Amelia’s Magazine | Pam Hogg: London Fashion Week A/W 2012 Catwalk Review

Pam Hogg A/W 2012 by Mitika Chohan
Pam Hogg A/W 2012 by Mitika Chohan.

We have sadly not been invited to a Pam Hogg show for two years now, and boy have I missed them: they are an incredibly hot ticket, so when I arrived late I was only able to secure a good position with the magic addition of a fold up chair. Only when I checked twitter later did I discover that the front row had been the usual celeb fest – I missed Nick Rhodes, Alexandra Burke, Janice Dickinson, Jo Wood and no doubt a host of others. Some of them can be found in this Fashion Scout blog post, as can I, in a lesson on how not to be caught on camera during LFW: looking like a giant warthog (I am HEAVILY PREGNANT) and desperately hoping to escape the photo. Note to self: if in doubt, smile.

Pam Hogg A/W 2012 by Faye West
Pam Hogg A/W 2012 by Faye West.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
The Pam Hogg A/W 2012 catwalk show WILD life began in stately fashion, with a sawing Appalachian violin to accompany the sedate steps of a model in towering ribboned heels. She wore a swinging latex dirndl skirt adorned with Hogg’s trademark geometric shapes in red, black, white and grey that were reminiscent of smaller knitted folk patterns, whilst a huge matching bonnet swallowed her head. Make-up was similarly bold: monobrows met sharply in the middle and accompanied Geisha-like dots above and beneath the eyes.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg A/W 2012 by Lo Parkin
Pam Hogg A/W 2012 by Lo Parkin.

Jaime Winstone was next to stride out with a bouncy swagger, stopping briefly for a languid barndancing turn with a fellow model in the middle of the catwalk. Then it was on to Pam Hogg‘s inimitable skintight catsuits – this time in an array of geometric, mesh and beribboned combinations.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
As more and more flesh was revealed the models retained a demure demeanour more befitting the previous wide skirts, even as they struggled to stay upright on crippling heels. Well, I say heels: what would have been heels were angled impossibly towards the platformed soles so that the girls appeared to balance on thin air.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg A/W 2012 by Veronica Rowlands
Pam Hogg A/W 2012 by Veronica Rowlands.

Red lace, silver lame, and furry merkins… it’s not a mixture I would ever have considered putting together myself, but Pam Hogg somehow combined incongruous materials to extravagant effect. Some of my favourite bodysuits featured carefully placed panels of rucking that puffed out sexily to emphasise womanly curves on buttocks and bosom.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Geometrics in copper, gold and silver created a futuristic effect as the music segued into something more modern, albeit with violins still at the forefront of the brilliant soundtrack – a testament to Pam’s love of music. Tight fitting dresses and culottes that swung just on the knee were beautifully sexy, especially in mesh with black arrow patterns – proving that these body hugging wonders suit more voluptuous creatures too.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
The show finished with a trio of stunning pieces: a sequinned full length dress in lilac, rose and gold, a dolly like mesh culotte dress with strategically placed lace cascading down the buttocks, and the denouement: a boudoir influenced outfit constructed entirely from red bows, complete with red ribbon garter. For the finale Pam Hogg – sporting cartoon bright yellow hair – was dragged down the catwalk by Jaime Winstone to whoops and hollers from the crowd.

Pam Hogg A/W 2012 by Faye West
Pam Hogg A/W 2012 by Faye West.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
No one can beat Pam Hogg when it comes to reinventing the catsuit – and this show proved that she can cut a mean skirt and bonnet too. In a 2009 interview she spoke honestly of the financial difficulty in creating such avante garde designs and her reliance on friends to sponsor her comeback fashion show: one wonders how she continues to survive, creating such uncommercial but fantastical outfits without which London Fashion Week would be a poorer place.

Pam Hogg A/W 2012 by Gilly Rochester
Pam Hogg A/W 2012 by Gilly Rochester.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,A/W 2012, ,Alexandra Burke, ,Appalachian, ,Catsuits, ,Dirndl Skirts, ,Fashion Scout, ,folk, ,Freemasons’ Hall, ,geometric, ,Gilly Rochester, ,Jaime Winstone, ,Janice Dickinson, ,Jo Wood, ,Latex, ,lfw, ,Lo Parkin, ,London Fashion Week, ,Merkins, ,Mesh, ,metallics, ,Mitika Chohan, ,Nick Rhodes, ,Pam Hogg, ,Ribbons, ,Veronica Rowlands, ,WILD life

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: House of Holland

Lu Flux S/S 2011 collection was presented in the chapel of No. 1 Greek Street, visit web also known as the House of Saint Barnabas, a space supporting those affected by homelessness for over 160 years. It is an absolutely beautiful building, with an outside courtyard and lovely lounges. The non-for-profit private members club Quintessentially Soho uses the revenue generated by members to finance the House of Saint Barnabas’s support centre.

Illustrations by Alia Gargum

The presentation consisted of live painting, as the illustrator behind the stunning designs on the shorts suit drew the models, lots of cupcakes and fabulous shoes.

I absolutely love the dress the designer was wearing from last season’s collection:


The House of Holland Team! All illustrations by Lisa Stannard

House of Holland’s show this season was held at My Beautiful Fashion, information pills in the disused Old Sorting Office on New Oxford Street. There wasn’t too much hustle and bustle when I arrived and we moved swiftly in , look along with the huge clan of the HOH friends and family who were then greeted with champagne and showed to their seats in a block close to the front of the runway.

Then in came the HOH celebrity friends which included usual suspect Aggy Deyn, who ran in and over to her friends seconds before the lights dimmed to start the show. Nick Grimshaw, Lily Allen, Jamie Winstone and Pixie Geldoff were seated together in the front row. Other celebrities included Nicola Roberts and Amber Rose…

Anyway now I’ve got the celebrities out of the way, on with the show! The show opened with Donna Summer’s ‘Love to Love You Baby‘ when the first girl walked out with an ash blonde laid back 1970s hair do, metallic banana-leaf print blazer teamed with a pleated metallic leather mini skirt and chunky era wedges. I was shocked and pleasantly surprised by the first instalment of sexiness and sophistication.

As the next girls continued to strut down the runway there was a recurring theme with the banana leaves, which were in fact a woven jacquard. These fabrics came in green, purple and blue and were used as part of shirt dresses (another recurring theme) with lots of lengthy fringing, and on cropped pants, fitted cropped jackets and flares. I was really enjoying the styling, it was preppy and cool, yet was mixed with a lot more sophistication than Henry’s past collections.

Then these pieces began to change and along came jumpsuits with appliquéd stars all over followed by flowing knee length pleated chiffon skirts teamed with slouchy vests in a bold pinky/purple print. I liked this look a lot. This was Henry’s recognisable print of the season, which was a lot tamer than past slogans, crazy paislies and polka dots.

My favourite outfit was Henry’s cropped (banana leaf) print t-shirt, with rusty metallic print pleated leather skirt. It had the most amazing oversized backpack with tan leather trims.  This wasn’t the only accessory in there; there was a lot of luxe towelling used on even more bags! Huge pom pom earrings, too – which I wouldn’t wear – but great fun for this catwalk show. There were also socks teamed with the huge metallic platforms with crazy fringing on them, I wonder if these will be sold amongst his hosiery range too?

Denim made a reappearance but this time it was decorated with metallic appliqued stars. I have to say that I did enjoy the non-star appliquéd pieces more.  The aquamarine pleated chiffon dress and the floor length banana leaf print dress were far nicer.

Henry didn’t leave out the glitz – just when you thought you had summed up the themes of this collection, out walks another 1970s disco queen in a slinky super sparkly gold dress.

I felt that the collection had moved far away from slogan tees and tights and was a more sophisticated reflection of his inspirations. Maybe I am biased – I’m totally with his fun vibe and 1980s references, but I suppose as one of his target consumers that’s entirely the point.

I’m looking forward to future collections from Henry, but desperate to get my hands on that oversized backpack…!

All illustrations by Lisa Stannard

Categories ,1970s, ,Agyness Deyn, ,Alexa Chung, ,Amber Rose, ,Banana Leaf, ,disco, ,Donna Summer, ,Glamour, ,Grimmers, ,Henry Holland, ,House of Holland, ,Jaime Winstone, ,lily allen, ,Lisa Stannard, ,London Fashion Week, ,My Beautiful Fashion, ,S/S 2011

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Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Pam Hogg and Nick Cave, Peaches Geldof, Mika

Pedal-powered cinema: doesn’t require a spanner in the works

Oxford, approved for the most part, viagra is an academic, see civilised city, but last night it was very much in store for some monkey business. Yes, GAFI (The Great Apes Film Initiative), SOS (Sumatran Orangutan Society) and the Ape Alliance were in town at Oxford Brookes University holding a screening of a primate-driven conservation film, powered, not by dirty old carbon, but by pedal energy.

We’ve covered the subject of pedal-powered cinema in the earth section recently, of course, but this event partnered the unusual film viewing experience with an interesting initiative – namely, using it to help raise awareness of and finance for pedal-powered cinema opportunities in the remotest parts of the world. GAFI, under the wind of its c-founder and filmmaker Madelaine Westwood, has committed itself to showing conservation films to the public in remote areas that highlight the damage they and their society are doing to their own environment.

Madelaine, present at last night’s event, said that GAFI took up pedal-powered cinema as a resource after children in Cameroon had to walk 20 miles to a GAFI screening, only for a priest who had agreed his church could be used as the venue for the screening called it off, leaving the children to walk all the way back home without even having seen the documentary. A pedal-powered cinema kit, made up merely of a bicycle, a car battery, a DVD player and several different cables and coming in at a top price of just £2,000, was the answer. Thanks to this technology, GAFI can now screen films anywhere; on the side of a building’s wall or even a blanket.

Clever piece of kit: all you need is a bicycle, car battery, DVD player and lots of cables

Admittedly, last night’s screening may not have raised much towards this project – admission price was only £3 – but it was certainly well attended by an audience of up to 50 people, and not all of them obvious students either. And, in my opinion, the major feature shown, ‘Losing Tomorrow’ (directed by Patrick Rouxel), was certainly a success. Unlike the disappointment that was ‘Ice Bears Of The Beaufort’ I sat through at the Artivist Film Festival last weekend, this documentary successfully highlighted the problems – complex as they are – that blight both Sumatra’s primates, most of them orangutans, and the people who are involved in the logging industry that is depriving the monkeys of their habitat and the island of its rainforest.

Over the course of the last century, 50 percent of Sumatra’s rainforest has been cleared for logging, so dominant is the industry there – indeed, it’s estimated that just each day an area of rainforest the size of Manhattan is wiped out. However, suddenly to curtail the logging would rob a large number of people their livelihood – impoverished as they are – while, on the flip side, if the logging continues the country’s rainforest will be entirely wiped out and the logging employees without an industry to employ them anyway. It’s a fine Catch-22 with no easy answers. All the same, the audience was informed there is something they can do – contact their local MP or MEP to put pressure on the British government and the European parliament not to allow the import of timber furniture and wood pulp-produced paper that comes out of Sumatra – 75 percent of which is illegal anyway, so widespread is the logging industry there. The British government has so far made no move in this direction, but the European parliament has been looking into it, so there is some optimism, at least.

And we’re off! The cyclist pedals and the audience watches on

But what, specifically, of the pedal-powered cinema experience? Well, I must say, on a personal level, it’s rather an invigorating thing to be part of – or at least watch. On this occasion, as something of a gimmick, British cyclist and 2012 Olympic hopeful David Smith took to the pedals and, to give him his due, kept up an impressive tempo for about 45 minutes, before – a bit pooped – he handed over the reigns to another volunteer. There is certainly something agreeable about watching something worthy and well-crafted, while you’re aware the power that’s generating it is carbon free and directly man-produced – either that, or it’s just proof of the old maxim that it’s always enjoyable to watch someone working while you’re lazing about doing nothing. Either way, the pedal-powered cinema kit worked perfectly well and was a great advert for GAFI’s aspirations.

‘Losing Tomorrow’ was followed by the short documentary ‘Dear Mr President’. Filmed by Madeline Westwood herself, it showed reactions of Sumatran locals while watching the first documentary and then featured one or two of the viewers addressing, direct to camera, the Sumatran president at the time, asking him to do something about the primate/ logging problems in the country. ‘Dear Mr President’, we were subsequently informed, was indeed shown to the president, but just how much that act has achieved, of course, remains to be seen.

And how much can be done, in general, about Sumatra’s rainforest debacle remains to be seen too – but, as mentioned, we can all do something. For those interested, the MSc 10th anniversary conference on primate conservation will also be held at Oxford Brookes University on the April 23 and 24 – it’s open to everyone; the public as well as students and academics.
Pedal-powered cinema: doesn’t require a spanner in the works

Oxford, thumb for the most part, is an academic, civilised city, but last night it was very much in store for some monkey business. Yes, GAFI (The Great Apes Film Initiative), SOS (Sumatran Orangutan Society) and the Ape Alliance were in town at Oxford Brookes University holding a screening of a primate-driven conservation film, powered, not by dirty old carbon, but by pedal energy.

We’ve covered the subject of pedal-powered cinema in the earth section recently, of course, but this event partnered the unusual film viewing experience with an interesting initiative – namely, using it to help raise awareness of and finance for pedal-powered cinema opportunities in the remotest parts of the world. GAFI, under the wind of its c-founder and filmmaker Madelaine Westwood, has committed itself to showing conservation films to the public in remote areas that highlight the damage they and their society are doing to their own environment.

Madelaine, present at last night’s event, said that GAFI took up pedal-powered cinema as a resource after children in Cameroon had to walk 20 miles to a GAFI screening, only for a priest who had agreed his church could be used as the venue for the screening called it off, leaving the children to walk all the way back home without even having seen the documentary. A pedal-powered cinema kit, made up merely of a bicycle, a car battery, a DVD player and several different cables and coming in at a top price of just £2,000, was the answer. Thanks to this technology, GAFI can now screen films anywhere; on the side of a building’s wall or even a blanket.

Clever piece of kit: all you need is a bicycle, car battery, DVD player and lots of cables

Admittedly, last night’s screening may not have raised much towards this project – admission price was only £3 – but it was certainly well attended by an audience of up to 50 people, and not all of them obvious students either. And, in my opinion, the major feature shown, ‘Losing Tomorrow’ (directed by Patrick Rouxel), was certainly a success. Unlike the disappointment that was ‘Ice Bears Of The Beaufort’ I sat through at the Artivist Film Festival last weekend, this documentary successfully highlighted the problems – complex as they are – that blight both Sumatra’s primates, most of them orangutans, and the people who are involved in the logging industry that is depriving the monkeys of their habitat and the island of its rainforest.

Over the course of the last century, 50 percent of Sumatra’s rainforest has been cleared for logging, so dominant is the industry there – indeed, it’s estimated that just each day an area of rainforest the size of Manhattan is wiped out. However, suddenly to curtail the logging would rob a large number of people their livelihood – impoverished as they are – while, on the flip side, if the logging continues the country’s rainforest will be entirely wiped out and the logging employees without an industry to employ them anyway. It’s a fine Catch-22 with no easy answers. All the same, the audience was informed there is something they can do – contact their local MP or MEP to put pressure on the British government and the European parliament not to allow the import of timber furniture and wood pulp-produced paper that comes out of Sumatra – 75 percent of which is illegal anyway, so widespread is the logging industry there. The British government has so far made no move in this direction, but the European parliament has been looking into it, so there is some optimism, at least.

And we’re off! The cyclist pedals and the audience watches on

But what, specifically, of the pedal-powered cinema experience? Well, I must say, on a personal level, it’s rather an invigorating thing to be part of – or at least watch. On this occasion, as something of a gimmick, British cyclist and 2012 Olympic hopeful David Smith took to the pedals and, to give him his due, kept up an impressive tempo for about 45 minutes, before – a bit pooped – he handed over the reigns to another volunteer. There is certainly something agreeable about watching something worthy and well-crafted, while you’re aware the power that’s generating it is carbon free and directly man-produced – either that, or it’s just proof of the old maxim that it’s always enjoyable to watch someone working while you’re lazing about doing nothing. Either way, the pedal-powered cinema kit worked perfectly well and was a great advert for GAFI’s aspirations.

‘Losing Tomorrow’ was followed by the short documentary ‘Dear Mr President’. Filmed by Madeline Westwood herself, it showed reactions of Sumatran locals while watching the first documentary and then featured one or two of the viewers addressing, direct to camera, the Sumatran president at the time, asking him to do something about the primate/ logging problems in the country. ‘Dear Mr President’, we were subsequently informed, was indeed shown to the president, but just how much that act has achieved, of course, remains to be seen.

And how much can be done, in general, about Sumatra’s rainforest debacle remains to be seen too – but, as mentioned, we can all do something. For those interested, the MSc 10th anniversary conference on primate conservation will also be held at Oxford Brookes University on the April 23 and 24 – it’s open to everyone; the public as well as students and academics.
Pam-Hogg-A/W 2010 by Etiene  Del Monte
Pam Hogg by Etiene Del Monte.

Pam Hogg can pull in an all star rocker crowd and she knows it. I wondered if this begat the complex star sticker system on our invites, drugs which involved double gold stars for rock royalty (or just quite crap celebs), salve single gold stars (presumably for those not destined to make the next day’s paper but still quite important) and any number of other coloured stars for lesser mortals. The mere presence of a star was in itself no assurance of speedy entry, so it was lucky that I and a few of my contributors were already in Victoria House, drinking cups of tea on funny shaped chairs next to an abandoned display.

Amelia Gregory, Sally Mumby-Croft, Satu Fox
Yup, looking happy there girls. That’s me with contributors Satu Fox and Sally Mumby-Croft. Who don’t like posing clearly.

Jodie Marsh at Pam Hogg.
Jodie Marsh at Pam Hogg. This is what you look like if you make an effort, for a bit of contrast like…

This meant that we got to the front of the queue where we were able to get a perfect view of all the celebs as they came prancing in. Jodie Harsh looked every bit as wonderful in the flesh as she does in photos, but much less false (she puts natural born women to shame) and was more than happy to pose for me. Then came Tim Noble and Sue Webster, scowling as usual… Nick Cave swept through like a gothic prince, then came Pearl Lowe (dreadful biography, don’t do it) the execrable Jaime Winstone, Peaches Geldof (shoot me now) and apparently Mika in drag, though I didn’t see him at the time (bonus of leaving your write up awhile and being able to trawl the internet)

Jaimie Winstone at Pam Hogg
Jaime Winstone in the front row. She kept hoiking up her dress.

Peaches Geldof at Pam Hogg
Peaches Geldof in the limelight. Again. With a man who looked like the mascot for KFC. Great look.

We were also unceremoniously shoved aside by lots of arch looking people who I am sure were very rock ‘n’ roll but I have absolutely no idea who they actually were. Behind the barrage of hapless PRs – “Don’t worry, you’ll all be able to come in soon” – we could see people sloshing back free booze from a makeshift bar. How convenient that it should run out by the time us plebs were hastily shepherded in, just moments before the show started. Named Valley of the Shadow of Darkness, our noncommittal grey invites all had a tribute to Alexander McQueen at the bottom of the invitation, reading Lee RIP 1969-2010. Were they good friends? Or was she just showing fashionable solidarity?

Siouxie Soux at Pam Hogg by Amelia Gregory
Siouxie Soux at Pam Hogg. All photography by Amelia Gregory.

Cult 80s singer Siouxie Sioux opened the show, looking extremely dramatic in barely there lace topped with a netting puffball. Unfortunately I don’t think the look did her many favours – she looked so severe that not only did I have no idea who she was, but I actually thought she was a middle-aged man in drag. Woops. She is 52 years old at the time of writing but she looks a helluva lot better in recent pictures found on google, so yes, Siouxie, I know you and Pammie have been bessie mates for, like, forever, but next time you might want to but your foot down before stepping out in something so unflattering. Here in an incongruous shot of the pair of them with Dame Shirley Bassey: surely not a bessie too?

Pam Hogg. Sophie Willing, photography by Amelia Gregory
Pam Hogg. photography by Amelia Gregory
Pam Hogg. Alice Dellal. photography by Amelia Gregory
Pam Hogg. photography by Amelia Gregory
Pam Hogg. photography by Amelia Gregory
Pam Hogg. Ben Grimes. photography by Amelia Gregory
Pam Hogg. photography by Amelia Gregory
Pam Hogg. photography by Amelia Gregory
Pam Hogg. photography by Amelia Gregory
Pam Hogg. photography by Amelia Gregory
Sophie Willing at Pam Hogg

Of course it’s well known that no one does glitzy catsuits and sexed-up bodycon quite like Pam Hogg, and so it was that we were treated to starry model after starry model attired in all manner of skin tight mesh pants suits, mini-dresses, many more netting hair bombs, and lots of bum-bouncing tulle with a bit of well placed ribbon or fluff. Panels of rubberised fabric, lace and shiny lame gave a futuristic feel which was emphasised in the bold black eyebrows, and splashes of silver, gold and bright red punctuated the otherwise steely palette of black, dark grey and white. One of the most striking red outfits was modelled by Alice Dellal, she of the asymmetric (currently) blonde hair and sulky pout, and has since been modelled by no less than Lady Gaga (on the short trip from the O2 Arena to her hotel, if reports are to be believed), though I’m not sure she really pulled it off with those ripped fishnets. I think Pam Hogg is worn most successfully when all around is sleek.

Pam-Hogg-A/W 2010-sophie willing & jethro cave, by Etiene Del Monte
Sophie Willing & Jethro Cave, by Etiene Del Monte.

When the lone male model stopped for a mannered snog with one of the girls halfway down the runway to whoops and cheers, I knew they must be well known. A google search further revealed the real reason for Nick Cave’s attendance: the beautiful skinny boy was none other than his son Jethro Cave, and he was kissing Sophie Willing, a fellow Ozzie model and also his girlfriend. Together they appear in a tacky bondage inspired photoshoot called Boys Will Be Toys. Tasteful. Apparently daddy was very proud. Also in attendance was model du jour, Ben Grimes. That’s a girl in case you were wondering.

Pam-Hogg-A/W 2010-Etiene Del Monte
Sophie Willing plays the sexy angel, by Etiene Del Monte.

Sophie Willing and Jethro Cave at Pam Hogg

Siouxie Soux and Pam Hogg
Siouxie Soux and Pam Hogg.

At the end Pam came right down along the catwalk in a hug with Siouxie Soux towering over her – she looked very much like a cartoon character in skintight shiny black, sporting fake bright yellow hair. She has always catered well to rock royalty but I can suddenly see why she might appeal to Lady Gaga’s pop sensibility as well. But I’m left with the pressing question: who dyed their hair that vicious shade of Ed the Duck yellow first?

Categories ,80s, ,Alice Dellal, ,Ben Grimes, ,celebrities, ,Etiene Del Monte, ,Fluff, ,Free Bar, ,Jaime Winstone, ,Jethro Cave, ,lace, ,Lady Gaga, ,Lame, ,London Fashion Week, ,Mika, ,Net, ,Nick Cave, ,Pam Hogg, ,Peaches Geldof, ,pop, ,Rock ‘n’ Roll, ,Siouxie Soux, ,Sophie Willing, ,Tim Noble and Sue Webster, ,Tulle, ,Victoria House

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Amelia’s Magazine | Oxfam’s Robin Hood Tax game takes to the streets this Sunday 2nd May

JohannaBasfordProfilePic

Johanna Basford specialises in finely detailed monochrome pen and ink illustrations, viagra sale and last year came to the media’s attention after she conceived #TwitterPicture, troche a crowd-sourcing exercise in which she asked tweeters to suggest images that she then compiled over a 48 hour period into one giant montage, letting those involved follow her progress using the picture-sharing site Twitpic. Here she talks to recent collaborator Neil Ayres about working with the Edinburgh Fringe, the ongoing success and continuing permutations of #TwitterPicture, agency representation and making sure, when it comes to her work, that she’s always a little bit scared.

Johanna Basford_BotanicalRhapsody
Johanna Basford_BotanicalRhapsody

For those that don’t know, and at the risk of making you cringe, you’re the ‘#TwitterPicture girl’. The first #TwitterPicture was a big success, but it was evident to anyone who was following your progress that it was pretty exhausting. You decided to follow it up with an even more gruelling version. Was this really sensible?
I’m a firm believer that if something isn’t challenging, it’s not worth doing. I work in a huge industry saturated with talent. My thoughts are that you have to put yourself on the edge a little bit to make yourself stand out. There’s nothing captivating about mainstream. 
 
Johanna Basford_DialogueOfTheDogs
Johanna Basford_DialogueOfTheDogs

You recently used the #TwitterPicture premise to create artwork for the Edinburgh Fringe. You’re also illustrating all of the literature for the coming festival. What other work has this involved?
I’m working with Edinburgh-based design agency Whitespace to create a series of illustrations for the programme, as well as having produced the final artwork which was the result of the #FringeCover #TwitterPicture. As the Fringe is the world’s largest arts festival, it’s obviously been a privilege to work on the project. I’ve tried to capture the bubbly sense of excitement and eccentricity which is at the heart of the Edinburgh Fringe. I managed to smuggle a few little quirks and surprises into the final artwork which I hope will delight and intrigue the audience.

Johanna Basford_Fashion_Vogue
Johanna Basford_Fashion_Vogue

And any more #TwitterPictures on the horizon? I’m sure it’s nice to be the go-to person for something, but are you in danger of becoming typecast?
Every time I finish a #TwitterPicture, I get a little over emotional and swear, ‘never again’. Yet I find myself being drawn back to the format of live drawing and crowd sourcing just a few months later. I would never run the same project twice, but I do believe evolving an idea to fit different formats and meet new challenges is both positive and interesting. Whether it’s adding the webcam, the non-stop 24 hour drawing or teaming up with a commercial client, each evolution of the #TwitterPicture has explored something new in the idea and pushed the concept to more extreme levels. As for the danger of becoming typecast, one look at my desk would reveal the dozen or so projects I am working on at any one time. Be it textile designs, custom packaging, illustrations, limited edition prints, website graphics or tattoos – my practise is diverse and always developing, the only constant thread is my love of monochrome.

Johanna Basford_Heartbreak
Johanna Basford_Heartbreak

Tell us a bit about how you came to do what you do. Have you drawn pretty much since you were knee-high to a pencil?
More like a Crayola crayon. I’ve always drawn, much to the peril of my parents who had to put up with a toddler who drew on walls. It’s a cliché, but I’ve always known I was going to end up drawing, I just wasn’t quite sure of the exact format. I went through phases of wanting to be an architect and a fashion designer, but at the core of everything was this passion for drawing. 
After school I went to art school and studied printed textiles, specialising in silk screen printing. I graduated and spent a couple of years making hand-printed wallpapers and fabrics, feeling a bit confused and very unhappy about the direction I seemed to be heading in. Then, thank God, the credit crunch hit. The recession was the best thing that has happened to me. It forced me to seriously rethink what I was doing, to be completely brutal with myself. I re-evaluated my business and the work I was producing and made some big decisions. I stopped messing about making and selling products. I set myself up as an illustrator, focused on the one thing in life which never fails to inspire and delight me. I’ve not looked back since. Life is good.
 
Johanna Basford_MoonlitWalks_chapillo
Johanna Basford_MoonlitWalks_chapillo

And how have you managed to carve a career in what’s a notoriously difficult industry to break into. Did you start out with any form of game-plan?
I’m very conscious that my industry is jam-packed with talent and ambition and that each year a new wave of eager graduates swarm into the pool of illustrators competing with each other. I’ve always thought it was better to do something different, something a little unusual, which would help me stand outside the crowd and be different. So I concentrated on creating the most detailed, intricate, hand-crafted designs, done almost exclusively in monochrome. I can’t compete with everyone on every level, so I focus on creating the best work I can for a specific niche. That’s not to say I’m not flexible in my work, and I would never limit myself on a brief, but for the main part, I want to be known as the girl who does ‘the-super-detailed-hand-drawn-black-and-white-drawings’.

Johanna Basford_PunkPeacock
Johanna Basford_PunkPeacock

We’ve worked together on a project recently, to republish a novelette, The Dialogue of the Dogs, by Miguel Cervantes [author of Don Quixote] as part of an iPhone app. Illustrating an old, respected text must have proved a different challenge to the type you’re used to. How did you go about it? There are hundreds of different elements in the finished illustration—is there much preparation involved?
Reading is not my strong point, so I did have to plough my way through the story a few times to really get to grips with it. I then made lists of important events, main characters and iconic images from the text and started time lining them together into a sequence which mirrored the narrative of the story. Using my trusty lo-fi methods, I stuck together lots of sheets of paper to make one long canvas and started drawing in the top left hand corner. The drawing process was unplanned. I just followed the flow of the story, sketching in the characters and scenery as I came to them, working from left to right. As the paper filled up, I stuck another sheet on. The creative process was organic and rambling, which I felt fitted the narrative thread of the story. As the drawing grew, I moved off my desk and worked on the floor, finally, several metres of paper later, the artwork was complete.
 
Johanna Basford_SweetNothings_chapillo
Johanna Basford_SweetNothings_chapillo

You’ve worked with some interesting clients, particularly high-profile in the creative industry (aside from the Fringe there’s Heal’s, the V&A, BBC, among others). Do you have any particular ambitions in regards to your illustration?
I love the challenge of working with new clients in mediums and contexts which are unfamiliar to me. I’ve just finished working with Oxford University Press on my first book cover which was brilliant. My primary aim is to keep things scary. The anxiety of working on a project in which I may be a little out of my depth always inspires my best work. Looking forward, I’d like to work with some more big name clients; I’d like to see my drawings come to life through animation; I’d be keen to work on some more multimedia projects. And as specific examples, I’d love to get my hands on a Selfridges’ shop window and a Boutique Hotel. I’d also love to tackle more installation projects and supersize my artwork. I have a lot of plans. I just need more hours in the day.

You’re represented by NB Illustration, and this is a relatively recent arrangement, right? How’s that working out?
I signed with NB at the start of the year as a way of opening up my work to a new audience. NB has been crucial in introducing my work to a segment of the industry I just wasn’t able to tap into alone. They handle all the horrible or slightly boring stuff and leave me to the joyful task of drawing. They warned me when I signed with them that it might take a few months for the first piece of work to come in, but we had just a week to let the ink on the contract dry before they lined me up with my first job. For an illustrator, they’re a great agency. Not so large that my work is lost in the chatter, but big enough to have a firm standing in the industry. If the first four months is anything to go by, it’s going to be a fruitful partnership.

Do you still feel the urge to push your work as well as relying on the agency?
Most definitely. I think you have to work in tandem with your agent to ensure you are reaching as wide an audience as possible, not just sit back and wait for them to come to you with work. I’m always working on numerous other projects direct with clients alongside the work I’m producing for NB, and usually have a few self-initiated and collaborative projects on the go too. I like it busy. I believe keeping the mix of work, clients and collaborators constantly evolving forces me to learn new skills, develop my craft and push my work to new levels.

Johanna has a website and blog at HYPERLINK “http://johannabasford.com” http://johannabasford.com; or find her on Twitter: @johannabasford; The New Goodbye, the app that includes her illustrated narrative of The Dialogue of the Dogs is released on the App Store at the end of May and the Edinburgh Fringe takes place 6-30 August.

JohannaBasfordProfilePic

Johanna Basford specialises in finely detailed monochrome pen and ink illustrations, about it and last year came to the media’s attention after she conceived #TwitterPicture, sildenafil a crowd-sourcing exercise in which she asked tweeters to suggest images that she then compiled over a 48 hour period into one giant montage, malady letting those involved follow her progress using the picture-sharing site Twitpic. Here she talks to recent collaborator Neil Ayres about working with the Edinburgh Fringe, the ongoing success and continuing permutations of #TwitterPicture, agency representation and making sure, when it comes to her work, that she’s always a little bit scared.

Johanna Basford_BotanicalRhapsody
Johanna Basford_BotanicalRhapsody

For those that don’t know, and at the risk of making you cringe, you’re the ‘#TwitterPicture girl’. The first #TwitterPicture was a big success, but it was evident to anyone who was following your progress that it was pretty exhausting. You decided to follow it up with an even more gruelling version. Was this really sensible?
I’m a firm believer that if something isn’t challenging, it’s not worth doing. I work in a huge industry saturated with talent. My thoughts are that you have to put yourself on the edge a little bit to make yourself stand out. There’s nothing captivating about mainstream. 
 
Johanna Basford_DialogueOfTheDogs
Johanna Basford_DialogueOfTheDogs

You recently used the #TwitterPicture premise to create artwork for the Edinburgh Fringe. You’re also illustrating all of the literature for the coming festival. What other work has this involved?
I’m working with Edinburgh-based design agency Whitespace to create a series of illustrations for the programme, as well as having produced the final artwork which was the result of the #FringeCover #TwitterPicture. As the Fringe is the world’s largest arts festival, it’s obviously been a privilege to work on the project. I’ve tried to capture the bubbly sense of excitement and eccentricity which is at the heart of the Edinburgh Fringe. I managed to smuggle a few little quirks and surprises into the final artwork which I hope will delight and intrigue the audience.

Johanna Basford_Fashion_Vogue
Johanna Basford_Fashion_Vogue

And any more #TwitterPictures on the horizon? I’m sure it’s nice to be the go-to person for something, but are you in danger of becoming typecast?
Every time I finish a #TwitterPicture, I get a little over emotional and swear, ‘never again’. Yet I find myself being drawn back to the format of live drawing and crowd sourcing just a few months later. I would never run the same project twice, but I do believe evolving an idea to fit different formats and meet new challenges is both positive and interesting. Whether it’s adding the webcam, the non-stop 24 hour drawing or teaming up with a commercial client, each evolution of the #TwitterPicture has explored something new in the idea and pushed the concept to more extreme levels. As for the danger of becoming typecast, one look at my desk would reveal the dozen or so projects I am working on at any one time. Be it textile designs, custom packaging, illustrations, limited edition prints, website graphics or tattoos – my practise is diverse and always developing, the only constant thread is my love of monochrome.

Johanna Basford_Heartbreak
Johanna Basford_Heartbreak

Tell us a bit about how you came to do what you do. Have you drawn pretty much since you were knee-high to a pencil?
More like a Crayola crayon. I’ve always drawn, much to the peril of my parents who had to put up with a toddler who drew on walls. It’s a cliché, but I’ve always known I was going to end up drawing, I just wasn’t quite sure of the exact format. I went through phases of wanting to be an architect and a fashion designer, but at the core of everything was this passion for drawing. 
After school I went to art school and studied printed textiles, specialising in silk screen printing. I graduated and spent a couple of years making hand-printed wallpapers and fabrics, feeling a bit confused and very unhappy about the direction I seemed to be heading in. Then, thank God, the credit crunch hit. The recession was the best thing that has happened to me. It forced me to seriously rethink what I was doing, to be completely brutal with myself. I re-evaluated my business and the work I was producing and made some big decisions. I stopped messing about making and selling products. I set myself up as an illustrator, focused on the one thing in life which never fails to inspire and delight me. I’ve not looked back since. Life is good.
 
Johanna Basford_MoonlitWalks_chapillo
Johanna Basford_MoonlitWalks_chapillo

And how have you managed to carve a career in what’s a notoriously difficult industry to break into. Did you start out with any form of game-plan?
I’m very conscious that my industry is jam-packed with talent and ambition and that each year a new wave of eager graduates swarm into the pool of illustrators competing with each other. I’ve always thought it was better to do something different, something a little unusual, which would help me stand outside the crowd and be different. So I concentrated on creating the most detailed, intricate, hand-crafted designs, done almost exclusively in monochrome. I can’t compete with everyone on every level, so I focus on creating the best work I can for a specific niche. That’s not to say I’m not flexible in my work, and I would never limit myself on a brief, but for the main part, I want to be known as the girl who does ‘the-super-detailed-hand-drawn-black-and-white-drawings’.

Johanna Basford_PunkPeacock
Johanna Basford_PunkPeacock

We’ve worked together on a project recently, to republish a novelette, The Dialogue of the Dogs, by Miguel Cervantes [author of Don Quixote] as part of an iPhone app. Illustrating an old, respected text must have proved a different challenge to the type you’re used to. How did you go about it? There are hundreds of different elements in the finished illustration—is there much preparation involved?
Reading is not my strong point, so I did have to plough my way through the story a few times to really get to grips with it. I then made lists of important events, main characters and iconic images from the text and started time lining them together into a sequence which mirrored the narrative of the story. Using my trusty lo-fi methods, I stuck together lots of sheets of paper to make one long canvas and started drawing in the top left hand corner. The drawing process was unplanned. I just followed the flow of the story, sketching in the characters and scenery as I came to them, working from left to right. As the paper filled up, I stuck another sheet on. The creative process was organic and rambling, which I felt fitted the narrative thread of the story. As the drawing grew, I moved off my desk and worked on the floor, finally, several metres of paper later, the artwork was complete.
 
Johanna Basford_SweetNothings_chapillo
Johanna Basford_SweetNothings_chapillo

You’ve worked with some interesting clients, particularly high-profile in the creative industry (aside from the Fringe there’s Heal’s, the V&A, BBC, among others). Do you have any particular ambitions in regards to your illustration?
I love the challenge of working with new clients in mediums and contexts which are unfamiliar to me. I’ve just finished working with Oxford University Press on my first book cover which was brilliant. My primary aim is to keep things scary. The anxiety of working on a project in which I may be a little out of my depth always inspires my best work. Looking forward, I’d like to work with some more big name clients; I’d like to see my drawings come to life through animation; I’d be keen to work on some more multimedia projects. And as specific examples, I’d love to get my hands on a Selfridges’ shop window and a Boutique Hotel. I’d also love to tackle more installation projects and supersize my artwork. I have a lot of plans. I just need more hours in the day.

You’re represented by NB Illustration, and this is a relatively recent arrangement, right? How’s that working out?
I signed with NB at the start of the year as a way of opening up my work to a new audience. NB has been crucial in introducing my work to a segment of the industry I just wasn’t able to tap into alone. They handle all the horrible or slightly boring stuff and leave me to the joyful task of drawing. They warned me when I signed with them that it might take a few months for the first piece of work to come in, but we had just a week to let the ink on the contract dry before they lined me up with my first job. For an illustrator, they’re a great agency. Not so large that my work is lost in the chatter, but big enough to have a firm standing in the industry. If the first four months is anything to go by, it’s going to be a fruitful partnership.

Do you still feel the urge to push your work as well as relying on the agency?
Most definitely. I think you have to work in tandem with your agent to ensure you are reaching as wide an audience as possible, not just sit back and wait for them to come to you with work. I’m always working on numerous other projects direct with clients alongside the work I’m producing for NB, and usually have a few self-initiated and collaborative projects on the go too. I like it busy. I believe keeping the mix of work, clients and collaborators constantly evolving forces me to learn new skills, develop my craft and push my work to new levels.

Johanna has a website and blog at HYPERLINK “http://johannabasford.com” http://johannabasford.com; or find her on Twitter: @johannabasford; The New Goodbye, the app that includes her illustrated narrative of The Dialogue of the Dogs is released on the App Store at the end of May and the Edinburgh Fringe takes place 6-30 August.

JohannaBasfordProfilePic

Johanna Basford specialises in finely detailed monochrome pen and ink illustrations, buy and last year came to the media’s attention after she conceived #TwitterPicture, approved a crowd-sourcing exercise in which she asked tweeters to suggest images that she then compiled over a 48 hour period into one giant montage, letting those involved follow her progress using the picture-sharing site Twitpic. Here she talks to recent collaborator Neil Ayres about working with the Edinburgh Fringe, the ongoing success and continuing permutations of #TwitterPicture, agency representation and making sure, when it comes to her work, that she’s always a little bit scared.

Johanna Basford_BotanicalRhapsody
Botanical Rhapsody, commissioned by Queensberry Hunt Ceramicists to create hand drawn surface patter designs for tableware collection, 2008.

For those that don’t know, and at the risk of making you cringe, you’re the ‘#TwitterPicture girl’. The first #TwitterPicture was a big success, but it was evident to anyone who was following your progress that it was pretty exhausting. You decided to follow it up with an even more gruelling version. Was this really sensible?
I’m a firm believer that if something isn’t challenging, it’s not worth doing. I work in a huge industry saturated with talent. My thoughts are that you have to put yourself on the edge a little bit to make yourself stand out. There’s nothing captivating about mainstream. 
 
Johanna Basford_DialogueOfTheDogs
Detail from an illustrated interpretation of Cervantes’ The Dialogue Of The Dogs, for The New Goodbye iPhone app, 2010.

You recently used the #TwitterPicture premise to create artwork for the Edinburgh Fringe. You’re also illustrating all of the literature for the coming festival. What other work has this involved?
I’m working with Edinburgh-based design agency Whitespace to create a series of illustrations for the programme, as well as having produced the final artwork which was the result of the #FringeCover #TwitterPicture. As the Fringe is the world’s largest arts festival, it’s obviously been a privilege to work on the project. I’ve tried to capture the bubbly sense of excitement and eccentricity which is at the heart of the Edinburgh Fringe. I managed to smuggle a few little quirks and surprises into the final artwork which I hope will delight and intrigue the audience.

Johanna Basford_Fashion_Vogue
Hand drawn images layered over fashion photography for Vogue, 2009.

And any more #TwitterPictures on the horizon? I’m sure it’s nice to be the go-to person for something, but are you in danger of becoming typecast?
Every time I finish a #TwitterPicture, I get a little over emotional and swear, ‘never again’. Yet I find myself being drawn back to the format of live drawing and crowd sourcing just a few months later. I would never run the same project twice, but I do believe evolving an idea to fit different formats and meet new challenges is both positive and interesting. Whether it’s adding the webcam, the non-stop 24 hour drawing or teaming up with a commercial client, each evolution of the #TwitterPicture has explored something new in the idea and pushed the concept to more extreme levels. As for the danger of becoming typecast, one look at my desk would reveal the dozen or so projects I am working on at any one time. Be it textile designs, custom packaging, illustrations, limited edition prints, website graphics or tattoos – my practise is diverse and always developing, the only constant thread is my love of monochrome.

Johanna Basford_Heartbreak
Heartbreak Pen and ink illustration, later screen printed as part of a limited edition print series created with Heartbreak Publishing, 2009.

Tell us a bit about how you came to do what you do. Have you drawn pretty much since you were knee-high to a pencil?
More like a Crayola crayon. I’ve always drawn, much to the peril of my parents who had to put up with a toddler who drew on walls. It’s a cliché, but I’ve always known I was going to end up drawing, I just wasn’t quite sure of the exact format. I went through phases of wanting to be an architect and a fashion designer, but at the core of everything was this passion for drawing. 
After school I went to art school and studied printed textiles, specialising in silk screen printing. I graduated and spent a couple of years making hand-printed wallpapers and fabrics, feeling a bit confused and very unhappy about the direction I seemed to be heading in. Then, thank God, the credit crunch hit. The recession was the best thing that has happened to me. It forced me to seriously rethink what I was doing, to be completely brutal with myself. I re-evaluated my business and the work I was producing and made some big decisions. I stopped messing about making and selling products. I set myself up as an illustrator, focused on the one thing in life which never fails to inspire and delight me. I’ve not looked back since. Life is good.
 
Johanna Basford_MoonlitWalks_chapillo
MoonlitWalks, Chapillo illustration for iPhone app The New Goodbye, 2010

And how have you managed to carve a career in what’s a notoriously difficult industry to break into. Did you start out with any form of game-plan?
I’m very conscious that my industry is jam-packed with talent and ambition and that each year a new wave of eager graduates swarm into the pool of illustrators competing with each other. I’ve always thought it was better to do something different, something a little unusual, which would help me stand outside the crowd and be different. So I concentrated on creating the most detailed, intricate, hand-crafted designs, done almost exclusively in monochrome. I can’t compete with everyone on every level, so I focus on creating the best work I can for a specific niche. That’s not to say I’m not flexible in my work, and I would never limit myself on a brief, but for the main part, I want to be known as the girl who does ‘the-super-detailed-hand-drawn-black-and-white-drawings’.

Johanna Basford_PunkPeacock
PunkPeacock first shown at 100% Design, 2008.

We’ve worked together on a project recently, to republish a novelette, The Dialogue of the Dogs, by Miguel Cervantes [author of Don Quixote] as part of an iPhone app. Illustrating an old, respected text must have proved a different challenge to the type you’re used to. How did you go about it? There are hundreds of different elements in the finished illustration—is there much preparation involved?
Reading is not my strong point, so I did have to plough my way through the story a few times to really get to grips with it. I then made lists of important events, main characters and iconic images from the text and started time lining them together into a sequence which mirrored the narrative of the story. Using my trusty lo-fi methods, I stuck together lots of sheets of paper to make one long canvas and started drawing in the top left hand corner. The drawing process was unplanned. I just followed the flow of the story, sketching in the characters and scenery as I came to them, working from left to right. As the paper filled up, I stuck another sheet on. The creative process was organic and rambling, which I felt fitted the narrative thread of the story. As the drawing grew, I moved off my desk and worked on the floor, finally, several metres of paper later, the artwork was complete.
 
Johanna Basford_SweetNothings_chapillo
SweetNothings Chapillo Chapter illustration for iPhone app The New Goodbye, 2010,

You’ve worked with some interesting clients, particularly high-profile in the creative industry (aside from the Fringe there’s Heal’s, the V&A, BBC, among others). Do you have any particular ambitions in regards to your illustration?
I love the challenge of working with new clients in mediums and contexts which are unfamiliar to me. I’ve just finished working with Oxford University Press on my first book cover which was brilliant. My primary aim is to keep things scary. The anxiety of working on a project in which I may be a little out of my depth always inspires my best work. Looking forward, I’d like to work with some more big name clients; I’d like to see my drawings come to life through animation; I’d be keen to work on some more multimedia projects. And as specific examples, I’d love to get my hands on a Selfridges’ shop window and a Boutique Hotel. I’d also love to tackle more installation projects and supersize my artwork. I have a lot of plans. I just need more hours in the day.

You’re represented by NB Illustration, and this is a relatively recent arrangement, right? How’s that working out?
I signed with NB at the start of the year as a way of opening up my work to a new audience. NB has been crucial in introducing my work to a segment of the industry I just wasn’t able to tap into alone. They handle all the horrible or slightly boring stuff and leave me to the joyful task of drawing. They warned me when I signed with them that it might take a few months for the first piece of work to come in, but we had just a week to let the ink on the contract dry before they lined me up with my first job. For an illustrator, they’re a great agency. Not so large that my work is lost in the chatter, but big enough to have a firm standing in the industry. If the first four months is anything to go by, it’s going to be a fruitful partnership.

Do you still feel the urge to push your work as well as relying on the agency?
Most definitely. I think you have to work in tandem with your agent to ensure you are reaching as wide an audience as possible, not just sit back and wait for them to come to you with work. I’m always working on numerous other projects direct with clients alongside the work I’m producing for NB, and usually have a few self-initiated and collaborative projects on the go too. I like it busy. I believe keeping the mix of work, clients and collaborators constantly evolving forces me to learn new skills, develop my craft and push my work to new levels.

Johanna has a website and blog at HYPERLINK “http://johannabasford.com” http://johannabasford.com; or find her on Twitter: @johannabasford; The New Goodbye, the app that includes her illustrated narrative of The Dialogue of the Dogs is released on the App Store at the end of May and the Edinburgh Fringe takes place 6-30 August.

JohannaBasfordProfilePic

Johanna Basford specialises in finely detailed monochrome pen and ink illustrations, seek and last year came to the media’s attention after she conceived #TwitterPicture, more about a crowd-sourcing exercise in which she asked tweeters to suggest images that she then compiled over a 48 hour period into one giant montage, letting those involved follow her progress using the picture-sharing site Twitpic. Here she talks to recent collaborator Neil Ayres about working with the Edinburgh Fringe, the ongoing success and continuing permutations of #TwitterPicture, agency representation and making sure, when it comes to her work, that she’s always a little bit scared.

Johanna Basford_BotanicalRhapsody
Botanical Rhapsody, commissioned by Queensberry Hunt Ceramicists to create hand drawn surface patter designs for tableware collection, 2008.

For those that don’t know, and at the risk of making you cringe, you’re the ‘#TwitterPicture girl’. The first #TwitterPicture was a big success, but it was evident to anyone who was following your progress that it was pretty exhausting. You decided to follow it up with an even more gruelling version. Was this really sensible?
I’m a firm believer that if something isn’t challenging, it’s not worth doing. I work in a huge industry saturated with talent. My thoughts are that you have to put yourself on the edge a little bit to make yourself stand out. There’s nothing captivating about mainstream. 
 
Johanna Basford_DialogueOfTheDogs
Detail from an illustrated interpretation of Cervantes’ The Dialogue Of The Dogs, for The New Goodbye iPhone app, 2010.

You recently used the #TwitterPicture premise to create artwork for the Edinburgh Fringe. You’re also illustrating all of the literature for the coming festival. What other work has this involved?
I’m working with Edinburgh-based design agency Whitespace to create a series of illustrations for the programme, as well as having produced the final artwork which was the result of the #FringeCover #TwitterPicture. As the Fringe is the world’s largest arts festival, it’s obviously been a privilege to work on the project. I’ve tried to capture the bubbly sense of excitement and eccentricity which is at the heart of the Edinburgh Fringe. I managed to smuggle a few little quirks and surprises into the final artwork which I hope will delight and intrigue the audience.

Johanna Basford_Fashion_Vogue
Hand drawn images layered over fashion photography for Vogue, 2009.

And any more #TwitterPictures on the horizon? I’m sure it’s nice to be the go-to person for something, but are you in danger of becoming typecast?
Every time I finish a #TwitterPicture, I get a little over emotional and swear, ‘never again’. Yet I find myself being drawn back to the format of live drawing and crowd sourcing just a few months later. I would never run the same project twice, but I do believe evolving an idea to fit different formats and meet new challenges is both positive and interesting. Whether it’s adding the webcam, the non-stop 24 hour drawing or teaming up with a commercial client, each evolution of the #TwitterPicture has explored something new in the idea and pushed the concept to more extreme levels. As for the danger of becoming typecast, one look at my desk would reveal the dozen or so projects I am working on at any one time. Be it textile designs, custom packaging, illustrations, limited edition prints, website graphics or tattoos – my practise is diverse and always developing, the only constant thread is my love of monochrome.

Johanna Basford_Heartbreak
Heartbreak Pen and ink illustration, later screen printed as part of a limited edition print series created with Heartbreak Publishing, 2009.

Tell us a bit about how you came to do what you do. Have you drawn pretty much since you were knee-high to a pencil?
More like a Crayola crayon. I’ve always drawn, much to the peril of my parents who had to put up with a toddler who drew on walls. It’s a cliché, but I’ve always known I was going to end up drawing, I just wasn’t quite sure of the exact format. I went through phases of wanting to be an architect and a fashion designer, but at the core of everything was this passion for drawing. 
After school I went to art school and studied printed textiles, specialising in silk screen printing. I graduated and spent a couple of years making hand-printed wallpapers and fabrics, feeling a bit confused and very unhappy about the direction I seemed to be heading in. Then, thank God, the credit crunch hit. The recession was the best thing that has happened to me. It forced me to seriously rethink what I was doing, to be completely brutal with myself. I re-evaluated my business and the work I was producing and made some big decisions. I stopped messing about making and selling products. I set myself up as an illustrator, focused on the one thing in life which never fails to inspire and delight me. I’ve not looked back since. Life is good.
 
Johanna Basford_MoonlitWalks_chapillo
MoonlitWalks, Chapillo illustration for iPhone app The New Goodbye, 2010

And how have you managed to carve a career in what’s a notoriously difficult industry to break into. Did you start out with any form of game-plan?
I’m very conscious that my industry is jam-packed with talent and ambition and that each year a new wave of eager graduates swarm into the pool of illustrators competing with each other. I’ve always thought it was better to do something different, something a little unusual, which would help me stand outside the crowd and be different. So I concentrated on creating the most detailed, intricate, hand-crafted designs, done almost exclusively in monochrome. I can’t compete with everyone on every level, so I focus on creating the best work I can for a specific niche. That’s not to say I’m not flexible in my work, and I would never limit myself on a brief, but for the main part, I want to be known as the girl who does ‘the-super-detailed-hand-drawn-black-and-white-drawings’.

Johanna Basford_PunkPeacock
PunkPeacock first shown at 100% Design, 2008.

We’ve worked together on a project recently, to republish a novelette, The Dialogue of the Dogs, by Miguel Cervantes [author of Don Quixote] as part of an iPhone app. Illustrating an old, respected text must have proved a different challenge to the type you’re used to. How did you go about it? There are hundreds of different elements in the finished illustration—is there much preparation involved?
Reading is not my strong point, so I did have to plough my way through the story a few times to really get to grips with it. I then made lists of important events, main characters and iconic images from the text and started time lining them together into a sequence which mirrored the narrative of the story. Using my trusty lo-fi methods, I stuck together lots of sheets of paper to make one long canvas and started drawing in the top left hand corner. The drawing process was unplanned. I just followed the flow of the story, sketching in the characters and scenery as I came to them, working from left to right. As the paper filled up, I stuck another sheet on. The creative process was organic and rambling, which I felt fitted the narrative thread of the story. As the drawing grew, I moved off my desk and worked on the floor, finally, several metres of paper later, the artwork was complete.
 
Johanna Basford_SweetNothings_chapillo
SweetNothings Chapillo Chapter illustration for iPhone app The New Goodbye, 2010,

You’ve worked with some interesting clients, particularly high-profile in the creative industry (aside from the Fringe there’s Heal’s, the V&A, BBC, among others). Do you have any particular ambitions in regards to your illustration?
I love the challenge of working with new clients in mediums and contexts which are unfamiliar to me. I’ve just finished working with Oxford University Press on my first book cover which was brilliant. My primary aim is to keep things scary. The anxiety of working on a project in which I may be a little out of my depth always inspires my best work. Looking forward, I’d like to work with some more big name clients; I’d like to see my drawings come to life through animation; I’d be keen to work on some more multimedia projects. And as specific examples, I’d love to get my hands on a Selfridges’ shop window and a Boutique Hotel. I’d also love to tackle more installation projects and supersize my artwork. I have a lot of plans. I just need more hours in the day.

You’re represented by NB Illustration, and this is a relatively recent arrangement, right? How’s that working out?
I signed with NB at the start of the year as a way of opening up my work to a new audience. NB has been crucial in introducing my work to a segment of the industry I just wasn’t able to tap into alone. They handle all the horrible or slightly boring stuff and leave me to the joyful task of drawing. They warned me when I signed with them that it might take a few months for the first piece of work to come in, but we had just a week to let the ink on the contract dry before they lined me up with my first job. For an illustrator, they’re a great agency. Not so large that my work is lost in the chatter, but big enough to have a firm standing in the industry. If the first four months is anything to go by, it’s going to be a fruitful partnership.

Do you still feel the urge to push your work as well as relying on the agency?
Most definitely. I think you have to work in tandem with your agent to ensure you are reaching as wide an audience as possible, not just sit back and wait for them to come to you with work. I’m always working on numerous other projects direct with clients alongside the work I’m producing for NB, and usually have a few self-initiated and collaborative projects on the go too. I like it busy. I believe keeping the mix of work, clients and collaborators constantly evolving forces me to learn new skills, develop my craft and push my work to new levels.

Johanna has a website and blog at HYPERLINK “http://johannabasford.com” http://johannabasford.com; or find her on Twitter: @johannabasford; The New Goodbye, the app that includes her illustrated narrative of The Dialogue of the Dogs is released on the App Store at the end of May and the Edinburgh Fringe takes place 6-30 August.

robin hood tax - abi daker
Illustration by Abigail Daker.

I’ve always been a huge fan of Robin Hood. When I was younger I had a great cassette tape of all his stories and escapades. These generally seemed to involve taking from the rich and giving to the poor whilst seemingly having absolutely as much fun as possible of course.

I’d all but forgotten about him however, viagra approved until recently when I heard about the Robin Hood Tax campaign. It aims to put a tiny tax on banks to raise loads of money – billions in fact – to tackle poverty and green issues locally and abroad. What’s great about this idea is that it’s really simple – a small tax of around 0.05% per transaction between banks – but that the difference it could make is enormous. It can help stop cuts in crucial public services in the UK, AND aid the fight against global poverty and climate change. Keeping the Robin Hood spirit alive in this day and age.

Robin Hood Tax

There’s a momentum that’s been building for quite a while now… there are lots of people that agree with my view and think this tax is a great idea – including Sienna Miller, Jaime Winstone and Ben Kingsley – he appeared in a great ad being pounced on by “Robin Hood hoodies” – Check it out! But I know that in order for this campaign to be a success we need to spread the word as much as we can, get all our friends and family on board and campaigning together to make this a reality. Robin Hood never got anywhere without his band of merry men supporting him all the way.

One way I’m getting involved is by taking part in an activity Oxfam are organizing this Sunday 2nd May to raise awareness – the Robin Hood Tax treasure Hunt. Treasure hunts are always a huge amount of fun – I remember around Easter as a kid my older cousins used to set up egg hunts for my sister and me. I loved following the clues, the adventure and the excitement of the unknown. Who says I can’t enjoy a treasure hunt now I’m a little older though – especially when it’s made all the more enjoyable knowing that I’m spreading the word about such as great cause AND an excuse to dress up as the great Robin Hood himself.

robin hood tax - abi daker
Illustration by Abigail Daker.

I’m going to join a group of bandits and merry makers tweeting, blogging, videoing and taking pictures around east London spreading the word and with the opportunity to win tickets to top summer festivals including the fabulous Winterwell Festival, a secret boutique festival in the beautiful rolling hills of Gloucestershire with great music and fancy dress. Oxfam held a similar event in Brighton last week with teams of merry men and women scampering around the city braving challenges such as busking with tambourines and dressing up as a bankers in the Oxfam shop.

If you’re interested in the campaign, a big Robin Hood fan and up for a fun day out, join me and other wannabe Robin Hood’s to take part in the treasure hunt on Sunday. You need to snap up a £2 ticket from Robin Hood game website. All money raised goes directly as a donation to Oxfam and the campaign effort. Just check out the details below of when where and what and I look forward to seeing you there.

The East London treasure hunt is on Sunday 2nd May, from 1-6pm
Start & finish at Richmix, 35-47 Bethnal Green Road, London E1 6LA

Categories ,Abigail Daker, ,Banks, ,Ben Kingsley, ,Bethnal Green, ,Blogging, ,Jaime Winstone, ,oxfam, ,poverty, ,RBS, ,Robin Hood Tax, ,Sienna Miller, ,twitter, ,Winterwell Festival

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