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Amelia’s Magazine | Vauxhall Fashion Scout Ones to Watch A/W 2011 – A Preview

Kirsty Ward, cialis 40mg pilule illustrated by Gabriel Ayala

Oh God, doctor more about is it really that time again? Do I really have to stay up, approved 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?

Written by Matt Bramford on Wednesday January 12th, 2011 5:45 pm

Categories ,A/W 2011, ,Alberta Feretti, ,black, ,Central Saint Martins, ,David Longshaw, ,fashion, ,Gabriel Ayala, ,Italy, ,Jaymie O’Callaghan, ,Lana Hughes, ,London Fashion Week, ,new york, ,Ones To Watch, ,parsons, ,Royal College of Art, ,Vauxhall Fashion Scout, ,Willa Gebbie

Amelia’s Magazine | Valentino: Master of Couture at Somerset House

Valentino A/W 2005 by Krister Selin

A recent viewing of the documentary Diana Vreeland: The Eye Has To Travel, a film dedicated to the infamous fashion editor’s pioneering feats, highlighted that going to a gallery to view exhibitions of living fashion designers is a relatively new concept. When Vreeland launched an Yves Saint Laurent retrospective in 1983 at the Costume Institute, she set a precedent for a legion of future fashion fairs.

In the modern era, fashion fans have no qualms about trading their hard-earned cash to gaze at frocks on mannequins and fashion retrospectives have dominated galleries with record-breaking visitor numbers. Presenting these exhibitions comes as a challenge to curators: no longer is it a case of whacking a few frocks on mannequins like you’re assembling a high street window display. A quick look at Viktor & Rolf at the Barbican, McQueen at the Met or Louis Vuitton/Marc Jacobs at Les Arts Decoratifs shows the dedication and commitment necessary to present fashion as art.

Valentino A/W 2002 and Natalia Vodianova by Cathleen Naundorf

What better way, then, to present Emperor of Couture Valentino Garavani‘s illustrious history than on one long catwalk? Avoid temptation to sashay past the tableaux as mannequins appear amongst elegant white chairs on either side of a runway, on which you’re the model. The Embankment Galleries at Somerset House have been transformed; no longer tiny catacombs, but brought together for dramatic effect.

Valentino A/W 2002 by Maya Beus

The lower floor showcases a number artefacts appearing in glass cabinets at the start of the exhibition. Letters from prominent designers and magazine editors celebrate Valentino‘s last milestone, his 45th anniversary as King of Couture, showering the Italian with praise for his record-breaking anniversary couture show at the Santo Spirito in Sassia in Rome. Glorious fashion sketches line other cabinets, but as was with Margiela and other exhibitions here, I found myself skimming past these in order to get to the main event upstairs.

Photographs courtesy of Somerset House/Peter MacDiarmid

And so the catwalk comes alive on the upper level, with a breathtaking 130 haute couture creations on models appearing as guests. They are arranged pretty haphazardly amongst the aforementioned white chairs, almost with abandon, without any rigid chronological order. Empty seats bear the names of the great and the good that have worn Valentino and attended countless shows: Princess Margaret, Elizabeth Taylor, Carla Bruni, Diane Kruger, Iman; Diana Vreeland herself.

Valentino S/S 1998 by Annie Rickard Straus

Valentino A/W 1992 by Sandra Contreras

La dolce vita comes alive as you make your way along the displays, featuring floor-sweeping gowns, kaftans, trouser suits and capes. I particularly enjoyed the 1990s section – creations designed with the decadent abandon of an era when the supermodel ruled fashion and Valentino, Gianni Versace and pals were bending over backwards knee-deep in gold chains to appease them. These pieces were without doubt the height of fashion, but have dated the most. Compare these to some numbers from the 1960s: they’re indistinguishable from the output of Maria Grazia Chiuri and Pier Paolo Piccoli, heading Valentino, over recent seasons.

Valentino S/S 2005 by Jamie Wignall

Valentino S/S 1969 by Maya Beus

The show’s dramatic finale sees Princess Marie-Chantal of Greece‘s wedding dress come to life on a dramatic platform. This pearl-encrusted ivory silk gown features a 4.5m train and 12 kinds of lace. Sure.

Princess Marie-Chantal’s wedding dress

While I wouldn’t wear it, it’s one of the greatest examples of dressmaking in history and this presentation allows you to see the astonishing detail in the flesh.

Valentino S/S 2004 by Krister Selin

I particularly enjoyed a personal tribute to le regazze – the girls – the loyal atelier that have produced innumerable tulles, mock-ups and eventual red-carpet-ready frocks for the Grand Master’s enormous following. They’re the stars of groundbreaking documentary film Valentino: The Last Emperor, bickering as they lovingly stitch the last couture collection by the man himself. In the exhibition we’re spoiled with an education of Italian atelier terms – such beauties as ‘Incrostazioni‘ ‘Drappeggio‘ and ‘Budellini‘, a couture technique specific to Valentino where double charmeuse silk is rolled and sewn around a looped length of wool. Each term has a visual representation, occupying a glass box and highlighting the important role that these individual processes have played in Valentino‘s roaring success.

Valentino A/W 2002 by Jamie Wignall

Valentino S/S 1998 by Sandra Contreras

Unmissable. Go.

Written by Matt Bramford on Friday December 7th, 2012 1:53 pm

Categories ,Annie Rickard Straus, ,Budellini, ,catwalk, ,couture, ,Drappeggio, ,Embankment Galleries, ,emperor, ,exhibition, ,fashion, ,Grand Master, ,Incrostazioni, ,Italy, ,Jamie Wignall, ,Krister Selin, ,le regazze, ,london, ,Marie-Chantal, ,Matt Bramford, ,Maya Beus, ,Natalia Vodianova, ,Peter MacDiarmid, ,Rome, ,runway, ,Sandra Contreras, ,Somerset House, ,The Last Emperor, ,Valentino Garavani

Amelia’s Magazine | Vauxhall Fashion Scout Ones to Watch A/W 2011 – A Preview

Kirsty Ward, cialis 40mg pilule illustrated by Gabriel Ayala

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

Kirsty Ward

Illustration by Gabriel Ayala

Anja Mlakar

Illustration by Willa Gebbie

Sara Bro-Jorgensen

Illustration by Jaymie O’Callaghan

Written by Matt Bramford on Wednesday January 12th, 2011 5:45 pm

Amelia’s Magazine | Modern Love: S/S 2012 Preview Interview with designer Sarah Arnett

Modern Love by Ola Szpunar.

Sarah Arnett is a multi talented designer who just happened to train at the same university as me. She graduated the year above, and since then has had an extremely interesting and varied career – from contributing illustrations to Amelia’s Magazine to creating a beautiful fashion line that is exclusively stocked in Liberty – it seems she is capable of turning her hand to all aspects of design! Prepare to be very inspired….

Modern Love SS12
sarah arnett Modern Love by angela lamb
Modern Love by Angela Lamb.

You’ve had an eclectic career, training firstly in woven textiles for fashion on the same course as me at Brighton Uni, and then moving into illustration, interior design and back into the world of fashion. Can you tell us more about your journey across these disciplines?
I found it very difficult to decide what to do in the first place, all I knew was that I wanted to go to art college, I grew up with a family of designers and makers so being able to sew and paint seemed normal and I used to watch my father work in his studio, everyone was able to draw, paint… in fact my great uncle designed fabrics for Liberty. Things happen in your life like having children, and other things become important… it’s the same with my work, other things become more exciting and more important. I am totally inspired by the process and that drives me to try more things. It’s an exciting time for crossing over disciplines and I have always just thought of my self as a designer… It could be fashion, interiors… or illustration. I am so inspired by working on a range of projects; in the last couple of years year I have shown in a couple of exhibitions at Somerset House, worked on Modern Love, designed the new look of the uniform for the National Trust, as well as creating illustrations for The Sunday Times Style Magazine. I also design a small bridal collection that I sell through a vintage shop in Brighton… and there is a long list of other things that I want to do!

Modern Love SS12
Sarah-Harnett-by-Laura-Griffin
Modern Love by Laura Griffin.

What is the highlight of working across disciplines?
No day is the same….

Modernlove ss12 Long v neck dress
And what have been the difficult parts?
I love and hate fashion, sometimes I think it’s a frivolous waste of time and on the other hand can make someone feel beautiful and have a real impact on their life… I don’t think I am a fashionable person and have never felt very comfortable in my own skin, but I am and have always been fascinated by clothes. I find fashion a very big challenge. The stress of running your own business is hard work, as is that freelancer’s worry of where the next job will be coming from… and there is always self doubt. But I look at all of these as things that drive me on to try and do better.

Sarah Arnett Modern Love by Isher Dhiman
Sarah Arnett’s Modern Love by Isher Dhiman.

Why did you name your clothing brand Modern Love?
Myself and my business partner Kim Hunt really liked the idea of a name that encompassed what we felt and admired about good design. The Love of beauty, vintage, heritage and the feminine and the Modern… a way of thinking, responsibility to the environment, ethical and local manufacturing, our vision, our way of working and maintaining a good work/life balance for ourselves (we did have our production meeting on the beach over looking a very calm sea today!) and a reference to David Bowie never hurt anyone! I

Modern Love print design SS 2012
Print design from the current collection.

For S/S 2012 Modern Love is all about a mix of tropical and country garden prints – described as earthy African hues meet the soft English sky (love that description) Where did you find inspiration for the imagery?
I find that I am constantly working and re-working the same themes which are a mix of my African, big sunshine early influences and my love of the softer, rolling South Downs up-bringing. I can’t ever choose between them. If I admire or value or find something beautiful or fascinating I am drawn to design with it, I think it’s a very similar sensation to eating something or collecting things. It’s a different way of owning or tasting something. I draw it.

Modern Love print design SS 2012
How do you reconcile living on the sometimes rainy south coast of Brighton with your fabulous African childhood? Are there ways to bring a bit of African sunshine back into your life?!
In a strange way having the coast and that big expanse of water and sky to look can be as dramatic and uplifting as the sunshine and dry African plains: I walk down to the sea every day I possibly can, it’s very important to me. Without it I would hate the winter even more than I do! My ideal situation would be six months here, six months there.

Modern Love print design SS 2012
How easy is it to design shapes to suit your prints, or do you begin the other way around?
The collection starts out with shapes and a woman in mind first. Then I feel like I have to think about that woman, what she would wear and start to fit the prints around it. It’s always a bit of a narrative, there has to be a reason for the print to be there. Quite often we will find an image of a woman for each season and then we will always question whether she will wear each design. Kim and I design the shapes together so we talk and talk and draw and have to justify why it has to be there. Once we have the bones of the collection together I go into my own world for a few weeks getting the new prints together. I like to engineer the print to the pattern pieces of the garment.

Modern Love print design SS 2012
Why did you decide to print the fabrics in Como, Italy?
There is a fantastic tradition of textiles in Como. I first went there when I did a work placement in Switzerland. We were very near to Como and visited it often. If you have to choose a location for a factory visit, I can’t imagine anything more beautiful! The printers I work with have printed in a traditional way for a couple of generations and then moved over to digital twenty years ago when it was first being experimented with. The laying down of pigment, whether via digital or by screen print, is only part of the process. They are very skilled in the handling and finishing of the fabrics which makes them feel beautiful and gives them a longevity. The digital process is much cleaner than traditional screen printing and uses far less water and energy. I like the tradition and the finesse of the final production. What they lack in delivering on time they make up in the detail and quality!

Modern Love SS12
Modern Love SS12 5

Modern Love by Nanae Kawahara.

Who are the craftspeople who make the collection for you? Can you introduce us to them!
Brighton is so full of talented machinists and pattern cutters, it’s a very sociable place and over the years I have met lots of people I can call on to help me. I have used the same machinists for the last ten years. They work form home and small studios as well as working for me they are working for lots of top designers; a good machinist is worth her weight in gold! There used to be a lot of small garment factories in the area and it’s a shame they have all disappeared. There is a new initiative called The Fashion Trust based in Sussex which is trying to pull all the local resources together which will be great for designer just starting up.

Modern Love SS12
Sarah Arnett Modern Love by Jacqueline Valencia
Sarah Arnett’s Modern Love by Jacqueline Valencia.

Modern Love is stocked exclusively in Liberty – a dream for most clothing brands. How did you get the label into this most prestigious of shops?
Well, Liberty made it very easy, even with beautiful photographs and constant emailing it’s very difficult to get the attention of the buyers unless you see them face to face at a show. We lined up with everyone else at their Best Of British Open Call and were the only womens wear brand to have got through last year. It was a great experience because at least you knew you had a few minutes of complete attention to show your collection in the flesh. I think it has been a great success and we feel very proud to have our collection there, especially since it was our first goal when starting Modern Love.

Modern Love SS12

Find Modern Love at Liberty right here.

Written by Amelia Gregory on Thursday March 29th, 2012 2:56 pm

Categories ,africa, ,Angela Lamb, ,Best of British, ,Best Of British Open Call, ,Bridal, ,brighton, ,Como, ,David Bowie, ,fashion, ,Fashion Textiles, ,illustration, ,Interior Design, ,Isher Dhiman, ,Italy, ,Jacqueline Valencia, ,Kim Hunt, ,Laura Griffin, ,liberty, ,Modern Love, ,Nanae Kawahara, ,National Trust, ,Ola Szpunar, ,print, ,Sarah Arnett, ,Somerset House, ,Sunday Times Style Magazine, ,Sussex, ,The Fashion Trust, ,University of Brighton, ,vintage, ,Woven Textiles

Amelia’s Magazine | Christmas Gift Ideas 2013: Jewellery

EA Burns, Ancient Rites, Span the depths earrings

Span the Depths earrings by EA Burns.

Regular readers will know of my love for jewellery, so naturally my new market place (to be launched in the New Year) will feature the work of some wonderful jewellery designers. Expect to find unusual and unique pieces created from a wide variety of materials and styles and to suit whatever budget you have. Think precious metals, fine jewels, hand made, ethical and much more: the one thing that all the pieces you discover on Amelia’s Magazine will share is impeccable design credentials. And so without further ado here’s a selection of gift ideas for Christmas from some of my new partners.

Annabelle Lucilla Jewellery Oriental Tasseled Hoop Ring in silver on model

Annabelle Lucilla is fast making a name for herself with her range of stunning etched jewellery, created from her studio in Cockpit Arts. Rings are a bestseller, so why not lay your hands on this unusual tasselled ring in either silver or gold plated brass at £70 from her Oriental collection – it’s sure to make your Christmas festivities swing. Read my recent interview with Annabelle Lucilla here.

EA Burns Ancient Rites Megalith Necklace

I love the new Ancient Rites collection from ethical jeweller EA Burns, and if you really fancy splashing out on a stand out statement piece you should look no further than this Megalith necklace for £560. If your budget doesn’t stretch quite that far there are many smaller pieces within the collection that are bound to be met with a merry smile on Christmas day. Read my interview with Lizzie Burns here.

Moko Sellars bone china reversed diamond ring

Bone china rings by Moko Sellars make a very unusual gift and are very reasonably priced too. This Reversed Diamond Bone China Ring is glazed in a glossy clear finish and was inspired by the rigid lattice structure of a diamond and costs just £35. Who needs real diamonds eh? Read our interview with Moko Sellars here.

Milena Kovanovic - Ursulas Hoard rings

Gemologist Milena Kovanovic works with unusual gems such as Uvite and Vanadinite. The La Belle Ring features a big orange oval Carnelian surrounded by seed petals set in rose gold plated silver in a hammered band. Best of all, if you spend over £500 on her website you get a free pair of earrings thrown in. Read more about Milena Kovanovic in my interview here.

Rosita Bonita - tassel_pendant and earrings

Rosita Bonita‘s new A/W 2013 collection Toledo takes inspiration from the traditional damascene jewellery of Spain & Japan. Delicate illustrations fuse the two styles together in these dainty gold embossed leather tassel earrings. At £32 they won’t break the bank either. Perfect. Here is our interview with Rosita Bonita.

Sarah Angold bracelet jewellery

Sarah Angold works in perspex to create extravagant architectural pieces for many other big name designers. She also has her own collection where you can discover pieces such as this Cetra Bracelet: at £485 it makes a considered purchase but one that is sure to make you stand out in the crowd. I will be interviewing Sarah soon.

If you love fashion why not also check out my gift ideas here? I’ve got more suggestions for gifts coming up shortly, so stay tuned.

Written by Amelia Gregory on Tuesday December 10th, 2013 7:17 pm

Categories ,Ancient Rites, ,Annabelle Lucilla, ,Cetra Bracelet, ,Cockpit Arts, ,EA Burns, ,Lizzie Burns, ,Megalith necklace, ,Milena Kovanovic, ,Moko Sellars, ,Oriental collection, ,Reversed Diamond Bone China Ring, ,Rosita Bonita, ,Sarah Angold, ,Span the Depths, ,Toledo, ,Uvite, ,Vanadinite

Amelia’s Magazine | Fashion Philosophy Fashion Week Poland A/W 2011 in Łódź: Zuo Corp

Zuo Corp by Rebecca Elves.

Zuo Corp by Dagmara Rosa and Bartek Michalec opened with yet more pealing bells as the same 12 models on rotation were sent out in grey wimples and tightly tied headscarves. Poland supplies the international fashion circuit with many a gorgeous creature, illness but they weren’t around for Fashion Week Poland. Someone needs to go fetch them back!

Zuo Corp by Rebecca Elves.

Double breasted coat dresses were impressively well cut and for once the fabrics worked with the tailoring (perhaps because fabric sourcing from Italy and Germany is an integral part of the Zuo Corp brand). Note to other Polish fashion designers: see how much a bit of attention to quality changes things! There were sharp elbows, low waists, silk tailoring, intarsia knit details and sheer tights worn with high black secretary heels and chunky nugget rings. The avante garde soundtrack was a mash up of drum rolls and random bits taken from adverts. I liked the styling of the head scarfs tied on the back of the heads, and the cream silk designs with a peachy pointy finger print were very clever and wearable whilst still being quirky.

Zuo Corp ?ód? Fashion Week AW 2011-photography by Amelia Gregory

Then, all of a sudden, an excitable sprite started dancing down the stage, conducting in her wake – with the national flag – a full brass band. Sometimes something completely throws me at a fashion show, and this was most definitely one of those occasions. I had spotted one of the musicians polishing his tuba backstage so I had an inkling that something was afoot but this turn of events still took me and the rest of the audience by complete surprise because it was so totally random in the context of the show. But it was certainly one way to woo the crowd: inject a bit of unexpected humour why not?

Zuo Corp ?ód? Fashion Week AW 2011-photography by Amelia Gregory
Zuo Corp A/W 2011. All photography by Amelia Gregory.

Written by Amelia Gregory on Tuesday May 31st, 2011 11:25 am

Categories ,Bartek Michalec, ,bells, ,Brass Band, ,Coats, ,Dagmara Rosa, ,Designers’ Avenue, ,Expo, ,Fashion Philosophy Fashion Week Poland, ,Fashion Week Poland, ,Germany, ,Headscarves, ,Intarsia, ,Italy, ,Lodz, ,National Flag, ,print, ,Rebecca Elves, ,Wimples, ,Zuo Corp

Amelia’s Magazine | An Interview with Teenage Photographer Nirrimi Hakanson

Sleeping Forest by Nirrimi Hakanson
All photography by Nirrimi Hakanson.

Hard work and determination are two of the words that first spring to mind when I think of Miss Hakanson: the young photographer known for her soft, dreamy portraits of young doe-eyed girls balancing on that line between childhood and womanhood. It’s Nirrimi’s knack for wistful, other-worldly imagery that grabs my attention; beauty and innocence are captured through skilful light and filtering, but nothing ever seems overdone.

2 Loud as Night by Nirrimi Hakanson
It was some time ago when I first discovered the works of 19-year-old Nirrimi Hakanson, yet each time I find myself clicking through her impressive portfolio of images, I continue to be blown away by her raw talent and keen eye for detail. The daughter of an Aboriginal artist and a Swedish-Australian hippie, Nirrimi has creative blood coursing through her veins. Whilst most teenagers turn to babysitting or Saturday jobs to earn their pocket money, Nirrimi had bigger and better plans: plans involving a Canon 4D and an adventurous imagination.

10 Sunbed by Nirrimi Hakanson
Nirrimi has been a dab hand with a camera ever since the tender age of 13, photographing anything and everything; finding beauty and wonder where others forget to look. There’s something in her work, both dreamy and poignant at times, that reminds me of fellow Australian Shannon Natasha; another young whippersnapper surely set for big things. Growing up in Townsville on the north-eastern coast of Australia, Nirrmi’s photographic endeavours have taken her across the globe, and in just five small years she has come an impressively long way, with two big name commissions under her belt.

9 Sleep in Piece by Nirrimi Hakanson
First we have Diesel – the multi-million pound Italian clothing company who in the past has commissioned high flyers such as Sarah Roesink and Laurie Bartley. Nirrimi masterfully shot the brand’s Be Stupid campaign in 2010, creating controversy with her evocative but playful images. Next it’s Billabong – the biggest surfing brand in the world. Both she and her working partner/beau were commissioned to travel across Europe documenting their adventures for the brand’s new campaign set to be released later this year. But is the prodigious Nirrimi fazed by it all? No. She’s as humble as she was at 13, whilst still creating delectable photography that continues to belie her age.

3 Nirrimi by Matt Caplin
Nirrimi by Matt Caplin.

First and foremost, I hear congratulations are in order! How do you feel being a mother will influence your work?
The pictures that inspire me most are Sally Mann‘s portraits of her children. I always knew one day my most treasured images will be the portraits of my own. I’m only a few months away from meeting my first daughter; I can’t wait to document her life.

What (or who) was it that inspired you to start taking photographs?
The thing that really set my passion alight was falling in love. It was with a young photographer when I was just fourteen. Love at that age is firey and all-consuming. I took pictures in the hope that he’d fall for me through them. One day he did and by then it was so much a part of me that it was me.

Your age is well documented, how do you respond to people who claim that you’re too young?
The only way to respond to that mindset is to continue to live successfully in a way that exists outside of expectation, and to prove that people shouldn’t be characterised by their age.

4 Penny Lane by Nirrimi Hakanson
Your latest editorial, Dead Leaves, is as beautiful as ever. What was the thought process behind it?
It was autumn and I’d come to Queensland to work, shooting model tests and saving money for our soon to be family. I didn’t know what I’d shoot until the model came. I just wandered around the house I was staying in, and the backyard, and we just shot with what was there. She had this naivety about her I wanted to capture. I ended up filling the bath with dead leaves from the garden.

5 Dead Leaves by Nirrimi Hakanson
Dead Leaves by Winter.

Where do you find your models?
Sometimes I scout girls from streets, but they are also often my friends or family.

You and your partner Matt work together as a team, how does this relationship work when it comes to taking photographs?
On the last few campaigns we shot he would film while I would photograph. We’re of one mind when we’re shooting, so fluid and connected. I can’t imagine ever working without him.

Is there a particular message that you want to portray through your images?
Beauty shouldn’t be forced.

The internet is a huge platform that plays a big role in showcasing undiscovered talent. What’s your opinion on the impact that social networking has had on yourself and other creatives?
It has given every artist a voice. In a world where only the well-connected or insanely talented could once succeed, now almost anyone has the opportunity to. Technology has bred a society of youth who want things instantly and without effort, but no matter how much easier it is now that photography is digital, you can’t get anywhere without hard work. The internet is an amazing place for recognition and exposure, but just as ever, it doesn’t mean it comes easy.

6 By the Sea by Nirrimi Hakanson
You just recently travelled across Europe to shoot the latest campaign for Billabong; where was your favourite place?
I really liked all the old beachside towns of Cinque Terre, Italy.

After reading through your blog, I’ve discovered that you’re not only a great photographer, but also a creative writer. What inspires you to write? Is this something you intend to explore further?
I’ve been writing since I can remember, so it is very much a big part of me. The darkest and brightest times of my life inspire me. Even if I one day stop taking pictures, I know I’ll never stop writing.

7 Valentine by Nirrimi Hakanson
The campaign you shot for Diesel‘s A/W 2010 campaign was banned was from poster advertisements in the UK. How do you respond to people who claim the imagery was too risqué?
Because it was my first campaign I shot less in my own style and more in the style I thought they’d want, so the images don’t really feel like me. I feel like the risqué thing was sensationalist. It is Diesel, so you can’t really expect anything else.

8 Diesel Campaign by Nirrimi Hakanson
You’ve started experimenting with video, notably a short film showcased at the opening of Mok Theorem‘s S/S 2011 show during Australia Fashion Week. Is the moving image something you intend to develop further?
I do think film will one day be something I fully embrace. My lover (Matt Caplin) has been shooting the most incredible films (including one across Europe for Billabong), so for now I will leave it to him.

<a target="_blank" href="http://www.vimeo.com/23569823" rel="noopener">http://www.vimeo.com/23569823</a>

You’ve come such a long way in a short space of time, where do you see yourself in the next five years?
I think we’ll own a house by water and wildness and an old campervan and go on adventures with our daughter. I’ll have exhibitions to pay the bills, and travel overseas for campaigns now and then. We’ll all be making music, taking pictures, loving and writing all day long.

Written by Sarah Deane on Monday October 24th, 2011 4:26 pm

Categories ,australia, ,Australis Fashion Week, ,Billabong. Diesel, ,Cinque Terre, ,film, ,Italy, ,Laurie Bartley, ,Matt Caplin, ,Mok Theorem, ,Nirrimi Hakanson, ,photography, ,Sarah Mann, ,Sarah Roesink, ,Shannon Natasha, ,travel

Amelia’s Magazine | An Interview with Teenage Photographer Nirrimi Hakanson

Sleeping Forest by Nirrimi Hakanson
All photography by Nirrimi Hakanson.

3 Nirrimi by Matt Caplin
Nirrimi by Matt Caplin.

5 Dead Leaves by Nirrimi Hakanson
Dead Leaves by Winter.

Where do you find your models?
Sometimes I scout girls from streets, but they are also often my friends or family.

Is there a particular message that you want to portray through your images?
Beauty shouldn’t be forced.

<a target="_blank" href="http://www.vimeo.com/23569823" rel="noopener">http://www.vimeo.com/23569823</a>

Written by Sarah Deane on Monday October 24th, 2011 4:26 pm

Amelia’s Magazine | An interview with Pumajaw and review of new album Demonmeowmeow

Pumajaw by Tiana Dunlop.

The enigmatic Pumajaw are a male/female duo who hail from Scotland, and their new album Demonmeowmeow is a must hear slice of new wave electronica with heart. From the throaty openings of the epic song Mazy Laws, Demonmeowmeow sets out its wares with style: hypnotic vocals from singer Pinkie Maclure set off against the sparsest of musical arrangements by John Wills (formerly of Loop), resulting in a spooky, otherworldly glory: think sleazy synths mashed up with jazz inflected brass buzzing. I promise you that Demonmeowmeow is quite unlike anything else you will have heard in 2011. Buy it now.

Pumajaw by Sam Parr.

Who is Pumajaw?
Pinkie Maclure & John Wills, we’ve been working together for eleven years – John was working as an engineer and producer, I was a solo electronic artist. We worked together on a solo album of mine, From Memorial Crossing, which quickly evolved into a mutual project because we had so many ideas in common. After an arts council project called Lumen, we settled on the name Pumajaw, which comes from our initials.

Pumajaw-demonmeowmeow-cover
Your new album Demonmeowmeow came out last month, what has been the reception so far?
Gideon Coe on 6 Music has been playing Outlands a lot and we’ve had plays by Max Reinhardt on Radio 3′s Late Junction. There’s been some fantastic press, with a big feature in the Herald Scotland and a 4 star review in Uncut. There have been quite extreme reactions, some people love it immediately, but other people seem confused – I like to use 3 or 4 octaves and sing torch songs with great, irresistible melodies, but the arrangements are not just the usual instruments – John creates beautiful atmospheres from unusual sources, such as a page being turned, hinges rattling or the flapping of birdwings. It’s what we’ve always done, so it seems natural to us.

Pumajaw
What does Demonmeowmeow mean?
Rebellious, dark and sensuous and a little bit cheeky.

Your sound is a mix of jazz, folk and alt blues, with a healthy dollop of electro on top. How did this come about?
It’s evolved over a long time – the first two Pumajaw albums were built around acoustic guitar loops and my rather minimal concertina playing, because we wanted to create a very simple music that could be performed live without much equipment. But as time went on, we felt restrained by it, we wanted to speed it up and make more noise, I wanted to stretch my vocal chords more. John used to be known as a drummer as well as a producer, so using new technology, he has started programming rhythms and that’s where the electro bit has come in, along with the purchase of some rather exciting synthesizers. I have to admit, we did rebel somewhat against what has started to feel like a tidal wave of bland, twee folk music – living in rural Scotland, you are surrounded by acoustic guitar balladeers and it gets really tiresome after a while. Demonmeowmeow is a bit of a reaction to all that.

Pumajaw by Vicky Fallon.

Despite so many influences your sound has been described as timeless, which I think can be both a blessing and a curse. How do you think it has come to sound this way?
We are both inspired by what you might call great classic songs. As a teenager I listened to a lot of jazz, French chanson, blues and folk singers. We’ve never tried to be fashionable, just creative, ambitious. I would hate to think our music could lost its appeal over time. Duke Ellington said ‘there are only two types of music – good and bad.’ We’re trying to do the good stuff.

pumajaw_colour
You’ve been busy producing videos. Why is it so important to you to create good visuals and is it quick to produce these videos?
John makes the videos, although we often both direct them. Visual performance has always been an important part of music for me, the imagery in the songs is very strong in my mind. The lyrics are like paintings and the videos are an extension of that. The plan is to film the whole album eventually – next up is the Mazy Laws, our 8 minute, sexy slowburner that has picked up a lot of airplay, despite its length. There’s a famous star-shaped maze near here we’re looking forward to filming and getting lost in.

What is happening in the Outlands video, and were you actually underwater for a great period of time?
Outlands was made in a day, because we already had the footage. We went to Pompeii during our Italian tour last January. It was very wet and we noticed bubbles constantly popping up from the puddles, which must have been volcanic gas. It was magical and dreamlike. When John asked me what Outlands was about, I said it’s like a lullabye, about drying your eyes, finding peace, solace, comfort, healing. He overlaid the bubbles over some footage of me, so I didn’t have to be underwater! I think I look like a weird, innocent, adult baby playing with the bubbles, like when tiny babies first discover their hands.

Mask is a similarly simple but eerily evocative video, how was it put together and what was the idea behind it?
Mask is about greed, vanity and dishonesty, the way people try and hide the truth with flippancy. At the moment, clever, talented people are being ignored and wasted while the well-connected few appear to be getting away unscathed. Mask is a comment on this.

Pumajaw by Janneke de Jong.

What can the audience expect when you play the album live?
We love playing live, it’s the reason I became a singer in the first place. Over the years we’ve learned to choose our shows carefully – there’s no point in us playing grungey indie venues, I won’t stand being talked through. I just stop and confront people if that happens. I see us almost as a kind of theatrical performance. The songs are so deep, they need to be listened to, onstage we’re quite intense and demanding, things happen we can’t always predict – although there’s been a fair bit of dancing going on at our recent gigs, so it’s a bit of a party as well. We played at the Cafe Royal in Edinburgh recently, it’s all fairylights and decadent decor – perfect!

You’re off on tour of Italy in early 2012 – why Italy?
We do well in Italy, we’ve toured there a few times now. They’re a bit more open to music as ‘art’. I think our music suits their culture and temperament, they’re not scared of self-expression.

Billy Rose

When can people in the UK see you again? Which smaller festivals are on your hit list to play next year?
We’ll be doing more UK gigs in the spring, but we’re going to choose carefully. We’d like to do some small festivals, we hate the big corporate rock ones. There’s one called Lounge on the Farm we’d like to do, also a Scottish one called Doune the Rabbithole, we played there last year, it has a lovely idealism and positive atmosphere about it, they’re not scared of trying something different.

The Safe Inside (live in Genoa)

Any other exciting plans you can share?
We’re already writing the next album, also we’re about to sign a licensing deal with an American label, so 2012 could be a busy year for us.

Demonmeowmeow by Pumajaw is out now on Bedevil Records.

Written by Amelia Gregory on Monday December 12th, 2011 9:51 pm

Categories ,6 Music, ,Bedevil Records, ,Billy Rose, ,blues, ,Cafe Royal, ,Demonmeowmeow, ,Doune the Rabbithole, ,Duke Ellington, ,edinburgh, ,electronica, ,folk, ,French Chanson, ,From Memorial Crossing, ,Gideon Coe, ,Herald Scotland, ,Italy, ,Janneke de Jong, ,jazz, ,John Wills, ,Late Junction, ,Loop, ,Lounge on the Farm, ,Lumen, ,Mask, ,Max Reinhardt, ,Outlands, ,Pinkie Maclure, ,Pompeii, ,Pumajaw, ,Radio 3, ,Sam Parr, ,scotland, ,Sleaze, ,The Safe Inside, ,Tiana Dunlop, ,Uncut, ,Vicky Fallon

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