interview

Amelia’s Magazine | An interview with fashion designer James Hock

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James Hock A/W 2011, viagra illustrated by Jaqueline Kishi

For some time, James Hock has been on our radar as an extraordinary, rising talent. Finally, we got the chance to speak to the fashion designer about his audacious collections, inspirations and Lady Gaga.

James, you recently exhibited your fourth collection for A/W 2011 at London Fashion Week (your third was visited by Amelia). How was that?
Yes I did. Becc from Bloody Gray PR was there to look after everything so I didn’t have to be there every day. But the feedback to the collection has been great. Very exciting.

This collection is entitled ‘Kpixoos Kaabos’. What’s the story?
It’s loosely inspired by Desmond Davis’ 1981 version of ‘Clash of the Titans’, so if anyone is a fan, they should know where KPIXOOS KAABOS pops up in the movie. Having said that, it’s not exactly the actual phrase but it’s something I anglicised.


James Hock A/W 2011, illustrated by Alia Gargum

Initially, you trained as an accountant. When did you fall for fashion and how did you make that transition?
Well, fashion has always been there. Perhaps not in the driving seat at that time but it’s definitely the co-driver and not a passenger that I just picked up. The transition was actually quite natural, it’s a matter of deciding who should be the driver and everything just changes organically.

As with your previous collections, your latest unveiled many wonderful textural contrasts. How do you select materials?
Hmm.. I don’t know. I guess you just do have a rough idea of what you want when you are sketching. And after that, it’s a matter of playing around with the different ideas and materials ‘til they feel right together.

You also continue to experiment with shape, which you began memorably in your first collection, ‘Sleeping with Dali’. How do you negotiate the balance between fashion as art, and wearable clothing?
I think I’m very much still learning to find the balance. It is sometimes too easy to just make something crazy. It does take a lot more to exercise restraint. But I think at the end of the day, you just have to stay true to what you are doing and also to the collection as a whole.


James Hock A/W 2010, illustrated by Karina Järv

Which are your favourite pieces, and why?
Oooh.. that’s a hard question. I have a new favourite piece with every new collection. But I do really like my EZ Cobra Trousers from the Sleeping With Dali collection. I have one in cotton drill with silver zippers and I literally live in them.

Your collection for S/S 2011 is called ‘The Unloved’ and features harlequin clowns. Tell me more!
It was a very emotionally sad collection and I kinda channeled the emotion through the eyes of harlequins, Stancyzk in particular, as painted by Jan Matejko. I think a lot of people see it as very ‘circus’ which it isn’t at all. To me, the collection was very lonely, very restrained and very regal.   

The name you choose for each season is highly evocative. To what extent do you create a backstory and how does that originate?
Every collection has a story and journey. It usually starts with an idea that could come from anywhere and anything. And then it’s a matter of exploring the idea and finding your narrative and creating your ending. It’s very much like writing a book I imagine.

Do you ‘revisit’ previous collections before starting anew, or are you keen to achieve something entirely different every time?
For me every new collection in a way is a re-action to the last. I don’t think I ever set out to  achieve something entirely different but after working on a collection for many many hours, you just kinda naturally want to try something else. It would be quite mundane otherwise.

Say I’m wearing one of your designs. How do you want me to feel?
I think a James Hock woman should always feel comfortable and confident. You should definitely feel that you are being yourself and totally nonchalant. But I guess deep down inside, you do feel a little special, just a little.

I can see Gaga wearing James Hock. Are you a fan?
I think she’s a very clever girl and I guess in terms of manufactured pop, she’s at least fun to look at. My only concern is that she has somehow trivialized the work of designers and made fashion very disposable. Having said that, I wouldn’t say no to a lil’ Gaga on the dance floor.


James Hock S/S 2011, illustrated by Sam Parr

In what ways do you find fashion an effective portal for addressing serious issues?
I think fashion is an effective portal only on a short term basis. And this is purely because the very cyclical nature of fashion itself. Fashion is about change and it is about now. After that, we move on. It doesn’t mean we have forgotten and not care about the previous issue but there are simply other issues that perhaps resonate more socially and culturally.

Your second collection, ‘The witch, the bitch and the…’ becomes increasingly dark. This culminates in the disarmingly dramatic ‘Roger II’. What were you saying there?
It was a rather angry collection. There’s a lot of element of being restricted and not being able to do what you want. It’s definitely an “I can’t take this anymore!” kinda collection.


James Hock A/W 2011, illustrated by Laura Wiggins

How do you help your models to portray the mood of each collection so effectively?
It takes a good team to get all things right and I’m lucky to have a team that I work with regularly. I do always have a vision but sometimes someone else’s idea can add a whole new dimension to the collection, and I find that to be extremely refreshing.

For ‘Sleeping with Dali’, you used mostly black and gold. ‘The witch, the bitch and the…’  and  ‘Kpixoos Kaabos’ consist of (nearly) all black. For ‘The Unloved’, it’s black and red. Why do you limit your palette and is this a James Hock signature?
I think it is (for now). I don’t try to stay away from colour but at this moment the very controlled palette just suits my direction better.  

Red and black certainly provide a contrast to typical Spring/Summer florals, nudes and holiday hues. Do you feel that designers complicate clothes with too much colour?
It is very much a matter of preference and usage. A piece of clothing can be over complicated regardless of whether it is monotone or have 100 hues. And yes, black and red is a huge contrast for spring but I guess not everyone wants to look like a bouquet just because the sun is out.

What are James Hock’s plans for 2011?
Ooh.. very exciting. Knitwear was introduced in the recent collection and is definitely an area that will be further explored. There is also an online project kicking off soon and a couple of other projects I’m keeping mum.

How can fans buy James Hock?
Through our website, www.jameshock.co.uk for this season. There will be a few others for the A/W collection, so that’s really exciting too.

Finally, James, how would you describe your personal style?
I asked my friend this question and the answer he gave was esoteric. So, there you go!

All photographs A/W 2011, courtesy of James Hock.

Written by Kate Ingram on Wednesday April 27th, 2011 4:48 pm

Categories ,Alia Gargum, ,black, ,Bloody Gray PR, ,Clash of the Titans, ,Desmond Davis, ,EZ Cobra trousers, ,fashion, ,Gold, ,illustration, ,interview, ,James Hock, ,Jan Matejko, ,Jaqueline Kishi, ,Karina Jarv, ,knitwear, ,Kpixoos Kaabos, ,Lady Gaga, ,Laura Wiggins, ,Red, ,Regal, ,Sam Parr, ,Sleeping with Dali, ,The Unloved, ,Womenswear

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Amelia’s Magazine | An interview with fashion designer Ramil Makinano

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Ramil Makinano‘s Graduate Collection illustrated by Milly Jackson

I first saw the weird and wonderful work of Ramil Makinano at the Toni&Guy Hair Show during London Fashion Week last month. The show, which I very much enjoyed, was all about hair as you can imagine; the clothes were selected to compliment the hairstyles and were pretty basic. That is, except for the final pieces. Vibrant colours and odd shapes flooded the runway, and as a result of my review, Ramil got in touch to introduce himself. I couldn’t wait to find out more about this unique designer.

I met Ramil on a chilly Monday evening at Bar Music Hall in Shoreditch. It had been hard to pin him down, and I was about to find out why. Born and raised in the Philippines, Ramil moved to London fifteen years ago on a nursing scholarship with the NHS, despite being thoroughly passionate about fashion from an early age. ‘It was a good way to move away,’ Ramil told me as we took a seat with our beers. ‘I was interviewed in Manilla, and was one of the first few people to be brought over by the NHS.’ Ramil’s passion for nursing and inevitable need to fund his collections still see him working at St Thomas’ Hospital at weekends.


Ramil Makinano‘s Graduate Collection illustrated by Maria del Carmen Smith

After 8 years working as a nurse after qualifying in London, Ramil decided to return to his desire to become a fashion designer and had naturally heard of the world’s most famous fashion school – Central Saint Martins. By this time Ramil had obtained British citizenship and secured a place on the foundation course, professing to the degree specialising in print.

It was whilst studying at Saint Martins on a sandwich course that Ramil undertook placements with some of fashion’s greatest talent, experiences that he remembers very fondly. Internships at Matthew Williamson, Elisa Palomino and Diane Von Furstenberg allowed Ramil to fully explore his penchant for print. As I rub my hands together hoping for some juice on these fashion figures, I’m only slightly disappointed when Ramil has nothing but great things to say about the designers. He tells me a story about Von Furstenberg calling all the interns to the rooftop apartment of her 14th Street studios for lunch. ‘We were just sitting there, having lunch, on the roof, with Diane Von Furstenberg. It was INCREDIBLE!’ he exclaims. He attributes his successes whilst studying to course lecturer Natalie Gibson. ‘I owe her so much,’ he tells me, ‘she’s an incredible woman.’


Ramil Makinano‘s Graduate Collection illustrated by Estelle Morris

We move on to talk about Ramil’s breathtaking final collection that I saw at the Toni&Guyshow and that he presented during the CSM presentations in the summer. He digs out his portfolio and comes across a little nervous when talking me through it. ‘I feel like it’s a job interview!’ says Ramil. I feel like Diane Von Furstenberg for a mere moment, and I’m not complaining. Ramil’s inspiration for his collection came from two disparate sources – Medieval armour and Margaret Thatcher. Well, not that disparate when you consider satirical cartoons of the Iron Lady in Medieval garb, I suppose.


Pages from Ramil Makinano’s sketchbooks

His obsession with colour, texture and the aesthetic properties of materials is all over this collection. It’s fascinating to see where a designer started with their research and where they finished; where the collection has come from. Ramil leafs through page after page of design inspiration; vibrant patterns, sketches of Thatcher, photocopies of Medieval source material, grabs from movies like 2001: A Space Odyssey and Star Wars. His journey began at the Tower of London, and it is the armoury he saw there, with its bold silhouettes and sense of purpose that inspired Ramil so much. Throw in a powerful woman like Thatcher and you’ve got a seriously ambitious collection on your hands. ‘I didn’t want it to be serious, though,’ Ramil informs me. ‘I wanted to keep it playful; to be fun.’ Even the hardest-nosed critics would have trouble not finding any fun in this set of outfits.

Shapes in the collection are visibly inspired by the curves and sculpture of armoury, constructed from neoprene using techniques Ramil created himself. These are presented in a variety of bold colours, and the ensembles feature playful, almost childlike, prints of rockets and spaceships. It wasn’t a easy task by any means. ‘I had to make at least 8 toilles per garment,’ Ramil explains. ‘I am always seeking perfection.’ We discuss the surge in digital printing. ‘I do like digital prints, but I prefer traditional methods. I spent hours in the studio matching colours, testing colours – I like the interaction between fabrics and dyes that you don’t get with digital methods. I spent my whole student life in the print room, but I have no regrets. It’s not glamorous either, it’s dirty work!’


Ramil Makinano‘s Graduate Collection illustrated by Milly Jackson

So who does he admire? ‘Matthew [Williamson] and Diane [Von Furstenberg] especially – people who are successful in fashion but have their feet firmly on the ground.’ He also likes labels that continue to employ traditional methods – only Eley Kishimoto and Zandra Rhodes, he believes. What else does he get up to? It’s a pretty packed week, researching Monday to Friday and nursing at the weekends. ‘I love London galleries!’ he tells me, ‘because there’s so much to see. The Design Museum, the V&A, the National Gallery – they are all so wonderful.’ He try to persuade me to get a National Trust membership, one of his favoured possessions.


Pages from Ramil Makinano’s sketchbooks

He tells me he’s a ‘child of the MTV era’ and finds much inspiration in the graphics of music videos. It was an MTV show, House of Style, and Style with Elsa Klensch, that are amongst his earliest fashion memories. He tells me ‘I used to fight with my brother all the time because Elsa Klensch‘s show was on at the same time as American Basketball!’

So what’s next for Ramil? He’s currently researching his next collection – A/W 2012 – which promises to be ‘something completely different.’ It will most likely be print-based, but that’s all Ramil can tell me at this stage. One thing he is certain on is that he’s staying put here in London, and currently applying to various fashion bodies in the hope of a debut solo show during fashion week next September. I look forward to seeing his name on the schedule.

Photographs courtesy of Ramil Makinano

Written by Matt Bramford on Friday October 28th, 2011 5:11 pm

Categories ,2001 A Space Odyssey, ,A/W 2012, ,American Basketball, ,Armour, ,Armoury, ,Bar Music Hall, ,catwalk, ,Central Saint Martins, ,CSM, ,Design Museum, ,Diane Von Furstenberg, ,Eley Kishimoto, ,Elisa Palomino, ,Elsa Klensch, ,Estelle Morris, ,fashion, ,House of Style, ,interview, ,Iron Lady, ,London Fashion Week, ,margaret thatcher, ,Maria del Carmen Smith, ,Matt Bramford, ,Matthew Williamson, ,medieval, ,Milly Jackson, ,MTV, ,Natalie Gibson, ,National gallery, ,National Trust, ,NHS, ,print, ,Ramil Makinano, ,shoreditch, ,Star Wars, ,textiles, ,Toni&Guy, ,Tower of London, ,va, ,Womenswear, ,Zandra Rhodes

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Amelia’s Magazine | An Interview with Future Classics Fashion Designer Julie Wilkins

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Future Classics AW14 by Gareth A Hopkins
Future Classics A/W 2014 by Gareth A Hopkins.

Fashion designer Julie Wilkins explores ideas of garment construction/deconstruction, radical conservatism and androgyny for A/W 2014. Her capsule collections come with the guiding principle that purposeful limitation allows for increased invention, so the new Future Classics collection features a sombre colour palette, with conservative fabrics given multiple possibilities of wear that are highlighted in the gifs viewed here. Julie Wilkins is also a musician, releasing her album as The Electra Woods in May this year.

Future Classics AW14 GIF (01)
What inspired the new collection?
The idea of using very classic fabrics – cashmere, camel hair, silk, fine cotton – and a sedate, conservative palate – while working through the staples of a wardrobe and applying all the various things FUTURE CLASSICSC© “does” to a recognisable garment form – multi-functioning, hybrids, twins etc. – but to a SUPER degree. With a shot of plastic bag blue polyester as a kind of contrast/marker. The colour palette matches the plates too. And it marks the end of that incarnation of FUTURE CLASSICSC© and the label’s transition to DRESS© in SS15 – which is a kind of fresh start in lots of ways.

Future Classics AW14 GIF (02)
Future Classics by Marianna Madriz
Future Classics by Marianna Madriz.

How did you put together the gifs, and what gave you the idea to create them?
I built them up (painstakingly, including painting square lips in!) from the look book stills. Oftentimes people don’t see the way the garments will look on and their multi-functionality – so I wanted to show this, and also put a bit of cartoony expressive-ness into the look book. The model Irina was great, very dead pan – super Russian. I love them. It’s like having an electronic pet doll. I often talk to her, when I click on them.

Future classics AW14 GIF (15)
Future-Classics-Fashion-by-Isabelle-Mattern
Future Classics Fashion by Isabelle Mattern.

Who would they like to see wearing this collection?
Clever humans who like some comfort with their edge.

Future Classics AW14 by Beatthepulp aka Kulvinder Dhillon
Future Classics AW14 by Beatthepulp aka Kulvinder Dhillon-2
Future Classics A/W 2014 by Beatthepulp aka Kulvinder Dhillon.

What are you working on next?
I am working on a dress collection for DRESS© for SS15. The collection has thematically titled EP and another cultural product with it – which is part of the new way of working. This one is super exciting……

Dirty Explanation from The Electra Woods on Vimeo.

The ELECTRA WOODS – Dirty Explanation – Video by Dean Brannagan.

See more Future Classics Fashion here. Hear The Electra Woods (out now on FC/fm) here, and find out more about the band here.

Written by Amelia Gregory on Tuesday July 15th, 2014 9:17 pm

Categories ,A/W 2014, ,Beatthepulp, ,Dean Brannagan, ,Dirty Explanation, ,FC/fm, ,future classics, ,Future Classics Fashion, ,Gareth A Hopkins, ,interview, ,Isabelle Mattern, ,Julie Wilkins, ,Kulvinder Dhillon, ,Marianna Madriz, ,The Electra Woods

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Amelia’s Magazine | An interview with jewellery designer Kyoko Hashimoto

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Ruth Strugnell

Bath Spa’s electric and original collections show they’re not afraid to mix things up at Graduate Fashion Week. 

Bath Spa began with all guns blazing for their boutique show with Bournemouth, nurse setting the scene with a soundtrack of haunting thunder and lightning. As suspense grew, order a model stepped into the spot light…with a lampshade on her head. As more models filtered onto the catwalk, cure Ruth Strugnell’s quirky eccentricity became clearer in garments that made the most of mismatching, from multicoloured socks to panels composed of various prints and wools. Despite looking like they might’ve had a tussle in a dressing up box, the models’ nipped in waists and cute, soft take on the harem pants added a sense of maturity and direction to the pieces.  

Jack Duffy mixed things up again with clashing prints and a melding of culture; oversize jackets suggested elements of Eastern tradition, whilst large, ornate collars mould themselves round the body into demi-hoods more befitting of European nobility. 

Thierry Davies’s hypnotic monochrome prints bend the mind but when paired with a neat, boxy jacket a line of harmony seems to be drawn amongst the chaos. Another perennial favourite of this year appears again – the jump-suit, this time spruced up with a dramatic contrast between blue and white sections. 

Jodie Clay’s garments varied from the loose, long hem of her black jacket to the glitz of a bespoke neckpiece and sheer blouse. The wardrobe of the 1920s women was re-examined in the modern context and energised with splashes of murky blues, but held an element of reticent class.

Natalie Ellis’s use of vintage fur coats and gloves reminded us of the staple role they played in the wardrobes of women gone by, but cropped double colour trousers were a reminder of Ellis’s unfailing dedication to modernity. Interesting shapes appeared on the body as high waisted trousers split cream khaki and black across the body, complimented by ethereal, floating blouses and fur barrel bags. 
*Here at Amelia’s Magazine we don’t advocate any wearing of fur at all, so we hope this is fake, otherwise, DON’T WEAR IT!*

Outi Silvola deconstructed apparel in the most immediate sense, repositioning collars, shoulders and buttons to give a mixed up feel that wouldn’t look out-of-place in Dover Street Market. A fully made collar placed forward on the body was a walking work of art. A shirt is at once open at yet concealing the figure, showing a careful appreciation of the simple practise of putting clothes on the human body. 

Photographs by Nina Joyce

Ruth Strugnell

Bath Spa’s electric and original collections show they’re not afraid to mix things up at Graduate Fashion Week. 

Bath Spa began with all guns blazing for their boutique show with Bournemouth, site setting the scene with a soundtrack of haunting thunder and lightning. As suspense grew, information pills a model stepped into the spot light…with a lampshade on her head. As more models filtered onto the catwalk, more about Ruth Strugnell’s quirky eccentricity became clearer in garments that made the most of mismatching, from multicoloured socks to panels composed of various prints and wools. Despite looking like they might’ve had a tussle in a dressing up box, the models’ nipped in waists and cute, soft take on the harem pants added a sense of maturity and direction to the pieces.  

Jack Duffy mixed things up again with clashing prints and a melding of culture; oversize jackets suggested elements of Eastern tradition, whilst large, ornate collars mould themselves round the body into demi-hoods more befitting of European nobility. 

Thierry Davies’s hypnotic monochrome prints bend the mind but when paired with a neat, boxy jacket a line of harmony seems to be drawn amongst the chaos. Another perennial favourite of this year appears again – the jump-suit, this time spruced up with a dramatic contrast between blue and white sections. 

Jodie Clay’s garments varied from the loose, long hem of her black jacket to the glitz of a bespoke neckpiece and sheer blouse. The wardrobe of the 1920s women was re-examined in the modern context and energised with splashes of murky blues, but held an element of reticent class.

Natalie Ellis’s use of vintage fur coats and gloves reminded us of the staple role they played in the wardrobes of women gone by, but cropped double colour trousers were a reminder of Ellis’s unfailing dedication to modernity. Interesting shapes appeared on the body as high waisted trousers split cream khaki and black across the body, complimented by ethereal, floating blouses and fur barrel bags. 
*Here at Amelia’s Magazine we don’t advocate any wearing of fur at all, so we hope this is fake, otherwise, DON’T WEAR IT!*

Outi Silvola deconstructed apparel in the most immediate sense, repositioning collars, shoulders and buttons to give a mixed up feel that wouldn’t look out-of-place in Dover Street Market. A fully made collar placed forward on the body was a walking work of art. A shirt is at once open at yet concealing the figure, showing a careful appreciation of the simple practise of putting clothes on the human body. 

Photographs by Nina Joyce

Jeweller Kyoko Hashimoto has just opened a new shop/studio in Berlin called We Are All Made of Stuff. Born in Japan, diagnosis Kyoko grew up in Australia and studied jewellery design at university. She worked on conceptual designs until setting up her own label in 2006, diagnosis and she lived in Sydney and then Tokyo before moving to Berlin. Her designs play with different textures and nature-inspired themes, creating a look that’s modern and whimsical at the same time.

Can you tell me a bit about how your own label came about?
I was travelling through Europe in the the summer of 2005, and found myself completely out of money in the fairy-tale city of Venice. It felt really surreal to be broke in such a gorgeous city. I had studied jewellery design at university, but I wasn’t really using it to earn anything – instead I was teaching English to high school kids in Tokyo. I thought, “I can do better than this.” So when I returned from my holidays, I really set my mind on creating something new and committed myself whole-heartedly to design and production.


Illustration by Paolo Caravello

What techniques and materials do you most enjoy using in your work?
I enjoy working with acrylic. It’s the medium I feel most connected with. I like the consistency and the range of colours, transparencies and depth.
Synthetic polymers have been my choice of material since my university days, and I used to do a lot of resin casting. I stopped using polyester resin because of its toxicity, but I still really enjoy working with acrylic; I like the choice of colours and forms that can be achieved with relative ease. I use a combination of traditional and industrial techniques, although given the choice, I far prefer working with traditional methods. You can definitely see the difference in a finished object that has been hand-crafted, and one that has had little or no contact with the hand. Certain imperfections can also bring charm to an object.

In your most recent collection, Shadow of Lula, you’ve created pieces that look both Victorian and contemporary at the same time. Where did the inspiration to explore traditional mourning jewellery come from?
I love reading about the history of jewellery and fashion. Jewellery as a national fashion was at its height when Queen Victoria was mourning the death of her husband Prince Albert. She was so iconic and influential that the whole of England also went into a phase of mourning, and sentimental jewellery became very popular. I like thinking about the notion of sentimentality in jewellery, and I wanted to create a collection reflecting the same sense of nostalgia and longing, but in a contemporary context. So I chose environmentalism as a theme and made jewellery to mourn extinct animals, threatened by industry and environmental destruction.

You mentioned on your blog that the different countries you’ve worked in have, in general, different fashion aesthetics – that people in the UK tend to embrace bold statement jewellery, and Germany tends to be more understated.  Having moved around the world quite a bit, do you find that the location – and the local style – influence your designs?
Absolutely. When I was living in Tokyo my aesthetic was definitely influenced by the underground subculture aesthetics. I used to be good friends with the kids that hung around Harajuku and were often featured in fashion magazines like Fruits. Their unique and colourful sense of fashion influenced me to make pieces that were bold and also somewhat strange and nonsensical. Now, living in Berlin, I have noticed that people do not wear very much statement jewellery, so I am trying to indulge in their aesthetics. It is much more understated here, minimal but also more sophisticated.

What’s it like working in Berlin compared with the other places you’ve lived in?
It’s great, because everyone here is either an artist, designer or a musician. It’s nice to engage in passionate talk about art or the exhibitions we’ve seen, and the price of housing means that people can afford a nice working space to create. It gives us more freedom to do what we love to do.


Illustration by Paolo Caravello

You used the texture of a pomelo as inspiration for one of your pendants. Do you draw a lot of inspiration from the natural world? What do you find particularly inspiring at the moment?
Yes, I guess nature is always going to be a huge pool of inspiration for me. Moving around a lot means things are always a little different, which I really like. For example, with the pomelo, I’d never seen of those before. My flatmate here in Berlin was eating it everyday, and I was thinking: “It’s not an orange… it’s not a grapefruit… what the…?”

At the moment, I’m inspired by what I saw when I went to the Natural History Museum. A huge collection of curiosities were on display in these glass cabinets. I just love old objects from the era before the Industrial Revolution. They are never perfect and there’s such an unspeakable, precious quality to them.

Which are your favourite pieces you’ve created recently?
I like the ‘Toby’ pendant I made here in Berlin. I think it embraces a new aesthetic for me, working with these rubber sponge balls I found, and also tackling the soldering iron, which I don’t often do. The oxidised sterling silver frame is made from a single sheet of metal. Maybe it’s my current favourite because it is also the newest… I’ll have to see how I feel about it in a few weeks!

Are there any other designers whose work you particularly admire?
I love the work of fashion designer Sandra Bucklung – her masterfully knitted garments are a work of art. I also admire the work of jeweller Ted Noten, whom I met when he was teaching my partner Guy Keulemans in the Netherlands. Ted likes to cast objects like guns and cocaine powder inside clear resin; the concept is simple yet extremely provocative.

We Are All Made of Stuff opened this week in Berlin. How’s it going so far, and where did the idea to set it up come from?
It happened by luck. A friend we met in Berlin knew someone who knew someone who had the space available. I actually never thought I would open a store, but if it was going to be anywhere, this would be the place. Guy and I designed the interior of the shop, together with our Austrian architect friend Christoph Hager. The result is wonderful. Really, I could not be happier and we’ve already had tons of people stop by to check it out and have a chat.

Is it a working space as well as a shop? Which other designers are showing or working there?
As well as showing mine and Guy’s work, we have jewellery pieces by fellow Australian designers like Make Believe and Anneliese Hauptstein, as well as local and European designers such as Berlin jeweller Susanne Schmitt and A&Ré, a French duo who make wonderful things with concrete. And more designers to come.
The space is a shop but also a workspace. We needed to divide these two functions, but uniquely, and without being heavy or obtrusive. So we created a kind of porous curtain made up of hundreds of individual strings hanging from the ceiling. It divides the space diagonally, and supports jewellery plinths, but you can also walk through it. Its very light and delicate. Behind the strings are workbenches, and these are removable, so we can clear the space and party!

That’s probably keeping you very busy at the moment, but have you got any other projects or collections coming up that we can look out for?
Yes, but it’s a secret for now!

Written by Amelie Skoda on Tuesday June 15th, 2010 12:40 pm

Categories ,A&Ré, ,Acrylic, ,Anneliese Haupstein, ,berlin, ,Christoph Hager, ,french, ,Germany, ,Guy Keulemans, ,interview, ,japan, ,jewellery, ,Kyoko Hashimoto, ,Make Believe, ,Netherlands, ,Paolo Caravello, ,Pomelo, ,Sandra Bucklung, ,Shadow of Lula, ,Susanne Schmitt, ,Ted Noten, ,Toby pendant, ,tokyo, ,Venice, ,Victoria & Albert, ,We Are All Made of Stuff, ,Workspace

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Amelia’s Magazine | An interview with jewellery designer Kyoko Hashimoto

by


Ruth Strugnell

Bath Spa’s electric and original collections show they’re not afraid to mix things up at Graduate Fashion Week. 

Bath Spa began with all guns blazing for their boutique show with Bournemouth, nurse setting the scene with a soundtrack of haunting thunder and lightning. As suspense grew, order a model stepped into the spot light…with a lampshade on her head. As more models filtered onto the catwalk, cure Ruth Strugnell’s quirky eccentricity became clearer in garments that made the most of mismatching, from multicoloured socks to panels composed of various prints and wools. Despite looking like they might’ve had a tussle in a dressing up box, the models’ nipped in waists and cute, soft take on the harem pants added a sense of maturity and direction to the pieces.  

Jack Duffy mixed things up again with clashing prints and a melding of culture; oversize jackets suggested elements of Eastern tradition, whilst large, ornate collars mould themselves round the body into demi-hoods more befitting of European nobility. 

Thierry Davies’s hypnotic monochrome prints bend the mind but when paired with a neat, boxy jacket a line of harmony seems to be drawn amongst the chaos. Another perennial favourite of this year appears again – the jump-suit, this time spruced up with a dramatic contrast between blue and white sections. 

Jodie Clay’s garments varied from the loose, long hem of her black jacket to the glitz of a bespoke neckpiece and sheer blouse. The wardrobe of the 1920s women was re-examined in the modern context and energised with splashes of murky blues, but held an element of reticent class.

Natalie Ellis’s use of vintage fur coats and gloves reminded us of the staple role they played in the wardrobes of women gone by, but cropped double colour trousers were a reminder of Ellis’s unfailing dedication to modernity. Interesting shapes appeared on the body as high waisted trousers split cream khaki and black across the body, complimented by ethereal, floating blouses and fur barrel bags. 
*Here at Amelia’s Magazine we don’t advocate any wearing of fur at all, so we hope this is fake, otherwise, DON’T WEAR IT!*

Outi Silvola deconstructed apparel in the most immediate sense, repositioning collars, shoulders and buttons to give a mixed up feel that wouldn’t look out-of-place in Dover Street Market. A fully made collar placed forward on the body was a walking work of art. A shirt is at once open at yet concealing the figure, showing a careful appreciation of the simple practise of putting clothes on the human body. 

Photographs by Nina Joyce

Ruth Strugnell

Bath Spa’s electric and original collections show they’re not afraid to mix things up at Graduate Fashion Week. 

Bath Spa began with all guns blazing for their boutique show with Bournemouth, site setting the scene with a soundtrack of haunting thunder and lightning. As suspense grew, information pills a model stepped into the spot light…with a lampshade on her head. As more models filtered onto the catwalk, more about Ruth Strugnell’s quirky eccentricity became clearer in garments that made the most of mismatching, from multicoloured socks to panels composed of various prints and wools. Despite looking like they might’ve had a tussle in a dressing up box, the models’ nipped in waists and cute, soft take on the harem pants added a sense of maturity and direction to the pieces.  

Jack Duffy mixed things up again with clashing prints and a melding of culture; oversize jackets suggested elements of Eastern tradition, whilst large, ornate collars mould themselves round the body into demi-hoods more befitting of European nobility. 

Thierry Davies’s hypnotic monochrome prints bend the mind but when paired with a neat, boxy jacket a line of harmony seems to be drawn amongst the chaos. Another perennial favourite of this year appears again – the jump-suit, this time spruced up with a dramatic contrast between blue and white sections. 

Jodie Clay’s garments varied from the loose, long hem of her black jacket to the glitz of a bespoke neckpiece and sheer blouse. The wardrobe of the 1920s women was re-examined in the modern context and energised with splashes of murky blues, but held an element of reticent class.

Natalie Ellis’s use of vintage fur coats and gloves reminded us of the staple role they played in the wardrobes of women gone by, but cropped double colour trousers were a reminder of Ellis’s unfailing dedication to modernity. Interesting shapes appeared on the body as high waisted trousers split cream khaki and black across the body, complimented by ethereal, floating blouses and fur barrel bags. 
*Here at Amelia’s Magazine we don’t advocate any wearing of fur at all, so we hope this is fake, otherwise, DON’T WEAR IT!*

Outi Silvola deconstructed apparel in the most immediate sense, repositioning collars, shoulders and buttons to give a mixed up feel that wouldn’t look out-of-place in Dover Street Market. A fully made collar placed forward on the body was a walking work of art. A shirt is at once open at yet concealing the figure, showing a careful appreciation of the simple practise of putting clothes on the human body. 

Photographs by Nina Joyce

Jeweller Kyoko Hashimoto has just opened a new shop/studio in Berlin called We Are All Made of Stuff. Born in Japan, diagnosis Kyoko grew up in Australia and studied jewellery design at university. She worked on conceptual designs until setting up her own label in 2006, diagnosis and she lived in Sydney and then Tokyo before moving to Berlin. Her designs play with different textures and nature-inspired themes, creating a look that’s modern and whimsical at the same time.

Can you tell me a bit about how your own label came about?
I was travelling through Europe in the the summer of 2005, and found myself completely out of money in the fairy-tale city of Venice. It felt really surreal to be broke in such a gorgeous city. I had studied jewellery design at university, but I wasn’t really using it to earn anything – instead I was teaching English to high school kids in Tokyo. I thought, “I can do better than this.” So when I returned from my holidays, I really set my mind on creating something new and committed myself whole-heartedly to design and production.


Illustration by Paolo Caravello

What techniques and materials do you most enjoy using in your work?
I enjoy working with acrylic. It’s the medium I feel most connected with. I like the consistency and the range of colours, transparencies and depth.
Synthetic polymers have been my choice of material since my university days, and I used to do a lot of resin casting. I stopped using polyester resin because of its toxicity, but I still really enjoy working with acrylic; I like the choice of colours and forms that can be achieved with relative ease. I use a combination of traditional and industrial techniques, although given the choice, I far prefer working with traditional methods. You can definitely see the difference in a finished object that has been hand-crafted, and one that has had little or no contact with the hand. Certain imperfections can also bring charm to an object.

In your most recent collection, Shadow of Lula, you’ve created pieces that look both Victorian and contemporary at the same time. Where did the inspiration to explore traditional mourning jewellery come from?
I love reading about the history of jewellery and fashion. Jewellery as a national fashion was at its height when Queen Victoria was mourning the death of her husband Prince Albert. She was so iconic and influential that the whole of England also went into a phase of mourning, and sentimental jewellery became very popular. I like thinking about the notion of sentimentality in jewellery, and I wanted to create a collection reflecting the same sense of nostalgia and longing, but in a contemporary context. So I chose environmentalism as a theme and made jewellery to mourn extinct animals, threatened by industry and environmental destruction.

You mentioned on your blog that the different countries you’ve worked in have, in general, different fashion aesthetics – that people in the UK tend to embrace bold statement jewellery, and Germany tends to be more understated.  Having moved around the world quite a bit, do you find that the location – and the local style – influence your designs?
Absolutely. When I was living in Tokyo my aesthetic was definitely influenced by the underground subculture aesthetics. I used to be good friends with the kids that hung around Harajuku and were often featured in fashion magazines like Fruits. Their unique and colourful sense of fashion influenced me to make pieces that were bold and also somewhat strange and nonsensical. Now, living in Berlin, I have noticed that people do not wear very much statement jewellery, so I am trying to indulge in their aesthetics. It is much more understated here, minimal but also more sophisticated.

What’s it like working in Berlin compared with the other places you’ve lived in?
It’s great, because everyone here is either an artist, designer or a musician. It’s nice to engage in passionate talk about art or the exhibitions we’ve seen, and the price of housing means that people can afford a nice working space to create. It gives us more freedom to do what we love to do.


Illustration by Paolo Caravello

You used the texture of a pomelo as inspiration for one of your pendants. Do you draw a lot of inspiration from the natural world? What do you find particularly inspiring at the moment?
Yes, I guess nature is always going to be a huge pool of inspiration for me. Moving around a lot means things are always a little different, which I really like. For example, with the pomelo, I’d never seen of those before. My flatmate here in Berlin was eating it everyday, and I was thinking: “It’s not an orange… it’s not a grapefruit… what the…?”

At the moment, I’m inspired by what I saw when I went to the Natural History Museum. A huge collection of curiosities were on display in these glass cabinets. I just love old objects from the era before the Industrial Revolution. They are never perfect and there’s such an unspeakable, precious quality to them.

Which are your favourite pieces you’ve created recently?
I like the ‘Toby’ pendant I made here in Berlin. I think it embraces a new aesthetic for me, working with these rubber sponge balls I found, and also tackling the soldering iron, which I don’t often do. The oxidised sterling silver frame is made from a single sheet of metal. Maybe it’s my current favourite because it is also the newest… I’ll have to see how I feel about it in a few weeks!

Are there any other designers whose work you particularly admire?
I love the work of fashion designer Sandra Bucklung – her masterfully knitted garments are a work of art. I also admire the work of jeweller Ted Noten, whom I met when he was teaching my partner Guy Keulemans in the Netherlands. Ted likes to cast objects like guns and cocaine powder inside clear resin; the concept is simple yet extremely provocative.

We Are All Made of Stuff opened this week in Berlin. How’s it going so far, and where did the idea to set it up come from?
It happened by luck. A friend we met in Berlin knew someone who knew someone who had the space available. I actually never thought I would open a store, but if it was going to be anywhere, this would be the place. Guy and I designed the interior of the shop, together with our Austrian architect friend Christoph Hager. The result is wonderful. Really, I could not be happier and we’ve already had tons of people stop by to check it out and have a chat.

Is it a working space as well as a shop? Which other designers are showing or working there?
As well as showing mine and Guy’s work, we have jewellery pieces by fellow Australian designers like Make Believe and Anneliese Hauptstein, as well as local and European designers such as Berlin jeweller Susanne Schmitt and A&Ré, a French duo who make wonderful things with concrete. And more designers to come.
The space is a shop but also a workspace. We needed to divide these two functions, but uniquely, and without being heavy or obtrusive. So we created a kind of porous curtain made up of hundreds of individual strings hanging from the ceiling. It divides the space diagonally, and supports jewellery plinths, but you can also walk through it. Its very light and delicate. Behind the strings are workbenches, and these are removable, so we can clear the space and party!

That’s probably keeping you very busy at the moment, but have you got any other projects or collections coming up that we can look out for?
Yes, but it’s a secret for now!

Written by Amelie Skoda on Tuesday June 15th, 2010 12:40 pm

Categories ,A&Ré, ,Acrylic, ,Anneliese Haupstein, ,berlin, ,Christoph Hager, ,french, ,Germany, ,Guy Keulemans, ,interview, ,japan, ,jewellery, ,Kyoko Hashimoto, ,Make Believe, ,Netherlands, ,Paolo Caravello, ,Pomelo, ,Sandra Bucklung, ,Shadow of Lula, ,Susanne Schmitt, ,Ted Noten, ,Toby pendant, ,tokyo, ,Venice, ,Victoria & Albert, ,We Are All Made of Stuff, ,Workspace

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Amelia’s Magazine | An Interview with Jewellery Designer Rosita Bonita

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Rosita Bonita portrait by<strong> Laura Gill</strong>” title=”Rosita Bonita portrait by Laura Gill” width=”480″ height=”571″ class=”aligncenter size-full wp-image-69903″ /></a><br /> <strong><a target=Rowenna Harrison portrait by Laura Gill

Working under the name Rosita Bonita, Camberwell illustration graduate Rowenna Harrison makes beautiful jewellery that would be at home in any trinket lovers dressing-up box. Her pieces celebrate all things vintage glamour and have a whole host of other influences from the mythical to the historical. We’ve mentioned Rosita Bonita before as Amelia stumbled across her work at Wilderness Festival 2011 and her stuff is still just as inspiring.

Rosita Bonita

Her pieces are gaining a following and she has recently been shortlisted to win a stand at Treasure Jewellery Show by Professional Jeweller Magazine (you can vote for her here). She’s a busy girl and a few days ago had a stall at the Secret Emporium Pop Up Shop in Boxpark, Shoreditch where she launched her latest collection Siren ’13.

Rosita Bonita by Louise Smith
Rosita Bonita by Gareth A Hopkins Top illustration of Rosita Bonita jewellery by Louise Smith, bottom illustration by Gareth A Hopkins.

More than just pretty pieces, her hand-crafted beauties are keep-sakes rather than regular old fashion knickknacks. I especially love the heart necklaces from her Sweet Black Heart collection, but all of her pieces are real treasures and her latest collection is sure to bring out your inner ’30s pin-up gal as well as rekindling your (my) childhood dreams of one day becoming Ariel the little mermaid. Siren is a collection of necklaces, earrings and more, which explore the sea-side feel from era’s past, as well as hinting at more magical influences. Looking at these treasures, I can’t help but think of the tongue twister we would recite on the playground: “she sells sea shells on the sea shore,” and be reminded of the feel of sand between my wiggling toes on British summer beach vacations.

I spoke to the lovely Ro Harrison, the face behind Rosita Bonita, about the launch of her new collection, her plans for the future and why she switched from illustration to jewellery design.

Rosita Bonita Siren Collection
Rosita Bonita Siren CollectionRosita Bonita Siren Collection Rosita Bonita Siren Collection

How did you decide on the name Rosita Bonita?
The first product I made to sell commercially was pasties (nipple tassels). This came about after making a pair for a friend to replace ones she’d lost at a fancy dress party, then making a few more as birthday presents. They quickly evolved into brooch versions, for those (like me) that don’t tend to have the occasion to wear the originals! I’ve always hated selling my work, so I wanted to create a brand name to create a degree of separation; to make it easier for me to go out and find shops to sell to. I starting experimenting with variations of my name and Rosita Bonita just kind of popped out. I had a vision of her being a ’50s Mexican burlesque dancer, it just felt right!

Rosita Bonita by Victoria Haynes

Illustration of Rosita Bonita jewellery by Victoria Haynes.

What made you choose to take the jump from illustration to jewellery design?
For as long as I can remember I have been drawing and making. I love both and don’t see a huge difference between the two. Illustration and jewellery (for me) are both about decoration, engaging with materials and creating characters and fantastical worlds. After graduating I struggled to find enough work as an illustrator (I was never very good at trying to sell myself), so I spent years working in what were supposed to be temporary jobs, in a cafe and managing a vintage shop. All the time I was drawing and making and waiting to be ‘discovered’. In the end, I had the idea to take my drawings and put them onto a physical product that people would want to buy. I had done a lot of screen-printing at college, and I had made various accessories (jewellery, purses, fascinators) out of leather, so it seemed like the next logical step to combine to two. Leather is so tactile and a joy to work with and it seemed to be a great surface to print on, so I did some tests, liked what happened and out came my first collection (Orchard).

Rosita Bonita Siren Collection

How do the two skills influence each other in your work?
All my pieces begin as drawings, and the pieces are often formed from a combination of separate 2D elements, so assembling them into the finished product is a bit like collage. Having had no training in jewellery, I suppose my whole approach is influenced by image-making; having said that, with each new collection, I am adding more metal elements and playing with different construction techniques. For my next collections I am working on a few more sculptural touches.

Rosita Bonita Siren Collection

You worked as part of design duo Dirty Drawers with artist Laura Gill, how did this relationship come about?
My best friend from my Foundation course went on to do a degree at Central Saint Martins and I met Laura there. She’s such an inspirational character. She has tremendous energy, a really positive outlook, a carefree demeanour, and a brilliant imagination, which all come out in her work. Laura met a group of artists who were squatting a big house in Peckham and were turning it into a gallery to show their work. She’d been allocated a room in there to use as a studio and exhibition space, and she asked me if I wanted to show there too. It was all quite short notice and I didn’t have anything prepared, so she gave me some drawings she had been working on and asked me to add to them. We had a pile of books of documentary photography, full of inspiring characters and began drawing from them. The process worked like a game of exquisite corpse (which became the name of the series). We would draw sections and cover them up before swapping and continuing to draw. It was more to amuse ourselves than anything else, but we liked the results and kept working and exhibiting together for years to come.
[Jessica: You can see one of Laura’s illustrations in this article as she provided the beautiful portrait of Rowenna]

Rosita Bonita Siren Collection
Rosita Bonita Siren Collection

Do you feel Camberwell prepared you for entrepreneurship?
One highlight I remember from my course at Camberwell was a talk from Tatty Devine. They didn’t come from a jewellery background and didn’t have financial investment, and seemed like genuinely lovely people, so their success story was (and still is) a huge business inspiration. In my final year I did a number of work placements. The first was a short stint at an Illustration agency (CIA). They kindly took me under their wing and showed me a glimpse of the goings on. Then I was lucky enough to work for my 3 heroes of the time; Marmalade Magazine, Shona Heath (Art Director) and Julie Verhoeven [Jessica: I recently mentioned Julie in a Bath in Fashion 2013 Listing which you can read here] They were all hugely inspirational learning experiences and gave me the opportunity to use my craft skills, and feel valued for them. They also supplied me with bits of freelance work after I graduated. However I still didn’t feel I had the confidence to go out hunting for my own work in the real world. The course itself felt like a bit of a bubble. Because I got a 1st, I just stupidly assumed that people would come to my degree show and offer me work. When I graduated, the bubble popped.

Rosita Bonita Siren Collection

What’s been the biggest challenge so far of setting up shop?
The biggest challenge in setting up shop is money. I started Rosita Bonita when I was still working four days a week managing a vintage shop. I didn’t have much cash (or time) to spare, so I have always made things according to the material costs I could run to and the skills I had to make things myself. It’s really frustrating as I have so many ideas of things I would love to make, but am very limited by costs. As things have been going better and better, these frustrations are highlighted more and more. Ideally I wouldn’t be producing everything myself. I would love to just be designing and making samples, then getting the bulk manufactured, and it would be great to have PR, but this is just not possible yet. The business is growing, but very slowly! The further it goes, the more you realise how much you need money. Designing, manufacturing, selling, promoting, building websites, taking photos, and doing accounts and admin all by yourself is not ideal. I’ve also just had one of my designs copied (by someone who does have money for manufacturing, sales & PR), but I can’t afford to take them to court.

Rosita Bonita Siren CollectionRosita Bonita Siren Collection

What are the main inspirations of your work?
My inspiration comes mainly from the past. I’m obsessed with vintage photography and graphic design, anything from the Victorian era through to the ‘50s. I look a lot at Hollywood studio shots from, particularly from the ‘30s. The sets and costumes are mind-blowing. I love watching movies from that time too. The characters are so glamorous and almost cartoon like. I am always amazed at how little we’ve artistically progressed since then. I’m not excited by realism and the mundane. I also love to look at the history of jewellery and the social meanings attached to it. I want people to put on my pieces and feel like they are becoming a fantastical character, or that the jewellery is bringing them luck or special powers.

Rosita Bonita Siren Collection

Your new collection Siren has a seaside theme, what made you choose this?
The Siren collection came out of my research into amulets. There was too much material in there for one collection (it’s actually now spawned 3 – Amulet, She’s my witch & Siren). Mermaids and seahorses, as well as certain types of shell, have been used as charms or amulets. I wanted to take these motifs, but treat them in a different way to the previous collection, which was quite dark and magical. They seemed to be perfect for a light summery collection. There is a still from a lost George Méliès film from c1905 which I had photocopied when I was at Camberwell and had always wanted to use somehow. It was a shot of six ‘mermaids’ posing in this great stage set in a star formation, with solid tails. I tend to visualise the photoshoot/video for the collection before I design the actual pieces (usually including which models/friends and which music to use), and knew I wanted something like this, but with a brighter, more ‘30s seaside resort feel to it. I drew my own version of this (which I’ve since printed on framed glass and t shirts), and that became the basis of the collection. I also looked at loads of other mermaid imagery, from ancient myths, fairytales, figureheads, movie stills, tattoo designs and carnival exhibits. I wanted to capture girlhood escapist fantasies of being a mermaid.

Rosita Bonita Siren CollectionRosita Bonita Siren Collection

Your jewellery has been featured in places like Nylon and Elle, how does it feel to see your work in mainstream mags?
It’s very rewarding to see my work in magazines, of any kind. I Google myself every few months and usually find some new mention in a blog or something. It keeps me going. More please!

What plans do you have for the future?
I’m not very good at planning ahead and managing my time. I have the next two collections designed in my head (just need to grab a moment to get them on paper and to develop the samples), but beyond that I’m never sure exactly what is to come. I will be working on finding some new stockists, so more people can discover me. I have three new international ones in the pipelines, which is all very exciting.

How would a reader go about purchasing one of your pieces?
I have a shop on my website . I don’t discontinue previous collections, as I don’t like the disposable nature of fashion, so most pieces are still available to order, if they are not in stock, and certain pieces can be made in custom colours. I’m also open to illustration, design, bespoke accessory/costume commissions and collaborations, so feel free to get in touch!

Rosita Bonita by Maya Beus
Illustration of piece from Rosita Bonita Siren collection by Maya Beus

All unreferenced illustrations and photography were provided by the lovely Rowenna Harrison.

Written by Jessica Cook on Monday March 25th, 2013 11:47 pm

Categories ,50s, ,amulets, ,Camberwell, ,Collaborations, ,Costume, ,custom, ,design, ,designer, ,Dirty Drawers, ,fairytales, ,fashion, ,framed glass, ,graduate, ,graduation, ,illustration, ,interview, ,Jessica Cook, ,jewellery, ,Julie Verhoeven, ,Laura Gill, ,leather, ,Louise Smith, ,magical, ,Mermaids, ,Myths, ,Rosita Bonita, ,Rowenna Harrison, ,seahorses, ,Shell, ,Shona Heath, ,Siren, ,special powers, ,T-shirts, ,Victoria Haynes, ,Victorian era, ,vintage, ,‘30s seaside resort

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Amelia’s Magazine | An interview with Spanish fashion duo Animal Bandido

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Illustration by Donna McKenzie

Regular readers of Amelia’s Magazine will know that we covered the Maison Martin Margiela 20 exhibition last March, story capsule when it showed in fashion capital Antwerp.

But, information pills since it’s moved to our very own fashion capital, we thought we’d have another look, and get some of our wonderful illustrators involved!

Somerset House is quickly becoming a fashion hot spot, with the rehoming of London Fashion Week and the recent SHOWstudio sessions. It’s clear why, too – it’s bloody beautiful.

This is the third outing for the Maison Martin Margiela exhibition, after seasons in Antwerp and Munich, so actually it’s the label’s 22nd anniversary this year, but who cares? I’ll use any excuse to have a poke around a fashion archive.


Illustration by Louise McLennan

The exhibition, set in Somerset House’s lower galleries and you’d be forgiven for believing, if this building wasn’t centuries old, that the space had been purpose-built for this nostalgic trip down Margiela memory lane.

All but a couple of the rooms are white-washed in typical Margiela fashion, and while the exhibition allows us to explore the history of this conceptual and inspirational label, it still give nothing away about the elusive man himself.


Illustration by Amy Martino

Instead of being a chronological or nostalgic display, the aim of this exhbition is to explore the key themes of Maison Martin Margiela, including the inspiration behind each collection and the techniques used.

So it is the quirks that have made this brand truly unique that are given most attention. We begin with a look at the anniversary catwalk show, amongst a lot of polystyrene models, whilst mooching along a row of rather battered Tabi shoes.


Illustration by Donna McKenzie

The bulk of the exhibition explores varying collections and what made them stand out alongside so many other fashion designers of the time. Flat-pack clothing, XXXL oversized pieces, painted garments, narrow tailoring, the trench coat, and the re-visioning of old garments. We also see the evolution of Margiela’s elusivity – first it was a slash of paint across a model’s face, then a blindfold, and then the infamous sunglasses (which I was so tempted to lift I had to walk around with my hands in my pockets. Damn I wish I’d bought them – what a collector’s item).


Illustration by Farzeen Jabbar

One room is devoted to archive footage, film and photographs from across the collections – the room is dark and has white lounge chairs for you to kick back and revel in some of the most iconic fashion images of the last two decades.


Illustration by Zarina Liew

Whether you like fashion or not, I’m entirely convinced that you will love this exhibition – it breaks the boundaries of typical gallery design and it is incredibly inspirational – Go See It!

You can read a full review of the Antwerp exhibition (which was exactly the same exhibition, I promise) here.

For the all important details, visit our listings section.


Illustration by Yelena Bryksenkova

Animal Bandido are a fashion label with a difference. They’re totally anti-establishment and detest the omniprescent multi-national fashion empires that exploit workers and fabrics, medical and are on a mission to create a renaissance for struggling manufacturers who cannot compete with the big boys.

Their collections range from the vibrant to the downright whacky; weird and wonderful creations which illustrate fruits and other objects make up there range, clinic which includes knitwear, side effects fabulous graphic prints and casual basics with a twist. Viewing their collections draws comparisons to Jean Charles de Castelbajac, nutty nu-raver Carri Mundane and knitwear brand Sibling. I caught up with Zosen and Claudia, aka Animal Bandido, to find out what’s behind this fresh new label…

What made you guys team up and create the street-wear label Animal Bandido?
Claudia: We started to talk about this project in September 2007. I finished studying fashion design a year before that. I was designing my own collections, doing super-limited editions that I sewed on my own.
At the beginning I was sceptical because I had collaborated on projects before, and most of the time it’s very difficult to agree with the ideas of other people. I thought I’d give this one a go because our backgrounds are different, each of us bringing different ideas and ways of working.
Zosen: I printed my designs on t-shirts for years and I collaborated with fashion designers, but I wanted to go forward producing other garments and control the process. Animal Bandido was born to make something in collaboration and use different techniques; Claudia brings her experience with the patterns and fashion design and I with the graphics and design in general.
But, day-to-day, we both take part in every process.


Spring/Summer 2009

What does the label represent for you?
The label represents other way to create pieces and to show our stuff to as many people possible.

Zosen, you are a well known urban artist in Barcelona. What made you move into fashion?
After the zero tolerance law against street art in Barcelona, I decided to use another techniques to spread the word. Using my graphics and colours on clothes, it’s another way to have a presence on the street and give the message to the street’s citizens.
Also, it’s interesting for me to experiment with other media and other people – it’s a great way to learn.


Autumn/Winter 2010

Claudia, tell us more about your background, in fashion?
I studied a degree in Fashion Design in Barcelona and then studied millinery at Central Saint Martins in London, followed by jewellery workshops at Casa Espiral, Barcelona.
I interned with Alberto Tous for his fashion show for Barcelona Fashion Week, and then began designing my own collections and selling them in little shops in Barcelona and Berlin.

What makes you different to big fashion corporations?
Well, there’s only two of us! There are no hierarchies; we work together and are both involved in everything, all the time. We produce everything locally, we pay worthy salaries, and we keep our manufacturing quantities reasonable to avoid waste.


Illustration by Natsuki Otani

Do you think your label is art or fashion led?
Our clothes are fashion, but treated as small pieces of art. We don’t follow the trends or encourage throwaway fashion, as the corporate giants do. We create and manufacture to order (for shops and customers) again to reduce waste.

Do you usually agree on everything? How easy is it to compromise when working as a creative partnership?
Claudia: It depends on the project, normally we just discuss everything thoroughly, allowing both of us to express our point of view. Sometimes Zosen is forced agree with me when we are talking about patterns and shapes or different ways of finishing a garment, but he controls more in graphic and web design!
We always try to be equally satisfied with everything related to the brand.


Autumn/Winter 2010

Do you experiment with anything else apart from clothes?
Zosen: Oh yes! We do many things, the most recent thing being a sculpture to present the new collection, that we installed in our studio to photograph the collection against.
It’s huge and gives so much new life to our studio that we are hoping to relocate it to some public space.
Claudia: Zosen always has a million and one projects on the go: a giant mural for the people on walls in London, an exhibition of customised records in Rome…
Now I’m coming up with a few surprises for September for Animal Bandido.


Illustration by Yuann Shen

What does Animal Bandido support?
We support the national textile industry in Spain, as opposed to the over-production and the exploitation of the third world. We pay people fairly. We’re behind a renaissance of the companies that became obsolete as a result of insurmountable production levels in third world countries; we want to give the possibility of growth to small companies so it’s not just the yucky multinationals that dominate the local market.

What makes Animal Bandido unique?
Our fabrics have our own original and unique designs printed on them. We make no more than 100 items per piece, so they are truly limited edition. When you consider that we now sell in Basel, New York, Barcelona, Madrid, Seville, Zaragoza, Sweden and Nottingham and our pieces are divided between those places, there aren’t many per country.


Autumn/Winter 2010

What’s up next for Animal Bandido?
For the summer we’re launching printed bikinis and swimwear; lightweight hoodies using prints from the collection and a new, retro-inspired one. We’re also looking at launching accessories.

Written by Matt Bramford on Thursday July 15th, 2010 2:37 pm

Categories ,Alberto Tous, ,Animal Bandido, ,art, ,barcelona, ,Barcelona Fashion Week, ,Basel, ,berlin, ,Carri Mundane, ,Central Saint Martins, ,Claudia, ,Ethics, ,fashion, ,graffiti, ,Graphics, ,Jean-Charles de Castelbajac, ,london, ,Madrid, ,Natsuki Otani, ,new york, ,nottingham, ,print, ,Rome, ,Seville, ,Sibling, ,spain, ,sweden, ,Vinyl, ,Waste, ,Yelena Brykensova, ,Yuann Shen, ,Zaragoza, ,Zosen

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Amelia’s Magazine | An interview with Young British Designers

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Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, no rx so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, viagra of course, malady didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads. Ah, well.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection:

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, viagra 100mg so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, capsule of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, sale so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, visit this site of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, help so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, viagra 40mg so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, sickness of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Felicity Brown Gabrielle dress, help illustrated by Kate Copeland

Amidst the commotion of catwalks and exhibitions at London Fashion Week, one website had everyone talking; Young British Designers. Grabbing attention with their eye-catching launch video, the team behind YBD are providing a platform for the fashion conscious everywhere to buy designs by the next generation of British greats. Ada Zanditon, Jena.Theo, Jasper Garvida, Eudon Choi and Felicity Brown are just a few of fashion’s bright young things being championed by the site, where you can read about the designers themselves as well as investing in their clothes, shoes and accessories. But who is behind the venture? Though they are prolific on Twitter and becoming a household name amongst bloggers and press, little has been revealed about the individuals behind Young British Designers; until now.  


Left-right: Ada Zanditon, Charlotte Taylor, David Longshaw

Tell us about the people behind Young British Designers; how did you end up working together? 
YBD comprises four people, Adriana, Stuart, Debra and Julian – two couples. Adriana and Stuart had a great idea to champion developing British design talent and approached Deb and Julian to enable the idea to fly; all four were totally taken with the concept, it seemed such an obvious thing to do, none of us could really believe that nobody had thought of it before. Then came London Fashion Week in February 2010 – the breadth of new, naïve British talent was clear for us to see and the thought of bringing it all together ‘under one roof’ (so to speak) became an increasingly enthralling prospect. But every idea needs its seminal moment, for us it was Adriana and Debra entering the hall at Vauxhall Fashion Scout that cold and windy Monday afternoon; the room was empty – and the utterly beautiful Felicity Brown dresses called across the room. For us, that moment encapsulated the sheer joy of finding new talent – and in knowing that we could bring our own talents and experience to introduce them to an emerging global market. 


Eudon Choi Grey Lace Up Military Shoe Boot, Rae Jones Scarlett Leather Brogues, illustrated by Kate Copeland

We ended up working together because of a shared passion, but it was more than that – our skills were compatible: design, marketing, business, sustainability and communications. We also wanted to take a risk – a risk on a new venture, to do something really significant in our own way. We like each other too.  
? 
It’s a difficult time for young British designers starting out today; what inspired you to champion them in this way?  
No one focuses purely on the promotion of new British talent – a handful of designers make it through to retailers each year, but it’s not many and even those that do are a small part of massive collections made up primarily of well known, established names. We believe that many more of our designers deserve to be showcased and that our designers’ stories be more thoroughly told and their developing brands be enhanced. We also believe that this is absolutely in keeping with the developing trend for highly individual style statements amongst increasingly discerning consumers. ? 


Clockwise from top left: Bionda Castara, Cabinet, Sophie Gittins, Simeon Farrar, Issi

Your launch video is impeccably styled and really captures the timelessness of British style. What do you think distinguishes British fashion designers from the rest of the world? 
We hope the video captures the passion we all have for British fashion, the cues from the past, the energy, the excitement, the ready to risk all and have a go idealism. The sheer bloody eccentricity and quintessentially quirkiness only to be found on this island. Wonderful. 


Illustration by Kate Copeland

How do you go about selecting which designers to feature? 
We are really emotional and subjective in our approach to selecting the designers for our collections – does the design make our heart sing? The hairs on the back of our neck stand on end? Can we imagine that our customers will love it as much as we do?    

You feature a number of ethical designers on YBD; do you think more designers will start taking sustainability into consideration as the ethical fashion industry grows? 
Great design is at the heart of solving the problems of natural resource depletion and global warming. Our wish is to promote the talents of the best British designers and to encourage them to see the beauty in an ethical heart to their designs … and we will promote the beauty they create to our customers. Delivering sustainable and ethical solutions take on many forms, we’re delighted to promote the recycled materials in Issi’s bags, the employment of impoverished Hungarian workers in making Emesha’s beautiful clothes and in encouraging the continued employment of local manufacturing in the UK.  


JW Anderson Saint Circle Ring, Lucy Hutchings Zelda Necklace, illustrated by Kate Copeland

Lots of your designers are showing at LFW, which presentations moved you most? 
Jena.Theo – because they so successfully retained their original style signature yet moved forward to embrace both a new season and a new confidence. Eudon Choi for showing all the assurance of a brand that is well established and all the freshness and energy of a designer who is still exploring the limits of his talent. 

What are your hopes for the future of YBD? 
That leading retailers come together online and off to enthusiastically support the best interests of our developing talent by promoting them generously and not seeking to put their own interests first by insisting on exclusivity of supply. This in turn limits a growing brand and can stifle it and its demand at its most crucial fledgling stage.

All products are available now over at Young British Designers!

Written by Katie Antoniou on Wednesday October 6th, 2010 12:05 pm

Categories ,Ada Zanditon, ,british, ,Eudon Choi, ,fashion, ,interview, ,Jena.theo, ,JW Anderson, ,platform, ,website, ,young british designers

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Amelia’s Magazine | An unoriginal Tee

by

Whilst researching a new label founded by two LA socialites Lauren Alexander and April Leight, appropriately called LnA, I started thinking about the ever fading line separating men’s and women’s clothes. The pair’s debut ‘Boyfriend Tee Collection’, launched in Spring/Summer 2007, is described on their website as “a colourful, flattering and wearable take on the men’s under tee” and is made up of lots of different designs of plain, basic tees, all 100% cotton and all comfortable.


lna_web%5B2%5D%20%282%29.jpg

I’m kind of missing the link between their masculine inspiration and the final product. Correct me if I’m wrong, but these look like plain women’s Tees to me. What’s so special about these designs? Upon reading of the website I discovered; “The duo’s designs are wholly inspired by their lifestyles, sharing an affinity for wearing their boyfriend’s Tees out to LA’s hotspots.” Surely more inspiration can be found living in sunny LA, surrounded by movie star history and going to all those crazy ‘hotspots’?


As well as a love for wearing boyfriend tees, the website says that the partners originally bonded over their fashion backgrounds. High fashion aspirations might explain the high prices, but the less than high fashion designs lead me to wonder whether their ‘fashion backgrounds’ amount to much more than that they both love a good shopping sesh. Then again, maybe I’ve been too harsh. I mean, these t-shirts do come in at least FIVE different colours. 
 
 


lna_yellow%20tshirt.jpg


lna_blue%20tshirt.jpg

As can be expected, the celebrity following of the brand is huge. Nicole Richie, Rachel Bilson, Paris Hilton – they’re all wearing it. Lauren Alexander and April Leight evidently have some good contacts. This celebrity interest has no doubt affected the popularity of the brand (as these things do.) One review I found was from a massive fan of the ‘Deep V T-shirt’ (all the items are named after their cut – another injection of creativity from LnA) as seen on Mary-Kate Olsen. The fan boasts having the garment in seven different colours. I worked this out and, if my calculations are correct, she spent $392 (that’s around £196) on seven plain T-shirts. Either the tops are lined with gold or that’s one major Olsen fan.

In case you didn’t pick up on it, I’m not much of a fan. LnA ask for a lot of money for something so simple (which they claim to be the product of an individual idea). Yes, ok, they are 100% cotton, but you would think that for $50 you would be, I don’t know, helping the environment or half the cost would be donated to charity? Unfortunately no, you’re not. Although I’m all for basic, classically cut clothes with no prints or fancy bits, the way in which they seem to claim the ownership of the popular T-shirt design annoys me. Because of this I can’t get the idea of money grabbing attachment to this brand out of my mind.



Written by Helena Hamilton on Monday August 4th, 2008 12:52 pm


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Amelia’s Magazine | Anja Hynynen: an interview with this fabulous Swedish ethical fashion designer

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Illustration by Gabriel Ayala

Oh God, viagra 60mg cost is it really that time again? Do I really have to stay up, night after night, sending all those emails? Worrying about outfits? Processing 12,000 photographs? Yep, London Fashion Week is just around the corner, and yesterday Vauxhall Fashion Scout announced their line up for their extra special Ones to Watch show.

Previous winners of the accolade include Ada Zanditon and Lu Flux (both in Amelia’s new book) as well as Eudon Choi and David Longshaw. Last season’s outing was an ecclectic mix of ‘dandyish’ menswear, cream pleats and yellow ruffles. The line up this time around looks certain to impress, though – Central Saint Martins’ graduates Anja Mlakar and Kirsty Ward, along with Sara Bro-Jorgensen and Tze Goh.

While we all get excited about London’s most fashionable five days, here’s a little round up of the new design talent.

Tze Goh

Illustration by Lana Hughes

Tze Goh graduated with a BA from Parsons in New York before completing an MA at Central Saint Martins. Tze’s collections to date have had that strong, minimal aesthetic with emphasis on shape and sculpture.

They’re definitely futuristic, and each garment appears to have been moulded from an unknown material rather than sewn from jersey. Pieces emphasise the shapes of his models – exaggerated shoulders and discrete twists in fabric make for modern, appealing clothes. Hopefully he’ll stick to his minimalist principles during his outing this coming season.

Kirsty Ward

Illustration by Gabriel Ayala

Kirsty Ward is brilliant. She’s one of the most unique designers I’ve seen in ages, and it’s no surprise that she’s, yep – you guessed it – Central Saint Martin’s alumni and went on to work with Alberta Ferretti in Italy. Amelia reviewed her collection last season , a vertiable wonder of sculptural jewellery and clothing that echoes the contours of the body.

I loved her work with David Longshaw (creating jewellery that he teamed with his collection) during his debut on the very same Ones to Watch stage a year ago This season promises another fashion-forward outing.

Anja Mlakar

Illustration by Willa Gebbie

Anja Mlakar is – you guessed it – another Central Saint Martins graduate. I’m feeling fatigued typing those three words already and the shows haven’t even started. Anyway, Her debut collection harboured much interest and having only graduated last year, Anja is set to cement herself in fashion this coming season.

Her S/S 2011 collection was a welcome ray of sunshine, with bursts of pastel yellows and pinks. Her aesthetic features structural forms and body-concious frocks, and her style straddles the fine line between flattering and futuristic. The most diverse collection, it will be intereting to see if Anja develops a particular element or mixes it up again.

Sara Bro-Jorgensen

Illustration by Jaymie O’Callaghan

Sara, a Royal College of Art graduate (at last!) takes a different approach to fashion and is heavily influenced by 2D forms like black and white photographs. She’s been nominated for awards here and there.

Her previous collections contain a mix of knits and deconstructed pieces, and I’m not exaggerating when I say this girl digs black. As it’s the A/W 2011 we’re looking forward to, I wouldn’t be surprised if we see more of fashion’s favourite colour on Sara’s outing, but then what do I know?


Illustration by Gabriel Ayala

Oh God, story is it really that time again? Do I really have to stay up, night after night, sending all those emails? Worrying about outfits? Processing 12,000 photographs? Yep, London Fashion Week is just around the corner, and yesterday Vauxhall Fashion Scout announced their line up for their extra special Ones to Watch show.

Previous winners of the accolade include Ada Zanditon and Lu Flux (both in Amelia’s new book) as well as Eudon Choi and David Longshaw. Last season’s outing was an ecclectic mix of ‘dandyish’ menswear, cream pleats and yellow ruffles. The line up this time around looks certain to impress, though – Central Saint Martins’ graduates Anja Mlakar and Kirsty Ward, along with Sara Bro-Jorgensen and Tze Goh.

While we all get excited about London’s most fashionable five days, here’s a little round up of the new design talent.

Tze Goh

Illustration by Lana Hughes

Tze Goh graduated with a BA from Parsons in New York before completing an MA at Central Saint Martins. Tze’s collections to date have had that strong, minimal aesthetic with emphasis on shape and sculpture.

They’re definitely futuristic, and each garment appears to have been moulded from an unknown material rather than sewn from jersey. Pieces emphasise the shapes of his models – exaggerated shoulders and discrete twists in fabric make for modern, appealing clothes. Hopefully he’ll stick to his minimalist principles during his outing this coming season.

Kirsty Ward

Illustration by Gabriel Ayala

Kirsty Ward is brilliant. She’s one of the most unique designers I’ve seen in ages, and it’s no surprise that she’s, yep – you guessed it – Central Saint Martin’s alumni and went on to work with Alberta Ferretti in Italy. Amelia reviewed her collection last season , a vertiable wonder of sculptural jewellery and clothing that echoes the contours of the body.

I loved her work with David Longshaw (creating jewellery that he teamed with his collection) during his debut on the very same Ones to Watch stage a year ago This season promises another fashion-forward outing.

Anja Mlakar

Illustration by Willa Gebbie

Anja Mlakar is – you guessed it – another Central Saint Martins graduate. I’m feeling fatigued typing those three words already and the shows haven’t even started. Anyway, Her debut collection harboured much interest and having only graduated last year, Anja is set to cement herself in fashion this coming season.

Her S/S 2011 collection was a welcome ray of sunshine, with bursts of pastel yellows and pinks. Her aesthetic features structural forms and body-concious frocks, and her style straddles the fine line between flattering and futuristic. The most diverse collection, it will be intereting to see if Anja develops a particular element or mixes it up again.

Sara Bro-Jorgensen

Illustration by Jaymie O’Callaghan

Sara, a Royal College of Art graduate (at last!) takes a different approach to fashion and is heavily influenced by 2D forms like black and white photographs. She’s been nominated for awards here and there.

Her previous collections contain a mix of knits and deconstructed pieces, and I’m not exaggerating when I say this girl digs black. As it’s the A/W 2011 we’re looking forward to, I wouldn’t be surprised if we see more of fashion’s favourite colour on Sara’s outing, but then what do I know?

Anja Hynynen by Andrea Peterson
Anja Hynynen by Andrea Peterson.

How has a love of arts and handicrafts been passed down to you?
Amongst my ancestors there is a menswear tailor, diagnosis  a well-known Swedish painter, for sale  and my three aunts who worked with textiles. My father keeps a family tradition alive as a blacksmith and my mother is an artisan working with leather and photography. Since finding my passion within drawing, website like this textile and environment it feels natural to follow my heart. I wish more people were able to work with what they feel is important.

Anja Hynynen by Andrea Peterson Ardalanish Collection
Anja Hynynen Ardalanish Collection by Andrea Peterson.

What prompted you to start working with organic fabrics? 
I became allergic to some fabrics when I begun to sew full-time, and getting sick made me wonder about the health of the people and the soil in the places where those fabrics were being grown, woven and dyed, as well as what happens to the water in which we wash these toxic clothes at home. I grew up close to nature, and experiencing first hand the fallout from poisonous chemicals made me want to search for pure materials to create ethical clothing.

Where do you source your organic materials from?
I find the background of materials fascinating. It’s so important to understand where fabrics come from; to be able to tell a customer the story, from seed to finished garment. I work with organic wool, linen, cotton, hemp and peace silk. The linen is grown and woven in Germany and Austria, where it is certified the whole way through production. For detailed artistic work such as felting I like to work with local materials such as handspun angora rabbit yarn and native sheep wool; materials where I have the opportunity to know the source personally. One of my dreams would be to ensure the local production of materials that we can produce in this part of the world, such as wool, hemp and linen fabrics…

Read the rest of this interview and see more illustrations of Anja Hynynen’s clothing 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. The illustrator Andrea Peterson also designed the front cover of ACOFI

Written by Amelia Gregory on Thursday January 13th, 2011 11:13 am

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Andrea Peterson, ,Anja Hynynen, ,Ardalanish Collection, ,Austria, ,cotton, ,Eco fashion, ,ethical design, ,Germany, ,Hemp, ,Linen, ,organic, ,peace silk, ,sweden, ,wool

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