannard, ,shoreditch, ,Sporty-Luxe, ,vegetarian, ,Vivienne Westwood

Amelia’s Magazine | Hokolo: Designs for the Home – an interview with Jen Taylor

Hokolo-Yeshen Venema Photography
In just a few short years London based architect turned designer Jen Taylor has built a brilliant brand for the home, encompassing bright colours and bold patterns that have been influenced by her unique multicultural outlook. Time to meet the lady behind Hokolo (which is an amalgamation of the words Hong Kong and London.)

Hokolo-Jen portrait
How long did you work as an architect, and what were the best (or most enjoyable) parts of your former career?
I graduated in 1999 and quit my full time job beginning of 2012. I have worked on many projects over the 12 years but not all projects got built. To be able to follow a project from early design stage through to completion is pretty amazing. Design is just a small element of architecture, I actually really enjoyed working with different trades on site, developing construction details, learning how materials come together. To be able to walk into a building that I helped built is a pretty special feeling.

How has your training as an architect informed your approach to product design?
As an architect I love working with materials and considering how things come together. Now running my own design practice, I adopt the same ethos and process, turning initial concepts into tangible products.

Hokolo-Yeshen Venema Photography
What initially brought you to the UK and why did you decide to stay and make this your home?
As a typical 15 year old, I thought I was invincible, independent and dreamt of an adventure abroad so I begged my parents to send me to school in the UK. Oh boy, I was so wrong, I was really home sick and it took me a good 6 months to settle in! In 1997 I moved to London ( I studied in Surrey, Kent and Sheffield before) for my post graduate diploma in architecture and for the first time felt like I have found a city I can really relate to and feel at home. London is so full of energy and opportunities, really diverse and I just love it, I will never get bored of London, for me it’s the best city on the planet.

Hokolo-Yeshen Venema Photography
How often do you return to Hong Kong and what kind of things inspire your aesthetic sensibilities when you visit?
As my family lives in Hong Kong we try to go back once a year. In recent years there has been an increase focus on the arts and culture in Hong Kong. The West Kowloon Cultural District is one of the largest cultural projects in the world, blending art, education and open space. The M+ building, will be a world class Museum for Visual Culture, when complete in 2018. Growing up in Hong Kong we had very little exposure to art and culture so it is very exciting to see this big shift happening. There is also more sensibility towards our heritage, old buildings being restored rather than being pulled down. Last summer we visited PMQ, which used to be a police married quarters, now a creative hub with studios and shops. As my husband is also an architect, we are both very interested in architecture and urban living. Mei Ho House was one of the first social housing block constructed in the 1950s and is now a museum documenting the development of Hong Kong housing policies and in turns the way of life through the decades. In a fast moving city where most people see Hong Kong as a financial hub and consumer haven, it’s really good to reflect back to our history and culture. It’s funny that I have become a tourist in my own hometown. I particularly love all the reference back to the 50s 60s period of old Hong Kong and you can now see that nostalgia filtering through interior designs in cafes and retro vintage shops popping up in Hong Kong. It’s the coexistence of old and new which I always love.

Hokolo-Yeshen Venema Photography
When I first encountered your brand you were making baby clothes – what prompted the move into interior design and what kind of products do you most enjoy designing?
The very first pattern I designed was the crown and orb while I was doing a screen printing course in Brixton. At the time our son was 3 and I thought it might be nice to print my design on a T-shirt for him. It was how it all started with children clothes but I soon realised many people who like my designs do not have children. My patterns were never really designed for children, it was the products the patterns were on that were limiting. So I started printing my designs on accessories and homeware which appeal to a broader audience. Design and interior is much more aligned with my architecture background, I was actually a bit clueless with fashion, so that was definitely the right move.

So far the products I enjoy most are the woollen products, the knitted scarves, woven blankets and fabric. The designs started off as simple geometric surface patterns, I then worked closely with textile designers to develop the designs. My manufacturers are based in Scotland and depending on the loom they use my surface patterns will be adapted according. We will test out different weave structures. Although computers are used at the design stage, we can only see the final results when the sample blanket comes out from the loom. There are some degree of trial and error to get the desired results. I just love the tactile quality of wool and the reference to the traditional textile heritage of this country.

Hokolo-Yeshen Venema Photography
You have recently launched a range of woven textiles – how are these put together and where are they made up?
See above. The cushions are then made up in London by Working Well Trust, a vocational training social enterprise working with mental health patients. The lampshades are made up by independent makers in England and I have a couple of upholsterers based in South London helping me with the vintage chairs.

What new products do you have planned?
I am currently working with Make International on a range of ceramic tableware based on the English Breakfast collection. I will also be sourcing mid-century chairs (has always been a hobby of mine) and restoring them with beautiful fabric (both Hokolo and other designs)

I understand you are curating a special exhibition of products designed by architects, can you tell us more?
We are a collective called Katalog, currently we are 8 designers who are also architects. Some of us are still practising architecture. I first had the idea of doing a group show after meeting fellow designers at fairs and events when we realised we are all architects, they are so many of us! A couple of them are my ex-colleagues who started designing products as a creative outlet from the daily stressful job. As we all came from a similar design background we shared a distinctive design aesthetic. I am hoping to curate more shows with different designers taking part in the future. The architecture scene is very small and we often crossed path with other design disciplines, it’s exciting to collaborate and share our passion. The first show is at the Gallery at Craft Central, 33-35 St. John’s Square, 23-28 June.

What have been the highlights of Hokolo so far?
I am a people person, it’s amazing how many people I have met since setting up Hokolo who have inspired and shaped the directions of the brand, many I am now working closely with. From designers, manufacturers, retailers, customers, bloggers, journalists to mentors, I am so grateful for everyone’s support.
Looking back on the Sunday morning I created my first pattern on the iPad I have never thought in the following 3 years I would have developed a strong collection of products which have made a lot of people smile along the way. I love seeing photos of my customers using Hokolo products and then one day I bumped into someone using the Hokolo tote bag on the tube, I couldn’t resist approaching the lady and said hi. I might have made her jump!

Written by Amelia Gregory on Friday May 8th, 2015 1:23 pm

Categories ,Craft Central, ,English Breakfast, ,Hokolo, ,Hong Kong, ,Interior Design, ,Jen Taylor, ,Katalog, ,Make International, ,Mei Ho House, ,West Kowloon Cultural District, ,Working Well Trust

Amelia’s Magazine | An interview with photographer Andrew Meredith

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Havana, buy information pills Cuba 2009

How do you define good travel photography? I’m not sure what other people think but for me, it’s an image that beckons with its infusion of colours, seduces with its ambience and caresses with an intriguing subject matter. It’s not so much about capturing something divinely exotic as it is about viewing an unfamiliar and mystical part of the world through the window of a photographer’s lens. I’ve always been allured by such landscapes which is why I recently found myself trekking across London on a constipated District Line in the blistering heat, to check out photographer Andrew Meredith’s new exhibition, ‘Excursions’.

I came across Andrew’s work a few months ago when I was writing up my Pete Fowler interview, which he kindly provided the images for. A nosy parker by nature, I couldn’t help but Google stalk him. The search results threw up an impressive website, with an even more impressive portfolio.

Santiago, Chile 2008

Counting big names like Selfridges, Chanel and Anya Hindmarch as his clients, The Falmouth College of Art graduate has worked on numerous projects, including one entitled ‘The Slaughtermen’ for OnOffice Magazine, featuring a day in a life of an abattoir worker. This subsequently led to Andrew winning the 2008 ‘Best in Book’ Category for the Creative Review’s Photography Annual. Amongst other photography award nominations, Andrew’s credits include Kanye West’s Late Orchestration album cover and his work has been featured in The New York Times, Vogue Russia and Frame Magazine amongst several other well-known magazine titles.

Santiago, Chile 2008

Having exhibited at galleries across London over the past eight years, Andrew’s latest project, ‘Excursions’, spans two years’ of travels across the Americas and the Caribbean. Now before you start visualising cheesy smiles in front of Machu Picchu, bottom shuffling down Chichen Itza or staring moodily into the distance with a vintage Cohiba in the Plaza de la Revolución a la Che, the photographer has decidedly taken a less conventional approach by capturing less familiar, deserted and occasionally dilapidated landscapes in favour of popular picture perfect landmarks.

Describing the exhibition’s theme, Andrew explains: “Excursions is a photographic journey through Chile, Argentina, Mexico, Cuba and America to document every day scenes that are far removed from our own. The route I took was mainly by road, impulsive and unplanned and avoiding all the obvious tourist traps along the way.”

The result is an honest and raw photographic essay that pitches the beauty of nature amongst rugged urban landscapes. Having developed a deep bond with Chile, Andrew will also be auctioning signed and framed images of the Santiago stills, with all proceeds going towards the Global Givings Relief Fund for Earthquake in Chile to help rebuild regions that were hit hardest by the earthquake earlier this year.

On a balmy summer evening, we caught up with the photographer at a private view of his exhibition to find out more about his travel encounters…

Santiago, Chile 2008

Your new exhibition is entitled ‘Excursions’. Is there any particular reason why South America is the focal point of these excursions?
I originally went to Chile for my friend Erwin’s wedding in Santiago, but couldn’t help feeling excited about exploring the city. It reminded me of scenes from Alec Soth’s book ‘Dog Days in Bogata’ where he finds himself in Colombia’s capital, waiting to adopt his first child. As he found himself with time on his hands, he decided to document his surroundings as a future reminder of his new daughter’s birthplace.

Based on this idea, I too felt compelled to start documenting the trip and pretty soon we started going off further south of Santiago to places like Chiloe, Pucon, Osorno, Villarrica and Temuco. The fact it was South America was a complete accident; I was merely a traveler passing through. We went off the beaten track and immersed ourselves in the exploration, finding skeletons in forests and tiny villages along the way as well as those impressive cityscapes too. We had some time to fly out to Buenos Aires where I found other types of landscape, greyer than in Chile – a lot more concrete and crumbly. It struck me that the further we went, the more differences we were exposed to and before my eyes, a project started to unravel and evolve the further we traveled.

Buenos Aires, Argentina 2008

Did you literally stumble across your subjects or did you have an idea of what you wanted to shoot beforehand?
I had no preconceptions about Chile and Argentina. I had seen some beautiful holiday pictures taken in the southern parts of the countries, but they were never the kind of images I would like to have captured myself. What I found most interesting were the ramshackle and crumbly parts of the city, with power cables overflowing to the far corners of the buildings. That impressed me the most in a downtrodden dirty kind of way!

Where Cuba was concerned, we all have stereotypical ideas of what Havana looks like; the fine 1950s cars, gents smoking cigars, and a city that is crumbling faster then one can refurbish – I wanted to avoid all of that. My first night in Havana ended up being in this huge hotel which was pretty horrible. However, at about midnight when I looked out of the window, there was this incredible view of darkness with vibrant streams of light blazing through it. It was a beautiful moment as the night sky appeared as if it were on fire.

Pucon, Chile 2008

Your photos are mainly of landscapes opposed to people – was this a conscious decision?
I get a real sense of calm from observing landscapes and cityscapes. Being able to view it from up high above, looking down is endlessly interesting to me. At that distance, you cannot see people’s faces or their problems; all you can see are things moving around in the distance unaware that they are being photographed. I guess I’m sort of a voyeur, although not in a pervy sense! There was definitely an element of escapism for me around capturing images of landscapes. Hopefully through viewing my work, my audience might also join me in feeling that way too.

You mentioned that you wanted to avoid tourist traps – other then the landscapes being less recognisable, what were you hoping to portray in these photographs?
As a tourist, you are often only shown certain things. As a result, I end up feeling as if I’m being led around on a lead most of the time. I don’t like the idea of tours only passing by the attractions which people assume you’d be most interested to see. By avoiding all the tours and tourist traps, I was able to encounter landscapes less manipulated by mankind, which was much more appealing to me. My surroundings seemed to possess a purer beauty.

Tulum, Mexico 2009

Were there any challenges you faced whilst shooting abroad?
The first few days in Havana were incredibly hard work where everyone just seemed to be after your money. I guess it comes with being a tourist but I experienced this more in Havana than anywhere else I’ve ever been. I know that people just need the money so they can work towards a better life than what the Communist government will hand to them but it felt abusive at times. I just knew we had to get away from there and go further afield to avoid the tourism.

Other obvious challenges were language barriers and differences in culture. I have a basic grasp of Spanish so I could get by some of the time. Luckily I have a few fluent Spanish speaking friends who were able to help me along the way, although mostly they were useful for teaching me offensive Spanish phrases and swear words!

Was there a country in South America which really stood out during your travels? If so – why?
Most of the countries I shot during this project were so different. For example, Tulum in Mexico was initially like a paradise until you walked a mile around the coast to find, what seemed like, an invisible gate to a much more deprived and semi-built landscape. There were dirty beaches with truck tyres and rubbish washed up on the sand and shelters abandoned half-way through being built.

Overall, my favourite country was Chile. It was my inspiration for the whole project and I saw some wonderful places and met some amazing people. It gave me access to some of the most impressive landscapes I’ve ever captured due to the sheer diversity and scale. Another reason for it holding a special place in my heart is the fact that I was able to see and document Chile before the earthquake in February and it saddens me to think of the landscape being so different now. I feel incredibly strongly about trying to give something back to the people and the landscape that allowed me to capture those images in the first place, which is why some of the stills will be available for auction.

Santiago, Chile 2008

What’s next for you?
I would love to explore other South American countries such as Brazil, Bolivia, Venezuela, Guyana, Peru and the Falkland Islands. The next chapter of ‘Excursions’ will happen at some point.

The next place on my list though that I am keen to visit has got to be Hong Kong. I love the landscape, the tall buildings, the light, the thick air and the density. Running alongside this, I would also like to visit the Svalbard Islands deep in the Arctic Circle, miles off the Norwegian coast. It’s the most northern town in the world and one of the least populated places in the world. I think I can draw on some pretty interesting contrasts between Hong Kong and Svalbard…

‘Excursions’ by Andrew Meredith is running until 10th July at The Riverside Studios, Crisp Road, London W6 9RL.

A very limited edition, signed and framed Santiago, Chile 2008 portrait will be autioned with all proceeds going to Global Givings Relief Fund for the Earthquake in Chile. For more information, see here.

All photographs courtesy of Andrew Meredith.

Written by Kat Phan on Wednesday July 7th, 2010 2:55 am

Categories ,Alec Soth, ,Andrew Meredith, ,Anya Hindmarch, ,Arctic Circle, ,Argentina, ,Bolivia, ,brazil, ,Buenos Aires, ,chanel, ,Che, ,Chichen Itza, ,chile, ,Chiloe, ,Cohiba, ,Creative Review, ,Cuba, ,Dog Days in Bogota, ,Falkland Islands, ,Falmouth College of Art, ,Frame Magazine, ,Global Givings Relief Fund, ,Guyana, ,Havana, ,Hong Kong, ,Kanye West, ,Kat Phan, ,Manchu Picchu, ,mexico, ,New York Times, ,OnOffice Magazine, ,Osorno, ,Peru, ,Pete Fowler, ,Plaza del la Revolucion, ,Pucon, ,Santiago, ,Selfridges, ,Svalbard, ,Temuco, ,The Slaughtermen, ,Tulum, ,Venezuela, ,Villarrica, ,Vogue Russia

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