knitwear – Page 11 – AmeliasMagazine

Amelia’s Magazine | An interview with Young British Designers

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

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

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

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

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

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

Illustration by Annejkh Carson

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

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

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

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

Illustration by Annejkh Carson

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

Illustration by Annejkh Carson

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

All photography by Matt Bramford

Illustration by Annejkh Carson

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

Illustration by Annejkh Carson

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

All photography by Matt Bramford

Illustration by Annejkh Carson

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

Illustration by Annejkh Carson

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

All photography by Matt Bramford

Illustration by Annejkh Carson

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

Illustration by Annejkh Carson

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

All photography by Matt Bramford

Felicity Brown Gabrielle dress, help illustrated by Kate Copeland

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

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

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

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

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

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

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

Illustration by Kate Copeland

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

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

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

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

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

All products are available now over at Young British Designers!

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

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

Amelia’s Magazine | Betty Jackson A/W 09

The day started off with London transport, buy visit this site as usual, doctor ruining my life. The district line was delayed/suspended/just took bloody ages, meaning that I missed the first show I intended on seeing. This was due to over-crowding at South Kensington, as Fashion Week started during half term week, cue 6 million children/parents/tourists trying to get to the Natural History Museum, along with the fashionistas….not a good mix.

By the time I got to the BFC tent, the fashion pack were filing in for the Esthetica launch. Esthetica is the only show of its kind in the world, dedicated to celebrating ethical designers. Noir kicked things off to the not-so-subtle sounds of Hole’s Celebrity Skin, with a polished but edgy collection of, perhaps obviously, black clothes. There was then a drastic music change, a choir singing Creep by Radiohead, a strangely haunting rendition to accompany the more delicate shape of the second half of the collection. With the much quieter musical accompaniment, the unfamiliar sound of hundreds of camera shutters going off can be heard and fittingly adds to the ethereal quality.

Best discovery of the day? The Fashion Bus! When I was told about it, it conjured up images of a magical, playdays-style bus of couture. In reality it’s a coach with London Fashion Week written down the side but still, it served its purpose of getting us from the main South Kensington location to the Hippodrome in Leicester Square, without having to cross the path of my arch-enemy, London transport.

The reason we trekked across town was for Ashish. And it was completely worth it, as what unfolded was far more than just a fashion show. There was live music provided by VV Brown (wearing a dress from the collection), acrobats, a big circus setting and clowns….well, not actual clowns but the pom-poms on some of the looks combined with the hyper colour clash styling surely owed a debt to Coco somewhere along the line.

And here are some snaps of what we’ll all be wearing come Autumn:

Perhaps not that last one so much…
Particular note should be taken of the amazing wedged, animal print shoe boots that all the models – and VV Brown were sporting:

This show was brilliant escapism, with some very wearable individual pieces once you separate them out from the styling. It felt like an afternoon at the circus, rather than just a fashion show, and in such a competitive week, Ashish has ensured that his show will be one everyone remembers this season.
It’s funny seeing the different crowds the different shows draw. The morning started off at the Margaret Howell studio, sick where the British establishment of fashion journalists turned out to see her A/W 09 collection. It was very, stomach well Margaret Howell, order country cosy, duffel coats, blues/greys, some cute over the knees socks and silks mixed with wools. A well put together, safe collection.

I was, excitingly, sitting opposite Alexandra Shulman though, which did take up most of my attention. British Vogue has been wiping the floor with American Vogue in recent times, and it was thrilling to be in such close proximity to her, lets face it, what fashion journalist doesn’t secretly want to be editor of Vogue?

Now onto the different crowd part. Across town, in a swanky church in Marylebone, a full scale production was taking place in aid of the Qasimi A/W 09 show. Not so much journalism elite, more, well Simon Le Bon. But his presence was so to be explained as the show began…

Melinda Neunie was also there and here’s her review of the show:

“I must say the Qasimi team managed to pull in quite an impressive crowd. Their pre-show champagne reception outside the beautiful St Mary’s Church was ablaze with bold prints and bright colours, with attendees clearly taking advantage of the nicer weather.

The catwalk show was equally remarkable. Set against an exotic woodland backdrop, Qasimi propelled us into a world of fantasy, romance and passion with their A/W 09 collection. The all black luxury range exuded wealth, elegance and sophistication through sumptuous cashmere and Italian silks complete with gleaming outsized diamond accessories.

An opera sound track opened the show alongside a fantastically poised Erin O’Connor clad in a sculptured corset gown and extravagant feathered headdress. The model was closely followed by Lily Cole, Yasmin Le Bon and Jade Parfitt.

Draping gowns, corset tops and intricate stitching dominated the show, which was closed by the spectacular Carmen Dell’Orifice who couldn’t help but give us a cheeky bum shake on her way out.”

We didn’t recognise final model Carmen Dell’Orifice but everyone else did as she got whoops and cheers as she sashayed down the catwalk. The show was not at all what I was expecting, but it was epic! Seeing those famed models in the flesh, the dramatic music and, as Music Editor Prudence put it, the general Zoolander quality of it made it entertaining in the extreme.

We were penned into the lobby at the Vauxhall Fashion Scout like (well-dressed) sheep for an hour, viagra dosage but it was worth it to experience Horace’s A/W ’09 collection. The label’s founders, web Adam Entwisle and Emma Hales, website like this have made a welcome return to their androgynous roots.

Classic Horace is synonymous with distressed hand washed leather and oversized separates, and there was plenty of that to be seen. Baggy trousers contrasted with beautifully cut jackets, all accessorised with leather totes and large knitted scarves.

Entwisle and Hales continue to play with the idea of gender in their designs. Pale-faced men in tunic dresses followed women in combat boots down the catwalk to pulsing rock beats. The collection is said to embody the spirit of 18th century monks, and the modesty of a monk’s attire was reflected in the voluminous hoods and clean monochromatic palette.

Such an abundance of black layers and boots could have become repetitive, but thankfully vibrant plaid prints provided bursts of colour, evocative of London’s punk heritage. It’s small wonder Horace has built up such a cult following.

Lebanese born designer Hass Idriss showed his first collection at London Fashion Week yesterday to a very odd crowd at Belgravia’s Il Bottaccio. I say odd because the majority of the black-clad crowd sported face-lifts, symptoms and I was amongst a very small percentage of the audience who weren’t wearing any make-up (yep, the boys did too – some even applying YSL lip gloss as a pre-show fixer).

They were, however, resplendent and I’d like to thank the fabulous woman who sat three seats down from me on the front line wearing the largest, roundest hat possible. Differing from the usual up and down runway, Idriss presented his collection in an L-shaped room, with myself and the mad hatter on the second, final arm of the catwalk. I am nursing a bad case of RSI in my neck this morning as I type: straining around that hat was quite a feat.

Visual obstacles aside, Idriss’ collection was a brave and opulent one. Credit crunch? What credit crunch?

Inspiration for this first collection had been drawn from Hans Christian Andersen’s Little Mermaid. The show kicked off with a booming soundtrack and two airbrushed-gold Adonises slowly glided along the runway, followed by the first model who hopped in a skin-tight fish tail dress, aided by the Adonises and a pair of gold embelished crutches (mermaid overkill, I’d say – and a little bit silly. I mean, honestly!)

Gradually the collection grew in maturity whilst retaining the theme of the sea – luxurious weightless fabrics such as organza and tulle were enriched with sea water pearls and Swarovski crystals, reminiscent of early John Galliano for Dior Couture.

The palette was mixed, ranging from organic pastel colours, golds and creams, through to shocking reds with black to contrast. A brave craftsman, Idriss pushed his capabilities to their limits across a range of techniques, heavily reliant on embroidery to the highest standard. Cuts were quite disparate – some gowns were a-line or floated gently to the floor whilst others were sculpted around the body with severe hems. The black satin and velvet mini dress with a charcoal chapel train, titled ‘The Mermaid’, was a particular highlight.

Throughout, most of the ensembles were hits, especially with the whooping audience. A couple of misses, though – and the award for unwearability goes to this little number – a plastic transparent poncho with beaded corals (and blood, sweat and tears according to the press handout). Hans Christian Andersen will be turning in his grave. Bonkers. Overall, a daring and immodest first outing for Hass Idriss. Keep a look out in the future – you saw him here first.
At 9.15 on a Sunday morning, stomach it seemed only the most diligent (and probably least hungover) of the fashion clan that made an appearance at the Betty Jackson show. It was worth the early rise, case to say the least.
We were bombarded with a visual palette of textures, soft colours and hemlines; resembling a painting whose medium changed by the paint stroke, from smooth watercolours to thick, rougher oils to scratchy pencils. Betty Jackson kept her collection airy, light and colourful- perhaps in an effort to float past or ward off next winter’s approaching cold and heavy credit crunch scenario.

Main colour themes drifted from cupcake and candy pastels to darker, richer shades;conjuring up autumnal images- like those in Monet’s more wintry landscapes. Fur, frills and subdued shades were combined in adorable, snappy pencil skirt and blouse/knitwear combos, very Audrey Hepburn in Breakfast at Tiffany’s.

Jewellery was designed exclusively for Betty Jackson by Alexis Bittar, this included hand carved, hand painted lucite earrings and necklaces, whose sheer extravagance reminded us of Edie Sedgwick’s outrageous choice in accessories.

Purple tights and red belts are two of the most notable components of the collection, while some of the models wore versatile backpacks- probably Jackson’s effort to incorporate utility in what is becoming a very non-frivolous time.
Statement coats and fur boleros were thrown in for the warmth factor. Best model of the show was hands down, Jourdan Dunn.

Betty Jackson believes that “every new collection presents a new challenge, but most people feel more confident and sexy if they are comfortable” and we can see a huge representation of this in her latest designs, the bright and often outrageous colour schemes are juxtaposed in a variety of simple styles- which maintains the conservative nature of her clothes. These are garments that not only appear comfortable, but also versatile- they are not only adaptable to real, working life but also pieces you could and will wear for seasons to come.

Written by Audrey Rogers on Monday February 23rd, 2009 10:38 pm

Amelia’s Magazine | Royal College of Art MA Degree Show 2012 Review: Goldsmithing, Silversmithing, Metalwork & Jewellery

RCA show 2012 Jennifer Gray 2

‘Headphones for Soanes‘ by Jennifer Gray

This year saw the creation of the new School of Material at the The Royal College of Art, which includes Fashion Womenswear and Menswear, Textiles, Ceramics & Glass and, Goldsmithing, Silversmithing, Metalwork & Jewellery. It might be my natural love for the discipline, but the work that impressed me and inspired me most was in the Goldsmithing, Silversmithing, Metalwork & Jewellery rooms.

RCA show 2012 Jennifer Gray 3

These ‘Stone Garland Necklaces‘ by charismatic designer Jennifer Gray were inspired by a visit to Sir John Soane Museum and its decorative architectural fragments, in which it is covered.

RCA show 2012 Emma Montague

Next up was Emma Montague whose wonderful spectacles I had spotted in the show’s press release and was really looking forward to see! Emma had made a collection of extremely clever hybrid eye-wear by combining the familiar form of spectacles with forms of various jaw bones and playing with dualities. She kindly posed for me with a pair on.

RCA show 2012 Nina Khazani 3

RCA show 2012 Nina Khazani 2

After chatting to Emma Montague, Nina Khazani’s creations pulled me like a magnet. Playing with words – always a winner with me – she calls her collection ‘A Hairy Tale‘ and makes stunning accessories and jewellery using human hair.

RCA show 2012 Sarah Hurtigkarl

Sarah Hurtigkarl showed an impressive half-spoon, half-table construction, questioning through fantasy the function of familiar objects.

RCA show 2012 Joo Hyung Park 1

RCA show 2012 Joo Hyung Park 2

Continuing the theme of presenting everyday things with a twist, Joo Hyung Park had laid out a whole table, as if ready for dinner, with cutlery and crockery morphed into weird, mesmerising shapes.

RCA show 2012 Laurie Schram 'Silver Dollar'

I liked this delicate, thoughtful piece by Laurie Schram. The dollar is electroformed in fine silver, reconnecting it with the metal it once represented, and Laurie comments that ‘like a scratch card, one is now never sure what a dollar is really worth‘.

RCA show Kim Gladwin

Finally in the GSM&J rooms Kim Gladwin inserted a live performance element by sitting on a giant wooden darning mushroom and gradually unpicking thread from the hem of her dress and then using it to create embroideries on the dress. As she explained to me she wanted to emphasise, among other things, the importance of making space for making in a busy world – quite right!

Next up come my reviews of Textiles and Ceramics & Glass for sadly we were unable to attend the MA fashion show this year. Images courtesy of the students and additional photography taken at the show by Maria Papadimitriou. Read Amelia’s review of Jewellery, Ceramics and Glass from 2011 here for more RCA based inspiration!

Written by Maria Papadimitriou on Friday July 6th, 2012 11:08 am

Categories ,2012, ,A Hairy Tale, ,Department of Ceramics and Glass, ,Emma Montague, ,fashion, ,Graduate Show, ,Headphones for Soanes, ,Jennifer Gray, ,jewellery, ,John Soane, ,Joo Hyung Park, ,Kim Gladwin, ,knitwear, ,MA Graduate Show, ,Maria Papadimitriou, ,Nina Khazani, ,rca, ,RCA Show, ,review, ,Royal College of Art, ,Sarah Hurtigkarl, ,Silversmithing, ,Sir John Soane’s museum, ,Stone Garland Necklaces

Amelia’s Magazine | Royal College of Art MA Degree Show 2012 Review: Textiles

RCA show 2012 Carlo Volpi 1

RCA show 2012 Carlo Volpi 2

Moving on from Goldsmithing, Silversmithing, Metalwork & Jewellery into the Textiles space Carlo Volpi’s colourful work not only appealed to me visually, but also plays around interesting themes. He is a male who knits so in some of the designs he draws elements from stereotypically male domains, such as football or boxing, and reinterprets them in a comical, slightly camp way, further mixing in Pop Art, Comics and Superhero inspirations – what’s not to love.

RCA show Lily Kamper

Lily Kamper’s perspex pendants were beautifully bold and bright too.

RCA show 2012 Lily Kamper and tariq.m

Tariq Mahmoud’s footwear from the Fashion Menswear Programme featured perspex heels also by Lily Kamper.

RCA show 2012 Emma Cowie

It would have been lovely to see on the catwalk the oversized, intricately surfaced designs by Emma Cowie.

RCA show 2012 Sophie Waterfield

The same goes for Sophie Waterfield’s collection, which has a great combination of pastel colours and eye catching embellishments, like the fringing seen here.

RCA show 2012 'Envoyé de Mon Lapin Jaune' by Tania Grace Knuckey

From the work in the Textiles department which related to interior design, my first uber favorite was Tania Grace Knuckey. These theatrical chairs have been embellished with fabrics in various ways to create fun seating. To anyone like me who likes up-cycling I imagine this is really quite inspirational.

RCA show 2012 'Untitled' by Alexandra Palmowski

My second favorite was almost the extreme opposite. Also chairs by Alexandra Palmowski but this time orderly decorated with neoprene and printed canvas.

Images courtesy of the students and additional photography taken at the show by Maria Papadimitriou. Read Amelia’s review of the 2011 Textile graduates here for mor inspiration. Next: best of Ceramics & Glass.

Written by Maria Papadimitriou on Friday July 6th, 2012 11:55 am

Categories ,Alexandra Palmowski, ,Carlo Volpi, ,Emma Cowie, ,fashion, ,Graduate Show, ,knitwear, ,Lily Kamper, ,MA Graduate Show, ,MA Textiles, ,Maria Papadimitriou, ,rca, ,RCA Show, ,Royal College of Art, ,Sophie Waterfield, ,Tariq Mahmoud, ,tariq.m, ,textiles, ,Woven Textiles

Amelia’s Magazine | Interview with Sarah Michelle: Curator of the Arae Exhibition

What’s the concept behind Arae? The inspiration behind arae is hard to explain. For this exhibition it was the seventies, sick Amira Fritz, online the Australian label ‘Romance Was Born’. In general it was trying to create exhibitions based on working together as opposed to using money to show work.

How does this year’s Arae exhibition compare to last years? Last year was fashion only- it featured three of the same designers as this year and the wonderful Florencia Kozuch. It was very dark- we blocked out the windows and chose a dark space. Each time it’s meant to be quite sensory so there was an eerie soundtrack but this time there is no soundtrack.

How will you be transforming the exhibition space for Arae? We want to change the space from a bright clean room to something garish. We are trying to build a waterfall of acid coloured flowers. KengKeng Watt has been helping to build this. I want it to feel quite random.

What kind of work can we expect to see? There are photographs, symptoms illustrations and installations as well as a fashion piece. It’s pretty mixed and disjointed and deliberately so. I wanted it to be a strange selection somehow. We even have a short film from Katrina Choy.

How did you go about selecting the exhibiting artists? Some people through other projects like Sara Bro-Jergensen and Louise Larsen. Some are my friends and some I found through their websites like Tian Wang whose work I just really liked. Her prints really inspired me so I emailed her.

Aside from Arae, what other exhibitions have you curated and are there any more in the pipeline? Well Arae is my first foray into exhibitions. It’s a learning curve. I will do another one in September in a bigger space with an entirely new concept. Something totally different again. I really like combining live music with the artwork so I want to build on that. I would like to take it abroad eventually and tour.

For more infomation on the Arae exhibition, click here

Written by Calum Ross on Wednesday April 7th, 2010 7:54 am

Categories ,10 gales gallery, ,amira fritz, ,arae, ,fashion, ,Florencia Kozuch, ,KengKeng Watt, ,knitwear, ,sarah michelle

Amelia’s Magazine | An interview with The Flower Appreciation Society

The Flower Appreciaiton Society_introducing
Ellie and Anna are not your average florists…. inspired by a mutual love of flowers, illustration and all things English, they formed The Flower Appreciation Society, supplying beautiful and unusual arrangements to a multitude of customers from their studio space in Hackney. And that’s not all they do: Ellie also runs knitwear label EDE, and Anna is a nearly qualified midwife. Inspiring indeed. Ellie explains:

I studied Textiles at Manchester and Anna studied illustration at Brighton. After being made redundant twice in one year, I went back home to Wales and spent the summer helping my Mum (who is also a florist) with all her weddings. When I returned to London I decided I wanted to continue working with flowers. I started working at The Scolt Head pub in Hackney and met Anna. She had just finished a year long floristry course (which she’d found incredibly uninspiring) and we instantly became friends when we realised that we shared the same aesthetic and love for all things floral. It all started very organically. Anna was asked to do the flowers for a friends wedding and I offered to help. From then on we started doing weekly flowers at the pub and then decided to design our own website. The Flower Appreciation Society was born.

I love your idea! Flowers and illustration have always gone hand in hand, when did you have your epiphany and can you remember when you and Anna decided to combine the two loves?
It all happened very naturally. The Flower Appreciation Society began when we realised that we could combine our love of cut flowers with our appreciation of all things floral. Anna had done an illustration degree, so it seemed very right to use illustrations to add something a little different to our identity.

The Flower Appreciaiton Society_flower letters
How much has growing up around flowers informed your love of them? what are your earliest floral memories?
My mother is a silk painter as well as a florist and a wonderful gardener, my Granny was a gardener and my Great Granny was a florist, so I guess you could say it’s in the genes. The house was always filled with flowers, be it fresh cut flowers or huge beautiful bearded iris’ which my mother painted onto the curtains in the sitting room. l was definitely surrounded by flowers from a very early age. My earliest floral memory has to be sitting on the lawn at my Granny’s house eating rose petals!

The Flower Appreciation Society Anna's edible flower illustrations
What have you learnt from your florist mum?
The most important things I have learnt from my mum are my appreciation and sensitivity to colour and shape. When she was training me she always banged on about the shape of the arrangement (which annoyed me at the time!!) but I’m so grateful for it now as its one of the most important things.

The Flower Appreciation Society bike and bouquet

I love that you and your partner Anna have such diverse creative careers – can you tell us more about your knitwear brand EDE?
I set up EDE a year ago. I have always knitted, since leaving university and it got to a point where I didn’t have the time to knit myself anymore, so I decided to employ knitters from the area that I grew up, in Herefordshire. It was very important to me to keep the production in England and even more important to support my local community. I now have 15 knitters who work their magic on my designs and I sell them on my website www.edeengland.co.uk Anna and I are very excited about our next project, to combine EDE with The Flower Appreciation Society. Big floral prints on knitwear… we can’t wait!! *nor can I*

The Flower Appreciation Society Buttonholes
And Anna: Can you tell us about your midwife training – where will you be practicing once you are qualified and what kind of births do you hope to attend and facilitate?
I’m just about to finish my 3 year training and hope to practice as a midwife part time in London. I hope this will be the perfect balance, half the week delivering babies and the other half arranging beautiful flowers – two very different environments, somehow it works and I love having such a mixed week. I particularly enjoy working with women and their families from all sorts of backgrounds – in an ideal world they all would be lovely straightforward happy births!

The Flower Appreciation Society_flower bonnet
How do your illustrations sit alongside and work with the flower arranging brand?
What’s great is that the illustrations have become an integral part of the brands identity without us even realising that’s what we were doing.
It’s so lovely for me being able to use my illustrations in this context, having the freedom to set my own briefs and being able to use my degree in a way i never thought I would. I love being my own boss.

The Flower Appreciation Society_pink jug

All editorial shots by Holly Falconer for an As you are Magazine editorial.

How do you find the local growers who supply your flowers? Are there people growing flowers in London or do you have to go outside the city?
At the moment we buy most of our flowers from new Covent Garden market and get as much as we can from the English suppliers. Our plan for next year is to develop relationships with local allotment growers so that we can source the majority of our flowers within London.

Very big display flower appreciation
What flowers does England grow best?
Our favourite English flowers have to be sweet peas, delphiniums, dahlias, hydrangeas and of course beautiful wild foliage.

Are there any particular scents that you love the most and try to include in arrangements?
Obviously there’s nothing better than flowers which smell. Our ultimate favourite is English lilac.

The Flower Appreciation Society_mothers day 2012
You’ve had some amazing clients: Florence and the Machine, YCN, Bompass and Parr, La Perla, Radley, Yellowdoor, Shona Heath, Lily Vanilli, Waterstones. Who would be your next dream client?
We’d love to start working with contemporary fashion brands such as Mary Katrantzou. It would be a dream to not only have our flowers decorating the catwalk, but also our floral prints/illustrations adorning the models.

The Flower Appreciation Society_As you are editorial
Why should we all learn to appreciate flowers more – any simple tips to include them in daily life?
Flowers make us happy. We love the whole process, from building relationships and supporting the market boys to visiting amazing venues, to feeling like we’ve done a good hard days work. Just a single stem of a beautiful flower brightens up any room. Buy a coral peony bud and put it into a bottle and watch it open and the colour fade – quite magical.

The Flower Appreciation Society_Ellie and Anna

Visit The Flower Appreciation Society here.

Written by Amelia Gregory on Wednesday June 13th, 2012 3:08 pm

Categories ,Anna Day, ,As you are Magazine, ,Bompass and Parr, ,Covent Garden market, ,EDE, ,Ellie Jauncey, ,ethical, ,Florence and The Machine, ,Flowers, ,Holly Falconer, ,illustration, ,knitwear, ,La Perla, ,Lily Vanilli, ,Local, ,Mary Katrantzou, ,Midwife, ,Radley, ,Shona Heath, ,The Flower Appreciation Society, ,The Scolt Head, ,Waterstones, ,YCN, ,Yellowdoor

Amelia’s Magazine | Christmas Gift Ideas 2011: Jewellery and Hats

Rosie Wonders Dala Horse Necklace by Janneke de Jong.

It’s getting scarily close, this Christmas malarkey. And I bet that if you are anything like me you’ve done very little about actually getting or making any presents for your loved ones. Well, help is on hand – over the next few weeks I’ll be rounding up some of my favourite things. First up some bits of gorgeous jewellery and headwear.

dala_horse rosie wonders
Rosie Wonders is an old friend of mine who started out creating gorgeous handmade cards. Since then her range has expanded hugely and I was delighted to find these gorgeous new enamelled Dala Horse necklaces when I visited her recently at her Sunday Upmarket stall on Brick Lane. Think gloriously big, bright and chunky: a real statement piece. Rosie Wonders is offering 15% off orders over £50 online this weekend and free delivery on orders over £25.

electic eccentricity bobtail necklace
Eclectic Eccentricity‘s Lucy Crick makes gorgeous upcycled jewels from bits which she scours from antique markets. I particularly like the Cottontail Hare Necklace, with a glass pearl for the tail on a bouncing hare. All her jewellery comes beautifully boxed and ready to give as Christmas pressies.

Emma Ware Cuffs
Emma Ware is a fabulous eco designer who is featured in Amelia’s Compendium of Fashion Illustration. Since I discovered her she has gone from strength to strength and when I caught up with her at the East London Design Show I was pleased to discover that she now stocks her unique jewellery in stores worldwide. Created out of old bicycle tyre rubber, her clever pieces are quite unlike anything else.

Spirithoods Husky hood - Amelias Magazine - Janneke de Jong
Spirithoods Husky hood by Janneke de Jong.

Spirithoods are a bigger brand than most featured here, but oh boy do I love their furry hoods – I tried one of these on for size at a recent press day and was instantly smitten. They are quite pricey, but absolutely the bees knees when it comes to hats with ears. Snuggly perfection.

howkapow_wisc_cat_necklace_black
Howkapow have teamed up with illustrator Will Scobie to produce these glorious cat necklaces, which come in black and white on a chunky gold chain.

Clara Necklace by Richard Parson
Clara Necklace by Ridley and Dowse, illustration by Richard Parson.

ridley dowse
Ridley and Dowse are a Brighton based duo. Their innovative jewellery features large bold geometric designs that work especially well in semi precious metals such as brass and steel. I love this Quadra necklace (I do like necklaces, so it would seem).

the aviary zoom_mothle
The Aviary are another eco design team who work with illustrators (including some of ours, Harriet Gray and Gemma Milly!) and I absolutely adore this beautiful moth locket. Very unusual.

rosie sugden fluoro beanie
Rosie Sugden makes gorgeous cashmere knitwear – created using tubular techniques on Shima knitting machines. I particularly love her pink fluoro bobble hat, created from Mongolian cashmere goat yarn and then made up in Innerleithen, in the Scottish Borders.

More ideas coming up soon!

Written by Amelia Gregory on Friday December 9th, 2011 2:32 pm

Categories ,Amelia’s Compendium of Fashion Illustration, ,Brick Lane, ,Cashmere, ,Christmas, ,Dala Horse, ,East London Design Show, ,Emma Ware, ,Gemma Milly, ,Gift ideas, ,Harriet Gray, ,Hats. Jewellery, ,Howkapow, ,Innerleithen, ,Janneke de Jong, ,knitwear, ,Lucy Crick, ,Mongolian, ,Necklace, ,Richard Parson, ,Ridley and Dowse, ,Ridley Dowse, ,Rosie Sugden, ,Rosie Wonders, ,Scottish Borders, ,Spirithoods, ,Sunday Upmarket, ,The Aviary, ,Upcycled, ,Will Scobie

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