Amelia’s Magazine | Simeon Farrar, The Great British Summertime: New S/S 2012 Season Preview Interview

Simeon Farrar Spring/Summer 2012 by Madi Illustrates
Simeon Farrar S/S 2012 by Madi Illustrates

What began as an ‘art experiment’ by London-based Simeon Farrar has now turned into a successful fashion label; winning not only international acclaim but also the prestigious NEWGEN award three times along the way. Despite being crowned a fashion buyer favourite with stockists such as Liberty in the UK and many more in Paris, Tokyo, and Sydney (to name a few), Simeon hasn’t lost sight of his Fine Art training gained at the University for the Creative Arts in Farnham. Every collection begins with a philosophical root from which the designs and drawings develop and each one-off piece is then created with Simeon’s trademark dash of humour delivered through experiments with colour and print, done by hand in his Shoreditch studio.

Simeon Farrar
Simeon Farrar, all photographs courtesy of Iroquois PR

As someone who trained as a fine artist, what was it that made you want to turn your hand from canvas and paper to fabric?
I’ve always been into printmaking and I used to use a lot of screen-printing in my paintings. I would load them up with all sorts of images and paint over them to form multiple layers. I started putting some of these images on to t-shirts purely as another surface rather than as fashion. The first t-shirts were so loaded with paint like the canvases that they could never be worn. I got so into this that it soon evolved into fashion.

Simeon Farrar Spring/Summer 2012 by JL Illustration
Simeon Farrar S/S 2012 by Jason Lear

As a ‘non-fashion’ person, did you expect to make such a big impression when you first exhibited at London Fashion Week?
Absolutely not. I had no idea what people would think of me. I didn’t even have an order book so I guess I didn’t expect to write any orders. Suddenly I had all these people wanting to order this junk I’d made which I found all a bit weird. It was still an art experiment at that point.

Simeon Farrar Spring/Summer 2012 by Abi Hall
Simeon Farrar S/S 2012 by Abi Hall

What’s the most important lesson you’ve learned about being a designer and the way the world of Fashion works?
As an artist you develop a certain degree of snobbery towards anything that isn’t ‘Art’. I can safely say that I have been cleansed of that snobbery after being welcomed so openly into the fashion world. I’ve learned that it’s all a load of rubbish and an artist just does what ever he/she feels is the most honest path for their creativity and it doesn’t need a label to make it valid.

Neon Butterfly Chiffon Maxi
Butterfly Chiffon Maxi

Your ‘Kate Mouse‘ illustration has become a widely recognised and coveted t-shirt graphic. Why do you think it’s had so much success?
For me it was one of those magical moments when an image just works perfectly. I’d drawn the image for a nursery rhyme collection we were doing at the time and I wanted to do Three Blind Mice. So, to name the file on Photoshop I used ‘Kate Mouse’ so I would recognise it. Then it just clicked, like a light bulb coming on above my head. I think it’s been a success for the same reason. It’s not forced or contrived, just simple and genius. There’s been such a demand ever since her birth that she’s featured in every collection since, with various additions. She gets pimped up every season. Except this forthcoming A/W 2012.

Simeon Farrar Spring/Summer 2012 by Alia Gargum
Simeon Farrar S/S 2012 by Alia Gargum

What personally inspired you to create a ‘Kate Mouse’ t-shirt with Net-A-Porter especially for the Japan Earthquake relief appeal?
Two of my staff are Japanese and they have been with me for years so due to that I feel a certain closeness with Japan. We sell a lot in Japan, and since I began the label the Japanese have been so supportive and loyal to my brand that when the earthquake hit it felt like an opportunity to repay some of that. The Kate Mouse print was our obvious big hitter, so I thought it would make the most money if we offered it for the appeal. We did it by ourselves at first, offering a free t-shirt with every donation to Save The Children. That went very well but as we were paying postage we had to limit it to the UK only. My PR company Iroquois and I approached Net-A-Porter so we could take it further. They were amazing with how they took it up and offered so much percentage of the profit to the appeal. I was very impressed with their instant generosity.

Simeon Farrar Spring/Summer 2012 by Dana Bocai
Simeon Farrar S/S 2012 by Dana Bocai

Your current S/S 2012 collection not only has your own charming take on the uniquely temperamental British summer through neon colours, raindrop prints and a nod to the new Royalty, but a uniquely feel-good quote that runs throughout. How did the slogan ‘You Are My Silver Lining’ form in your head?
There is always a sense of romance in my collections, and no matter what the theme I always like to bring that in. I like the idea of someone being your Silver Lining. No matter what happens in life there is someone who’s very presence brings with it a sense of hope or a way out of darkness.

Slogan Print Tote with Leather Handles
Slogan Print Tote with Leather Handles

Simeon Farrar Spring/Summer 2012 by Alejandra Espino
Simeon Farrar S/S 2012 by Alejandra Espino

What are your favourite colours to print in (at the moment) and why?
I loved using the neon colours in the S/S 2012 collection. I like printing images in neon then overlaying that with a black print and washing it all out so the greys defuse the neon a bit.

Simeon Farrar Spring/Summer 2012 by Mitika Chohan
Simeon Farrar Spring/Summer 2012 by Mitika Chohan
Simeon Farrar S/S 2012 by Mitika Chohan

What can we expect for A/W 2012 from Simeon Farrar?
For S/S 2012 we had a ghost print that did very well, so I’ve built the next collection round that. So I guess it’s a Haunted House collection. We’ve got lots of ghost drawings, howling wolves, that kind of thing. But, there’s also a romantic side to it. I’ve always been interested in the tragic side of vampires and the sense of undying love that runs through it. So I’ve brought a lot of that in to the collection. And for the first time, NO KATE MOUSE. I didn’t want to cheapen her and put some fangs on her or something. Kate Mouse is dead, you heard it here first.

Cloud Print Tote Bag
Cloud Print Tote Bag

Simeon Farrar Spring/Summer 2012 by Gareth A Hopkins
Simeon Farrar S/S 2012 by Gareth A Hopkins

Simeon Farrar’s current S/S 2012 collection is available to buy in store and online at a variety of stockists, and his forthcoming A/W 2012 collection will be exhibited at Tranoi this March.

Categories ,Abi Hall, ,Alejandra Espino, ,Alia Gargum, ,Autumn/Winter 2012-13, ,british summer, ,canvas, ,Creativity, ,Dana Bocai, ,drawing, ,Fine Art, ,Gareth A Hopkins, ,Haunted House, ,illustration, ,Iroquois, ,Jason Lear, ,Kate Mouse, ,liberty, ,london, ,London Fashion Week, ,Madi Illustrates, ,Mitika Chohan, ,Neon, ,Net-A-Porter, ,Newgen, ,painting, ,paris, ,Romance, ,royalty, ,Save The Children, ,screen-printing, ,shoreditch, ,Simeon Farrar, ,Spring/Summer 2012, ,sydney, ,T-shirts, ,tokyo, ,Tranoi, ,University of Creative Arts Farnham, ,Vampires, ,You Are My Silver Lining

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Amelia’s Magazine | Teatum Jones: London Fashion Week A/W 2013 Presentation Review

Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Teatum Jones have been wowing the Amelia’s Magazine reviewers with their well thought out presentations for the past few seasons, but this was my first turn at a one of their shows. In the past this design duo have showcased collections in the RSA and Liberty, but this season their venue was the incredibly posh Dorchester Hotel – think flower arrangements in the entrance hall the size of small trees.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Sylwia Szyszka
Teatum Jones A/W 2013 by Sylwia Szyszka.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Cissy Hu
Teatum Jones A/W 2013 by Cissy Hu.

Guests were signed in then directed past an arrangement of fine teas and dainty biscuits into a wood lined and mirrored chamber, the centrepiece of which was a set arranged around a butterfly decorated chalkboard bookcase. The models rotated in groups of four, each replaced as the last one in the line up departed, in the kind of graceful dance that comes with great preparation and strict time keeping. Titled ‘To My Youth… How we Laughed in Darkness‘, this collection was inspired by Vladimir Nabokov, best known as the author of Lolita, a man who was obsessed with butterflies and the transience of beauty (his famous novel was written during an annual butterfly collecting trip in the western US).

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Models posed nonchalantly with open books, the covers artfully attired with the dominant print of the collection: large scale painterly splashes of red, indigo and forest green on a white ground. Designers Catherine Teatum and Rob Jones are renowned for their conceptual approach to fashion, so the story of Vladimir was translated into an array of beautiful garments using the finest fabrics, each of which was chosen for its part in that tale: ‘Delicate silk chiffons, double georgette and heavy crepes provide the canvas for these romantically sinister rows of captured species doused in javelin proportioned pins.’

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Such intense attention to detail was translated into eminently wearable garments using the finest craftsmanship. A textured leather biker jacket was swung casually over the shoulder of a softly belted silk shirt dress, a cream polka dot lace shirt was used as the delicate base for a black puff hemmed waistcoat dress in a shiny textured wool, a miniature cape in midnight blue looked demure with cream and glittery black. But it was their fabulous print, reminiscent of huge summer blooms, that really captured my attention. It came as a relaxed sporty look in a giant hole punched shirt, as a floaty skirt and as a stunning strapless maxi dress that dropped in pleats from the bust, complete with handy pockets that the model was able to flaunt as she mosied around the room. Sod the cold weather, for A/W 2013 I dare you to wear big bold painterly florals.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013. All photography by Amelia Gregory.

Teatum Jones A/W 2013 by Cissy Hu
Teatum Jones A/W 2013 by Cissy Hu.

Categories ,A/W 2013, ,Butterflies, ,Catherine Teatum, ,Cissy Hu, ,Dorchester Hotel, ,Laura Hickman, ,liberty, ,Lolita, ,Rob Jones, ,rsa, ,Sylwia Szyszka, ,Teatum Jones, ,To My Youth… How we Laughed in Darkness, ,Vladimir Nabokov

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Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Day Catwalk Review: James Small

James Small S/S 2012 by Milly Jackson

I arrived at the James Small show pretty early – such is the bonkers London Fashion Week schedule that some shows overlap and then you’re left with huge gaps in your day. I joined the small but perfectly formed queue and waited for a pal to arrive. The show was delayed, prescription I was informed, because of the knock-on effect of late-runners throughout the day. The queue eventually began moving a mere 20 minutes late, and just as we were about to be let in, we were halted by an impossibly gorgeous PR girl. Her colleague came over and whispered ‘Kate’s imminent, we should hold the queue‘. Now, I don’t know if it was the pint I’d just enjoyed or the onset stir-crazy sensation I was experiencing after 6 days of shows, but I started sweating profusely. It couldn’t be, could it? ‘Calm down, Matt’ I internally repeated. It can’t be. She wouldn’t. It might be a code word. It might be Kate Adie.

Kate Moss by Antonia Parker

Eventually, after much discussion, it was decided that we should be allowed in because this mysterious Kate hadn’t yet arrived. We were escorted individually up the grand staircase of the Freemasons Hall, this Vauxhall Fashion Scout venue, and assigned seats on the front row. Seating was heavily policed, and I enjoyed the personal escort, but it was taking bloody ages and another show downstairs was set to take place pretty soon afterwards. Jaime Winstone, looking incredible with a silver grandma up-do and vertiginous heels, entered the room and was seated with little fuss. Now I love Jaime Winstone, but if ‘Kate’ was a codename for Jaime Winstone, I was about to go berserk.

Kate Moss by Claire Kearns

Kate Moss by Gilly Rochester

The personal escort service soon turned into a scrum; somebody had clearly realised that it just wasn’t practical. I let out a huge sigh as I said to my friend ‘Well, Kate clearly isn’t coming.’ ‘What?’ my friend replied, ‘she’s over there!’ I turned to my left to study the front row. Somehow I had missed the arrival of Meg Matthews, Sadie Frost, Annabelle Neilson, James Brown, Jamie Hince and… Kate Moss. Kate FREAKIN’ Moss!

All photography by Matt Bramford

There was little fuss as I struggled to fight the urge to jump out of my seat, leap across the catwalk, gather Kate up in my arms and force her to take my hand in marriage. It all happened so quickly, and of course, now Kate had arrived, the show must go on.

James Small S/S 2012 by Gabriel Ayala

It was tricky to concentrate on the show knowing that My Kate was mere feet away, but being the consummate professional that I am, I took up my camera and started to study the clothes, being carefully to take a picture of Kate in between each look. The fashion on offer was actually great, and I don’t know why I was thinking that it might not be. The secondary venue at Fashion Scout is actually much nicer – a dark wood arch divides the old stone room, dark wood lines the floor and majestic chandeliers hover above the revellers. Models appear almost out of nowhere. You do lose sight of the models as they bound through the arch, unfortunately, but this ensured enough time to snap Kate excessively.

James Small S/S 2012 by Sam Parr

Hysteria mounted thanks to the special guests: Kate and her entourage whooped and cheered every look and wolf-whistled translucent shirts, which sent roars of laughter through the room. Last season’s sharp tailoring continued this time around, but had been given a more casual feel for the discerning gentleman who manages to looking devastatingly cool without any real effort during the summer months.

James Small S/S 2012 by Milly Jackson

Small’s mainstay silk shirts had been jazzed up with the aforementioned translucency, and romantic florals with an air of Liberty were the most aesthetically appealing pieces in the collection, particularly a shirt/shorts combination with identical print. I’m not sure I’d get away with it, but the model did with aplomb.

Small‘s sharp tailoring was dressed down with white ankle-high sports socks and Vans in varying colours – when I read this on the press release I wasn’t so sure about it, but seeing it in the flesh allowed it to make sense. Rich colours: plum and royal blue, and luxe materials: silk and velvet, made this collection Small‘s most sophisticated yet. Retaining an edge above his competitors with leopard print and camouflage short shorts, it’s Small’s sharp cuts and sophisticated tailoring that really set him above the rest. That and his stellar front row, of course.

Categories ,Annabelle Neilson, ,Antonia Parker, ,catwalk, ,Claire Kearns, ,combat, ,fashion, ,Floral prints, ,Freemasons’ Hall, ,Front Row, ,Gabriel Ayala, ,Gilly Rochester, ,illustration, ,James Brown, ,James Small, ,Jamie Hince, ,Kate Moss, ,Leopard Print, ,liberty, ,London Fashion Week, ,Meg Matthews, ,menswear, ,MenswearSS12, ,Milly Jackson, ,review, ,S/S 2012, ,Sadie Frost, ,Sam Parr, ,Silks, ,tailoring, ,The Kills, ,Translucent, ,Vans, ,Vauxhall Fashion Scout

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

Modern Love by Ola Szpunar
Modern Love by Ola Szpunar.

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

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

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

Modern Love SS12
Modern Love by Laura Griffin.

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

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

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

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

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

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

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

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

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

Modern Love SS12
Modern Love SS12 5
Modern Love by Nanae Kawahara
Modern Love by Nanae Kawahara.

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

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

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

Modern Love SS12
Modern Love SS12
Find Modern Love at Liberty right here.

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

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Amelia’s Magazine | New S/S 2013 Season Interview: Michelle Urvall Nyrén of Ever Rêve

Ever Reve by Sine Skau
Ever Reve by Sine Skau.

Readers of my second book Amelia’s Compendium of Fashion Illustration will recognise the name Michelle Urvall Nyrén: in those pages you can find wonderful examples of her beautiful watercolour fashion illustrations. In the years since the book was published Michelle has been busy designing and launching her very first fashion collection, inspired by both her love of watercolour design and her ethical education. Not surprisingly, the Ever Rêve S/S 2013 collection is a beautiful first outing for this talented lady.

ever rêve
Your beautiful inaugural collection was put together in collaboration with Swedish writer Hanna Ricksten. What was the process of meeting and deciding to work together?
At the beginning of my working process there is always a persona. I always use characters and fictional stories as an inspiration to build up a collection as it helps me to create an ambience and gives me a set to work in. My choices of colours, patterns and cuts can be traced in this story or in the character.
Hanna and I have known each other for a long time and she has been writing stories for as long as I have been working with textiles. When I started working with Ever Rêve I talked a lot to Hanna and realised that we share many ideals and dreams, which is why we decided to create a story together. I sent Hanna all of my inspiration work; notes, photos, colour samples and sketches and she based the story on that. It was a very stimulating process of reciprocal creativity.  
ever rêve
The model in your look book has a very unique look: how did you come to cast her?
I cast Aleksandra at a distance from photos sent by friends we have in common. She lives in Poland where we took the photos and I didn’t get to actually meet her until the day of the photo shoot. I love her look; she expresses both strength and vulnerability at the same time. I am always looking for something unique in models; Aleksandra was perfect for this collection. She is also very hard working. On the day of the shoot, it was about 35 degrees. We decided to take photos of the knitwear in the late afternoon, but the temperature remained really high. Once I asked her to put the knitted jumper on I could see a look of terror on her face, but she quickly covered it up with a smile. She is a great girl and a very professional model.
ever rêve
What inspired the patterns you have used?
There is a strong yet rough expression in some Polish graphic designs that have inspired me a lot, working with straight lines and simple shapes. I found it challenging to work with strong graphics in combination with the water colours, as the technique automatically softens it up a bit. I have also been strongly inspired by textiles that my grandmother made in the sixties.
 Ever Reve by Sandra Contreras
Ever Reve by Sandra Contreras.

Can you tell us a bit more about your family’s textile history?
My grandmother was a textile artist and designer and she worked a lot with traditional wax batik in the early sixties. She used this technique to make bright and colourful graphic patterns on pieces of clothing. I have never met my grandmother as she died when my mother was born, but I have been told my whole life that I am like her. I found it very hard to relate to this when I was younger but then I was given a box full of clothes made by her a couple of years ago and I clearly saw the connection.  
 ever rêve
How did your fashion illustrations inform the creation of this collection?
I was intentionally looking to link my illustration and textile work together with Ever Rêve. I have been working with water colours for as long as I can remember and it is a technique I feel confident with. A couple of years ago I experimented with silk dyes and found that the effect I was searching for was similar to silk painting. I think this has been a quite natural progress: coming out of experiments and a need to explore new materials and surfaces.
 ever rêve
How have your ethics affected the making of this collection?
Ethics, environment and sustainability were a big part of my education and are still something I pay a lot of attention to. I looked at every part of the production process and asked myself how I can improve. For example, the parts of the collection that are hand painted are made on an organic silk (a production without insecticides or pesticides) and the knitted garments are made out of recycled silk/viscose yarn. The only tricky part is to find someone who does digital printing on organic fabrics, something that I am still searching for. I was also very careful selecting the printers and the seamstress – they are both small family run businesses which care about their employees. I am still concerned about all the travelling the fabrics need to do before they get a final steam on the hanger, but I have spoken to some charities who advised me on how to reduce and offset our carbon footprint. There is always room to improve!
Ever Reve by Grace Nikobari
Ever Reve by Grace Nikobari.

Where are the garments made and by whom?
The Ever Rêve garments are made in Łódź, Poland. My partner has got contacts in the textile industry and they recommended a seamstress and her team. They are very skilled and experienced and they have worked with many international designers before.
ever rêve
Who do you hope will wear these clothes. What will she do in them?
I hope that Ever Rêve appeals to women in many different ages, doing many different things. Because some of the garments are hand painted and very luxurious I don’t expect them to be worn every day; however my friend who has a six month old baby wears her stripy silk shirt for most things, washes it in water with some shampoo and irons it dry. The clothes are made to be worn, living life with their wearers; at work, on holiday, at parties or celebrations.
ever rêve
Who are your dream stockists?
I would love to see the clothes in Liberty, because of their long tradition and history of fabrics and prints. Browns is another dream stockist.
ever rêve
What are your next plans for Ever Rêve?
I am currently working on the A/W 2013 collection. With this collection I am hoping to participate in more events for young designers, competitions and shows during London Fashion Week. I am trying to make a solid ground for Ever Rêve to stand on and to build it up from there, little by little and with patience. Big dreams and fantasies trigger you to work hard, but only when they are mixed with a sensible attitude and realistic goals can they actually come into fulfilment. 

All look book photography and film by Sejin Ahn. I can’t wait to see how Ever Rêve develops.

Categories ,ACOFI, ,Aleksandra, ,Amelia’s Compendium of Fashion Illustration, ,Browns, ,Ever Rêve, ,Fashion Illustration, ,Grace Nikobari, ,Hanna Ricksten, ,liberty, ,Lodz, ,Michelle Urvall Nyrén, ,poland, ,S/S 2013, ,Sandra Contreras, ,Sejin Ahn, ,Sine Skau

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Amelia’s Magazine | Prints Charming Exhibition at Liberty

Having spearheaded the new London folk scene with their debut album, there medical Noah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.

Photos by Katie Weatherall

Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?

Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.

AM: And the live shows must add another dimension to that?

CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.

AM: And is there anything in particular that has done this or has it been the natural progression of the band?

CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.

AM: Was there anything in particular you were listening to whilst making the record?

CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco

AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?

CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.

The First Days Of Spring Teaser from charlie fink on Vimeo.

There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.

AM: And Daisy Lowe stars in it, how was that?

CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.

AM: So is film making something you want to continue with?

CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…

AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?

CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.

AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?

CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.


AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…

CF: I can’t really remember how I write… I was writing last night but… do you drive?

AM: I just recently failed my test.

CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.

AM: Is being in a band everything you imagined it to be?

CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.

AM: So are there any untapped creative pursuits left for you?

CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.

AM: So how about acting?

CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.

AM: Do you prefer the full creative potential a director has?

CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.


At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.

Monday 24th August
Mumford and Sons
The Borderline, more about London

UK’s answer to Fleet Foxes, online Mumford and Sons, visit this celebrate their music video to the first single off their debut album in North London tonight.


Tuesday 25th August
The Troxy, London

If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.


Wednesday 26th August
The Hot Rats
The Old Blue Last, London

Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.


Thursday 27th August
Madam Jo Jos, London

Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.


Friday 28th August
Swanton Bombs
Old Blue Last, London

If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.


Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist
Vibe Bar, London

It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.


Sunday 30th August
The Gladstone Open Mic Night
The Gladstone, London

As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!

Sunderland born designer Rosie Upright is truly passionate about design. Aren’t we all I hear you say? Well, health she’s up, recipe all hours, medical day or night… cutting away with her trusty stanley knife… stopping only when her numb fingertips plead for rest. Do your fingertips bleed? I thought not! Rosie developed her unique hand-crafted techniques whilst at university in Epsom, where she learnt all the usual computer design programs… and then decided to steer clear of them. She’s fled the suburbs of Epsom now, to live in London town with all the other hopeful new freelancers. She spends her days photographing, drawing, organising balls of string… and deciding what hat to wear.
We caught up with Rosie for a little chat…


Hi, how are you today?

I’ve got a bit of a sore throat coming on, the irritating children over the road are noisily playing some kind of shooting game, a car is beeping its horn continuously just below my window, itunes is refusing to play anything other than Billy Idol (which I’m not in the mood for), my coloured ink cartridge has just ran out, I’ve got a blister from my favourite pink shoes, an uninvited wasp is stuck in my blinds, my ginger hair has faded to a weird brown, I forgot to buy milk and Ronnie Mitchell is still crying on Eastenders – but apart from that I’m topper thanks.

What have you been up to lately?

Fingers in pies, fingers in pies!
Including…cross-stitch and a week in a cottage in Norfolk (no telephone signal or internet connection, bloody lovely!)

Which artists or illustrators do you most admire?

I don’t think I would have done a degree in graphic design if my ever-encouraging parents hadn’t taken me to a Peter Saville exhibition at the Urbis in Manchester many moons ago. Made me see the ideas process at its very best and the crucial-ness (that’s not even a word!) of initial doodles and sketchbooks.
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Where would any of us be if it weren’t for Dr Seuss?
I really love a bit of Russian Constructivism, in particular Alexander Rodchenko and Varvara Stepanova, bloody genius.
Mr Vaughan Oliver, for making us all think differently about where to crop the image, for being an ongoing influence and for that opportunity.
Harry Beck, Robert Doisneau and most recently Philippe Petit.


If we visited you in your hometown, where would you take us?

Stroll down to Seaburn beach because when you don’t live next to the sea anymore you really miss it, and it has really nice sand. Then to my very best friend Sarah Bowman’s house, to play with Peggy Sue the kitten, have mental vegetarian sandwiches off a cake stand, and a glass of red wine, ice cubes and coke. We should pop to an art shop in Darlington and then to The Borough, the best pub for tunes, a pint of cider and a Jaeger bomb.


Who would most love to collaborate with creatively?

Mike Perry and YES art studio please. Thank you.

When did you realise you had creative talent?

When some hippy artist came into my junior school to create banners for some event at the local library with us. I was told after five minutes of colouring it in that I had to go away and read because I couldn’t keep within the lines.


If you weren’t an artist, what would you be doing?

A teenage Mam or an actress, haven’t decided which yet.

Where would you like to be in 10 years time?

I’d like to be the designer than graphic design students hate because their tutors always tell them to get their book out of the Uni library. And I’d quite like to have my own shop in London, Brighton or maybe Newcastle (or all three, and maybe Paris then if we’re going crazy) selling things made by me!

What advice would you give up and coming artists such as yourself?

Take other peoples advice but make your own mistakes, don’t be a dick and always colour outside of the lines.


How would you describe your art in five words?

Hand made/ typography/ narrative/ personal/ I’d like to say idiosyncratic too but don’t want to sound like a twat.

What is your guilty pleasure?

Seeing people fall over.
(and cake)


If you could time travel back or forward to any era, where would you go?

It was horrific enough moving away to University and into London and trying to find a job and start my life up. I think if I had to go backward or forward to another era I would probably just straight up die. Having said that though I would like to be a highwayman’s assistant.

Tell us something about Rosie Upright that we didn’t know already.

I can’t wait till I’m an old lady so I can wear those lacy nighties from Marks & Sparks and I love animals in clothes.

What are you up to next?

Going to make a cuppa tea, kill this wasp and then take over the world.
While most of us at the tender age of 19 rooted our existence in smacking down vodka jelly shots at the bar with kebabs at four in the morning and the Hollyoaks omnibus on a Sunday, pilule some people, of course, are born to shine in different ways. Take, for instance, London College of Fashion student Millie Cockton, somebody who has already had their work featured in a shoot for Dazed and Confused, styled by Robbie Spencer.

As a lover of clean lines and beautiful silhouettes, Millie looks for the wearer to bring their own identity to her gender non-specific pieces. At the moment under new label Euphemia, with her AW09/10 about to be stocked in London boutique and gallery space Digitaria, after being chosen to be the first guest designer at the Soho store. Check out the Dazed piece to see some brilliant Shakespearian-style ruffs that Millie has also created working with paper (a material proving popular as with Petra Storrs, who I featured last week).

Each to their own, mind you. I could totally do all that, if I wanted to.


At the age of 19 you’ve already received quite a lot of attention – how has that been?

It’s been great so far! It’s very flattering but its also very daunting! I am on a constant learning curve and my work is developing all the time so although the attention is great it creates a lot of pressure!

Describe your design aesthetic in three words.

Clean, sculptural, understated.

Who do you see wearing your designs? Are they reflective of your own personality?

I like to think of a real mixture of people wearing my designs. I love the way that the same garment can look completely different on different people- for me its all about the individual and how they carry themselves, bringing their own identity to the piece.

I don’t think that my designs are necessarily a true representation of my personality and personal style. I feel that my designs are more of a reflection of the aesthetic that i find desirable and aspirational.


Thinking about the ruffs featured in Dazed, people have touched on the theatrical nature of your designs – is the idea of performance important to you in fashion?

The idea of performance within fashion is something that interests me but I wouldn’t say that it’s a key element within my own designs. I like the notion of a performative element within a piece or a collection as i think that it helps gain a further understanding and insight of the designers thought process and inspiration.

What else do you respond to?

I am constantly discovering new sources of inspiration, being so young I know that I still have so much to learn!

Who are your fashion icons?

Yves Saint Laurent, Katherine Hepburn, Grace Jones.


Is craft something else you’re interested in too?

I like to use elements of craft within my designs, such as origami style folding. Craft elements can add interesting details to simple pieces.

What are your plans for the future? Who would you like to work for?

I am about to launch my new collection which will be stocked in Digitaria, recently opened on Berwick St, Soho. I have just started to work with Digitaria’s creative director , Stavros Karelis and stylist Paul Joyce on some future projects which are really exciting and I am thoroughly enjoying. I want to continue learning and developing my ideas, challenging myself and most importantly keep having fun!


‘Having fun’ of course might well translate to ‘becoming future fashion empress of the galaxy’. This is a talent to watch out for.

Photographs:George Mavrikos
Styling: Paul Joyce
Model: Antonia @ FM models

Image by Mia Overgaard

The Camp for Climate Action 2009 is almost upon us – now’s the time to gather ourselves and prepare to swoop. Convinced that the response to climate change needs more? Ready to share skills, stomach knowledge and experiences? To be part of the grassroots swell of people demanding a difference? To get out there and do something?

Climate Camp is for you.

Be ready next Wednesday, 12th August, from noon, in London. We’re going to swoop on the camp location together. The more people the better. Secret until the last moment, you can sign up for text alerts and join one of the groups meeting scattered about central London before moving together to the camp.

Why Camp? We can all meet each other and learn stuff – reason enough? – I mean, an enormous, public, activist-friendly child-friendly student-friendly climate-friendly gathering with an ambitious and well-prepared programme of workshops covering all things from Tai Chi for those of us up early enough, through histories student activism, DIY radio, pedal-powered sound systems, legal briefings, stepping into direct action, singing, dancing, jumping and waving.


Why London? Climate Campers have listed ten reasons to focus on London – right up the top of that list is : tall buildings and low flood plains. London is big corporate central, the City square mile itself accounting for a huge proportion of the UK economy, that FTSE100-flavoured slice of barely accountable, shareholder driven pie. And yet, as the Thames Barrier should always remind us, the whole city sits low on the ground. Just check out what the centre looks like with a few metres rise in sea level.

So what’s first? The Climate Camp Benefit party/shindig/jamboree/palooza/knee’s-up/gala ball/discotheque/rave/soiree at RampART, 9pm-3am this Friday 21st August. Consisting of fun/revelry/ribaldry/tomfoolery/jocularity/jive/merriment/high kinks, low jinks, jinks of all stature/cheer/gambol/horseplay & frolic. With bands & DJ’s including Rob the Rub & Sarah Bear & those amazing skiffle kids ‘The Severed Limb’. That’s at:

rampART, 15 -17 Rampart Street,
London E1 2LA (near Whitechapel, off Commercial Rd)
Donations on the door much appreciated (and needed!) – all going straight to Climate Camp

And then? The Swoop – Night Before – Londoners and out-of-town visitors are welcome to ‘the night before the swoop’ – near the bandstand in Lincoln’s Inn Fields, 7-8.30pm, Tuesday 25th August – for any last minute info, a legal briefing and an opportunity to join an affinity group and get excited. Lincoln’s Inn Fields is just behind Holborn tube station – this map here might help.

Awesome. See you soon.

Ctrl.Alt.Shift dropped us a line to let us know about a comics-making competition so get your promarkers and layout pads at the ready. Ctrl.Alt.Shift Unmarks Corruption is giving you the opportunity to design a unique comic style story. Ctrl.Alt.Shift is the experimental youth initiative politicising a new generation of activists for social justice and global change. The competition hopes to raise awareness of the Ctrl.Alt.Shift and Lightspeed Champion goals and views by inspiring this generation of designers to work together.


Oscar nominated Marjane Satrapi, medical V V Brown and Lightspeed Champion are amongst the judges for the Ctrl.Alt.Shift Unmasks Corruption competition launched today. Corruption is both a cause of poverty, and a barrier to overcoming it. It is one of the most serious obstacles to eradicate.


Entrants to the competition will be in with the chance to create a unique comic style story in collaboration with acclaimed musician and writer Dev Hynes aka Lightspeed Champion. After the first round of judging at the end of September, shortlisted entrants will be given Lightspeed Champion’s comic script as inspiration and asked to create a visual adaptation of the story.


The winning commission will be published in a comic alongside new work exploring the issue of Corruption by some of comic’s greatest talents. The work will also be showcased as part of a new exhibition, Ctrl.Alt.Shift Unmasks Corruption, later this year at Lazarides Gallery, Soho.
To enter the competition please send relevant examples of your visual work along with your contact details to Ctrl.Alt.Shift by Friday 25th September by visiting


Five short listed artists will then be given a comic brief to respond to and a winner chosen by a panel of judges including: Marjane Satrapi (Writer and Director of Academy Award Nominated Animated Film Persepolis) Paul Gravett (Comica founder), V V Brown and David Allain (Musician and Comic Book Writer/Artist duo), Lightspeed Champion and Ctrl.Alt.Shift.

The competition is restricted to UK Residents only
For further information about the competition please contact John Doe on 020 7749 7530 or /
Brooke Roberts is my favourite new designer. Why? Well, more about after exchanging several emails with her over the last few weeks, for sale for a young designer making such waves in the industry, her witty and playful personality has impressed even via my inbox! Having worked with such characters such as Louise Goldin and Giles, her avant- garde aesthetic really shines through in her highly tailored and retro-feel designs. Miss Roberts is going places, and she’s more than willing to take us along with her!


What made you want to be a designer? What’s your design background?

I’m definitely not one of those designers who always knew that’s what they wanted to do. I did a degree in Applied Science at Sydney University (I’m from Australia) and worked as a radiographer for a year before moving to London to find out what I wanted to do. I did some work as a stylist with a fashion photographer (random hook-up). I knew his girlfriend and she knew my massive extensive collection of vintage clothes and shoes. My mum had a boutique when I was growing up and I loved clothes – I just never knew it was going to be my career.

I did a few jobs in London (pub, bank – more randomness) before realising I wanted to study fashion. I went to London College of Fashion and Central St.Martins (graduated 2005) wanting to be a pattern-cutter or tailor. I really wanted to create, rather than design. I get most satisfaction from making beautiful things and being involved in the whole process. I have a close working relationship with my suppliers, and go to the factories to develop my garments. I cut them all myself, which is probably bordering on control freakery, but I feel it shows in the final product and I can realise my designs exactly as I imagine them.

I’m waffling. I worked for Giles for two seasons after I left Uni, and started with Louise Goldin when she launched her label. We worked together for three years (until last October when I launched my label).

What are your inspirations for your collections?

I get lots of inspiration from my radiography job (I do that part-time to fund my label). So I’m running between the hospital and my studio all the time. I have used CT (cat) brain scans this season to create knit fabrics and digital prints. My obsession with reptile skins never seems to go away, and I have worked with Anwen Jenkins (awesome print designer) to create skull slice python skin prints. Basically, the python scales are replaced with multi-dimensional skull slices.

Apart from that, I research at museums and LCF Library. This season went to the British Museum and discovered Yoruba sculpture and traditional costumes. I researched these for silhouette and style lines. I also looked at Niger garments. They’re beautifully colourful, vibrant and flamboyant.


What are your favourite pieces from your latest collection?

Umm. I wear the cat suit most. I actually met my boyfriend the first time I wore it. So I’m renaming it Lucky cat suit. I also love the Flex jacket in red snakeskin. The razor sharp points make me feel like I am ready for world domination!

What was it like working with Giles Deacon and Louise Goldin? What did you learn from them?

I learnt that I hate taking orders from others! I’m really not one to toe-the-line. I am a perfectionist and this drives other people mad sometimes. I was a pattern-cutter at Giles, doing mostly tailoring, which suited me fine. Most people wanted to do the showpieces, but I was most happy cutting jackets. Giles is a really lovely bloke. Working with him was really my first experience of doing shows and the pressure and stress of getting everything done.

With Louise, my job was broader because in the beginning it was just the two of us. I learnt so much, I can’t even write it down. I worked in the London studio and the knitwear factory in Italy. I had the opportunity to learn knitwear programming, selecting yarns and cutting and constructing knit. I still work in the factory for my own label and really love it. The other big thing was learning about running a business and starting from scratch. The hoops you have to jump through, the process of getting sponsorship, doing shows, sales and production… It’s a massive undertaking starting your own label. And I still chose to do it! Bonkers.


Who do you think are the most important designers of your generation?

Hmm. Well, I like the work of Tina Kalivas and Gareth Pugh. If we’re talking most important, it has to be Gareth.

I’m really a lover of 80′s and 90′s designers. I find the work of Gianni Versace, Thierry Mugler and Rifat Ozbek most relevant to my style and most exciting.

What do you think are the problems facing young designers at the moment?

The biggest problems are funding and dealing with suppliers, particularly for production. Creating a beautiful product that you can reproduce is actually really difficult! You need to understand the technicalities of fabrics and construction (or hire someone who does) otherwise it all goes wrong.


What’s next for Brooke Roberts?

In fantasy land, what’s next for Brooke Roberts is a holiday. In reality, I’m working hard on marketing and sales for London Fashion Week. I’m collaborating with jewellery designer Chris Edwards and shoe and bag designer Laura Villasenin on side projects for the label. Look out for skull slice stacked rings and metal bone-fixation embellished super-soft bags for SS10!!

Find Brooke stocked at the King and Queen of Bethnal Green.

Not slim tomatoes, viagra dosage narrow cucumbers or squashed, um, squashes – no, we’re talking about digging for victory in our own meagre abodes. With allotment waiting lists stretching beyond a century in Hackney and not many of us owning the half-county some how-to books seem to assume, options on grow-your-own approaches might look limited. But before you get the howling fantods at the piling impossibilities. As those of you who read the Amelia’s Magazine review of Growing Stuff (an Alternative Guide to Gardening) will know well, even the meagrest city apartment can burst forth in cornucopic life.

Illustrations by Maxime Francout

And but so then it seems the thing to do is simply to get a pack of seeds and a container and get growing, no hesitation about it. If a brief pause in favour of screenreading sounds like it could lead to better inspiration, I entreat you, read on. There’s a glut of blogs and enthusiasts all over the place to speak to or read up upon. Here are just a few of our favourites.

Life on the Balcony tells Fern Richardson’s encounters with gardens small and smaller, great for fresh faces and old hands alike, with an awesome friendly dirt cheap ways to garden.

Carrie, of Concrete Gardening blogging fame (true in a juster world), digs organic urban gardening, and has gotten into gardening without the erm, garden, since buying a house in the city (Philadelphia) and sees all the possibilities of planting up, sideways and over – just recently blogging about taking things to the next level and climbing up on her roof to plant out veggies, seedlings to sit and soak up sun.


Herbs and Dragonflies is written by a group set up by Kathy Marshall back in 2008 for the Pudsey Carnival and have been creatively, craftily planting since, encouraging others to get their green fingers dirty – doing activities with children and volunteering about the place. Most recently, they encouraged us blog-readers to leave the comfort of plastic planters and terracotta pots – most anything can sit with some soil in it. They suggest novelty Cadbury’s Fingers tins, I’ve used fancy jamjars, and seen anything from skips to wellington boots enlisted in the service of greenery.

Emma Cooper (I’m cribbing now from the ‘Growing Stuff’ contributor biogs page) lives in Oxfordshire with two pet chickens – Hen Solo and Princess Layer – and six compost bins. She has written an ‘Alternative A-Z of Kitchen Gardening’, which Karen Cannard The Rubbish Diet reckons is ‘an inspirational tour of an edible garden that can be recreated in the smallest of backyards. An essential guide for a new generation of gardeners who are keen to join the kitchen garden revolution.’And she blogs about anything from compost to pod plants to the future of food…


Madeleine Giddens loves herbs, which I guess you’d guess from the name of her blog – Mad About Herbs. But there’s nothing off the wall about any of it, she’s plunged into an obsession and come out smelling of roses and lavender, buzzing about bees too, recently, and their favourite flowers.

So there you have it, just a few spots and pointers. Good evening, and wishes for a fruitful weekend from Amelia’s Magazine.
The Royal Bank of Scotland. RBS. Formally known with pride as the “oil and gas bank” due to their close alliance with the fossil fuel industries. What on earth would I have to do with them? They may have lost the unfortunate moniker, treat partly due to a hugely successful campaign by People and Planet student activists who launched a spoof ad campaign and website named the Oyal Bank of Scotland before delivering a host of greenwashing awards – but they’re certainly not due for any special ethical mentions yet.

Not yet.


There was of course a massive £33 billion bank bailout from the taxpayer for RBS last year. But RBS didn’t spend the money on anything worthwhile. Oh no, the truth is that RBS still has oily blackened hands. Most people will remember the Fred Goodwin debacle, he who managed to retire at the age of 50 on a £16 million pension funded by taxpayers. But that’s not the whole of it – since the bailout some of our money has been used to arrange loans for the fossil fuel industries worth a staggering £10 billion, including a substantial sum for E.ON, the company that wants to build a new coal fired power station at Kingsnorth. Despite the best efforts of activists –  there was an impromptu snowball fight during the winter, Climate Rush held a luncheon dance and Climate Camp set up camp down the road at BishopsgateRBS continues to invest in unsustainable resources.

But the good news is there is hope for change!


As I’ve got more and more involved with activism I’ve got to know members of PLATFORM, who together with People and Planet and the World Development Movement have launched a legal challenge against our government to make sure that public money used for bailouts is put towards building sustainability. PLATFORM is an organisation that combines art with activism, research and campaigning, so in many ways we are perfect partners and I was really excited when they recently approached me to collaborate on an exciting new project at the Arnolfini gallery in Bristol.

As part of a wider festival named 100 Days, PLATFORM will be co-producing over 50 events, installations, performances, actions, walks, discussions and skill shares over a period of two months. This season is called “C words: Carbon, Climate, Capital, Culture” and is intended to highlight what needs to be done to change the world in the run-up to the incredibly important (but unlikely to solve anything) COP 15 conference (think Kyoto 2 – it failed first time around so why would it succeed now?) in Copenhagen in December.

Your part in this audacious experiment?

We’re going to re-envision RBS as a bastion of sustainability – the Royal Bank of Sustainability in fact. And it will be down to you to create the artwork… once more I will be running one of my becoming-somewhat-regular open briefs. We would like you to submit either a logo or a poster (or both) that will suggest a swing in the direction of all things sustainable in the most imaginative way possible. Around ten of the best artworks will be shown for a week at the prestigious Arnolfini gallery in Bristol as part of the whole shebang, culminating with a public judging and prize-giving overseen by yours truly and helped out by the folk at PLATFORM and no less than the Marketing Manager of the Arnolfini, Rob Webster, and Fiona Hamilton of Soma Gallery (Bristol), a woman with great taste in the arts who runs a cult art shop that has been a long standing supplier of my print magazine. We might even invite someone powerful from RBS! (invite being the operative word) After the event PLATFORM will profile you on their website with links to yours, and prior to the actual event I’ll be posting the best entries onto my website – one good reason to get your artwork in as quickly as possible.

If you are interested read on:


What you need to know:

Yeah yeah – we all know wind turbines are great news and polar bears are having a terrible time, but for this brief we’d like you to think a bit outside the box. We’ll be looking for the most refreshing ways of thinking about how we can live in the most sustainable way possible, and most importantly how RBS could play a possible role in aiding this transition to a low carbon world. Don’t forget that we, the taxpayers, own 70% of RBS – why not make it into the people’s bank? You should make clear in your chosen design the re-imagining of the old RBS into the new. Instead of investing in carbon-intensive industries the new RBS will serve the public interest by investing only in socially conscious, ethically driven, and environmentally sound projects.


Think serious or earnest, kitsch or ironic, warm and fluffy, abstract or illustrative; whatever best communicates the concept and appeals to the broader public, the press and perhaps even people in government. It should engage and inspire. You can collage photography on your computer or paint with your fingers and toes – what matters is the outcome. We want to see imagery that speaks of something new, radical and POSSIBLE. Think positive social force. We love the Obama image that was used in the run up to his election – the reworking of his image in a simple pop art style somehow speaks volumes about new, positive change – and has fast become an iconic piece of graphic design, so we thought we’d use it here to demonstrate that you don’t have to be too literal in your interpretation of the brief to create a successful image. If you choose to create a poster remember that it could be made as an advert.


Technical specifications:
your image should be created to these sizes and scannable or put together on a computer:
A1 for the poster.
A2 or squared off A2 for the logo.
Please send me a lo resolution version but make sure you work to these sizes. We will arrange for the printing of your image should it be chosen.

We need your submissions to reach me by Monday 2nd November. Please send lo res versions of your design to

Future projects:
Please bear in mind that if we really love your work we might want to use it in further literature and exhibitions. Just think, your work really could persuade RBS to change course at a pivotal point in our history. What a fabulous idea!

Join the facebook event here to stay in touch with updates
And join the “Stop RBS using public money to finance climate change” facebook group here

Below is a list of links you might want to peruse for inspiration:

PLATFORM’s website
Transition Towns
Centre for Alternative Technology
Zero Carbon Britain
Post Carbon Institute
the Oyal Bank of Scotland
Capitalists Anonymous
Britain Unplugged
Climate Friendly Banking
Banca Etica
GLS Bank

Get scribbling folks! Any queries please contact me directly via email rather than on the comments below.
If you have been to a UK festival in the last few years, pharm chances are that at some point you found yourself dancing in the OneTaste tent. Having residency at Glastonbury, sickness Big Chill and Secret Garden Party to name but a mere few, OneTaste have acquired a devoted fan base of festival goers who want a guarantee that when they walk into a tent they will get the following components; top quality live music, an high-spirited and friendly crowd, and twenty four hour revelry.

OneTaste in Hyde Park, London

Yet their festival appearances are just one aspect of the multifaceted music troupe. When they are appearing at say, SGP or Glasto, they perform as a collective of musicians, poets and artists who, for many of the festivals, break bread and share space with Chai Wallahs. When they put on events in Greater London and Brighton, (where every night is different from the last), their roots run deep, towards diverse and innovative singers, performers and spoken word artists. They are fiercely proud of their reputation of facilitating and nurturing emerging talent; promoting, not exploiting it, connecting with the audience and creating a true OneTaste family, both onstage and off.


I have known of OneTaste for years, being friends with some of the artists who have performed with them. Having shamelessly utalised their tent at this years Secret Garden Party to dance, drink, chill, detox and then re-tox, I felt it was time to get to know them a little better. The perfect opportunity came at the recent OneTaste night at the Bedford in Balham which I attended recently on a balmy Thursday night. The vaudeville past of the Globe Theatre within the Bedford was an apposite setting for the style of event that OneTaste puts on. As the preparation for the evenings entertainment began in this deeply historical building, I managed to catch a quick chat with the creator of OneTaste, Dannii Evans, where we talked about the rhymes, reasons and the meaning behind this unique and innovative event.

photograph by Kim Leng Hills

When I saw OneTaste’s excellent night in the Jazz Cafe a while back, I saw a lot of different styles of music and spoken word. What would you say is the one common thread that unites everyone?

We’ve always been trying to find out what the thread is! It is definitely not genre, we do every single style and welcome every style, probably the only genre we haven’t booked yet is heavy metal! The thing that links us all together .. (pauses)… is that everyone has got a massive social conscience; it is not always explicit, but it is implicit within a person, it’s in their art. It’s something that holds us all together, everyone at OneTaste has that in mind – that there is a bigger picture and that we need to better ourselves in everything that we do.

Charlie Dark performs at OneTaste Bedford

How did OneTaste begin?

The OneTaste music and spoken word night, started four and a half years ago by myself, and Jamie Woon. We basically started it in order that these musicians can do something where they could get paid.

You pay the performers? That’s so rare!

Definitely. We wanted to put on a night where the quality of every single act was really high and it could be where musicians could start their career, so that was the premise. Also the concept is that the event is always half music, half spoken word.

So is it a collective, a record label, an event? I’m kind of confused!

It started off as an event, with us meeting a number of artists and acts that we got on really well and gelled with, who we took on tour around festivals, and then out of spending three months together we formed the OneTaste collective. It started becoming an artist run collective where people would help with the actual event production and then it ended with them all collaborating on material together.

Who are some of the artists involved?
Portico Quartet, Stac, Inua Ellams, Gideon Conn, Kate Tempest, Newton Faulkner, to name just a few!


How do artists become part of OneTaste? Is it something that they can dip in and out of?

Absolutely, it’s not exclusive. It grew organically, it’s not an in or out thing – it happens more naturally than that.

Do you have to audition to get in?

To take part in the OneTaste night, either myself or someone running it have to have seen them live. Audience engagement is very important to us, to reach out and to be able to communicate with the audience is really vital. The live aspect and their live dynamic with the crowd is so important, so while they don’t audition, we do need to see how they will perform.

So it seems to have grown hugely in the last four years; Can you give me an idea of the numbers of acts that you have worked with?

In the collective, we have around 30 acts that we are currently championing, but in the last four years we have worked with around 300 artists. The audiences have grown from 40 people to 300 here at the Bedford, 500 at the Jazz Cafe, and 5,000 at the recent gig we did in Hyde Park.

How does OneTaste promote its artists?

It has always been very grass roots, we’ve never done an advert, it’s always just been people coming down and then telling their friends and from that it grew really quickly.


Are there many of the artists signed to labels, and do you help them along their way?

We do, we give them industry advice – we develop their music, or spoken word, we try to help where we can. Some of the artists like Jamie Woon or Portico Quartet have gone on to get more media attention and they kind of carry the OneTaste name with them and still do gigs for us.

What is the direction that OneTaste is heading in?

Potentially, we might have our own venue at festivals next year, which is really exciting. We have a digital compilation coming out, the first one will be coming out in September, and eventually we may form a OneTaste record label.

Gideon Conn performs at OneTaste Bedford.

Dannii and I continue chatting for a short while, and after this she has tasks to do. The audience is filling up, and the night is about to start. Sitting on a bench in the back with a big glass of red wine, I watch the event unfold. The performers are electric, and completely different from one another, yet equally complimentary. Most appear to be old friends, and loudly cheer each others performances. The atmosphere is infectious, I can’t remember the last time I enjoyed myself so much at a gig (and it’s not because of the wine!). I’m quite au fait with the open mic nights and acoustic gigs of London, but I haven’t been to a night which is as cohesive and inclusive as OneTaste. If you want to experience it for yourself, OneTaste are easy to find. Check out their Facebook, MySpace, YouTube and Flickr for images, articles, and dates about upcoming shows, which include a September 8th gig at The Distillers in Hammersmith and 27th September at The Hanbury Club in Brighton.
This week Climate Camp 2009 swoops on London, this site aiming to pressure politicians ahead of the Copenhagen climate change summit in December. Climate Camp will achieve this by encouraging individuals to think about lifestyle changes possible both collectively and personally to prevent climate change.

Sharing these sensibilities, the French Collective Andrea Crews encourage a new life philosophy outside the corporate rat race so often associated with London and other major cities. Being introduced to the fashion/art/activist collective Andrea Crews felt like a breath of fresh air often associated with Amelia’s magazine, a long time supporter of sustainable fashion, craft, activism and individual design.



Andrea Crews Collective express their desire for economic and social change through “the use and the reinterpretation of the second-hand garment” calling it “a social, economic and ethical choice.” A choice displayed by the sheer volume of abandoned second hand garments used throughout the catwalk shows, art exhibitions and activist events. The group criticise the relentless waste of modern consumption, fast fashion has helped to create, through visualising the stress on land fill sites around the world in their staged events. Subsequently by ignoring market pressures: mass seduction and seasonal calendars, Andrea Crews re-introduces a slower, more individual fashion culture through the processes of sorting and recycling.



The Crews Collective march to the same tune as Climate Camp, not only by caring for the environment but in their dedication towards an alternative developed sustainable economy. Andrea Crews encourages mass involvement stating that the project “answers to a current request for creative energy and social engagement. Recycling, Salvaging, Sorting out, are civic models of behaviour we assert.” Thus the power of low-level activism or grass roots activism becomes apparent, if enough people participated with Climate Camp or The Andrea Crews Collective. The pressure on governments to look for an alternative way of living would be undeniable.



The ever-expanding coverage of ethical, eco fashion on the internet plays testimony to the idea that the individual is changing. The Andreas Collective through their exquisite catwalks –particularly the Marevee show with the appearance of clothes mountains which the models scrambled over to reach the runway- draw attention to the powerful position regarding sustainability, fashion can occupy if it so chooses.


All quotes and images are from the Andrea Crews website.
The Market Building
Covent Garden, doctor London WC2 8RF
Until 5th September


DIY LONDON SEEN hopes to illustrate the growth of the movement inspired by the ‘Beautiful Losers’, doctor which is now a global phenomenon, generic by showcasing the work of local artists whose work takes the ethos of the Alleged gallery Artists and runs with it.

Hepsibah Gallery

Brackenbury Road, London W6

Show runs from: 28th August- 2nd September ’09,
with a preview on the 27th September from 6.00-9.00pm


Artists: Ellen Burroughs presents intricate technical drawings of a surreal nature, Sophie Axford-Hawkins shows bespoke jewelery that follows an identical theme.

The Jake-OF Debut UK Solo Show
Austin Gallery

119A Bethnal Green Road,
Shoreditch London E2 7DG
Running from the 3rd-16th September.
The opening evening is on the 3rd at 6:30pm.


Featuring a collection of his best print, sculpture and instillation work from the past four years. The show will include prints from the Quink series and the first original Quink painting to be exhibited.

So Long Utopia
East Gallery
214 Brick Lane
?London ?E1 6SA

Until 2nd September


EASTGALLERY is proud to present the first solo exhibition of UK artist Sichi. ‘So Long Utopia’ will feature a thematic collection of new paintings and drawings. ??‘So Long Utopia’ is an energetic exhibition focusing on the theme of the lost Utopian dream. The artworks in this collection are of portraits, statements and imagined characters, where any premonition of ‘Utopia’ is quickly dispelled by the creatures inhabiting Sichi’s dystopian world.

Art In Mind
The Brick Lane Gallery
196 Brick Lane,
London E1 6SA

Opening 19 August 6:30 – 8:30
20th – 31st August


A busy August Bank holiday weekend is almost upon us, dosage and if you cant make it to Climate Camp starting on Wednesday there is plenty of other events to keep you occupied this week.

Festival of The Tree 2009

Delve into the world of wood and trees with sculptors, workshops, walks, art exhibitions and more with all proceeds going to treeaid, a charity that is enabling communities in Africa’s drylands to fight poverty and become self-reliant, while improving the environment. Weston Arboretum has a week long run of activities, with the organisers calling it a radical transformation from last year with exciting new additions.

Check the full programme of events here.
From Monday 24 – Monday 31 August… 
Open daily from 9am-5pm?Admission: Adult £8, Concession £7, Child £3.?

Camp for Climate Action

A week long event kicking of this wednesday with with a public co-ordinated swoop on a secret location within the M25, make sure you sign up for text alerts and watch Amelias twitter for updates. Join your swoop group here, the locations have been revealed so get planning your route.
Check the great list of workshops here, and get ready for some climate action.
There’s workshops to suit everyone from direct action training to consensus decision making for kids, as well as evening entertainment from the Mystery Jets among others. Come along for a day or the whole week.


Wednesday 26 Aug 2009 to Wednesday 02 Sep 2009

Carshalton Environmental Fair

The Environmental Fair is one of the biggest events in the London Borough of Sutton. 10,000 people attend with over 100 stalls with environmental information, arts and local crafts, with stages showcasing local musical talent, a Music cafe and a Performing Arts Marquee. Food stalls and a bar thats also showcasing some local talent. There is a free bus operating from Sutton.


Adults £3, concessions £1 and kids get in free.
Monday 31st August

Green Fayre

Range of Green craft workshops where you can learn about the most pressing environmental issues and how you can live a more sustainable life, all set in the Welsh country side. Yurt making, permaculture design, spinning, screen printing, pole lathe, bird box making, cooking from the hedgerows and much more.

Date: Friday 28 Aug 2009 to Monday 31 Aug 2009
Weekend Camping for the family £40?E-mail:

Benefit gig for Anarchists Against the Wall

At RampART social centre, music with Hello Bastards, Battle Of Wolf 359,Suckinim Baenaim (Israel), Julith Krishum (Germany). The AWW group works in cooperation with Palestinians in a joint popular struggle against the occupation.

Monday 24 August 2009 19:00
RampARTSocial Centre?15 -17 Rampart Street, London E1 2LA?(near Whitechapel, off Commercial Rd)

London Critical Mass

Cyclists get together to take control of the roads around London usually with a sound system in tow. The London Mass meets at 6.00pm on the last Friday of every month on the South Bank under Waterloo Bridge, by the National Film Theatre. critical_mass.gif
Not got a bike, dont worry, any self propelled people from skateboarders, rollerbladers to wheelchairs are welcome.

Friday 28 August 2009
Earth First Gathering 2009 was held over last weekend. It’s an event we’ve been looking forward to since it appeared in our diary back in July. Check out our Earth First preview for more information. We all pitched up our tents in the wettest place in Britain which unluckily lived up to its name, doctor but although it didn’t feel like summer it didn’t stop any of the numerous workshops from going ahead and there was even a handy barn where people could take refuge if their tents didn’t survive the downpours.

There were chances for people to get to grips with water activities like building rafts and kayaking on the nearby Derwent lake, help plenty of discussion groups and chances for people to learn new skills. A forge kept many enthralled, viagra me included, and it was great to see the dying trade in action and people learning from the experienced blacksmiths.

Seeds for change, a group that holds workshops for action and social change, were down at the camp, get in touch with them if you’re thinking of holding your own event and they will be willing to facilitate a range of engaging talks and discussions.
Tripod, a Scottish based training collective working with grassroots and community groups is another to check out – there is plenty to benefit from with training and support that gears towards social action.

Earth First has been going for decades and with direct action at the heart of what they do, it has helped and nurtured many to get involved and start taking action themselves rather than relying on leaders and governments. Look out for the next gathering, as EF notes, “if you believe action speaks louder than words, then Earth First is for you.”
We legged it up the amazing waterfall that created a great backdrop to the camp before tea one evening to get some great views over the valley.

Joining the queue for our meals was a daily highlight, you could browse the radical bookstall along it that had numerous zines and books for sale. Then the food, put on by the Anarchist Teapot, was amazing and i was queueing up for seconds at every opportunity. Evening entertainment was put on by a ramshackle group of poets and musicians and hecklers, and sock wrestling was also a new experience for me, got to try that one again.

On cue the heavens opened on the last night, but I managed to get my tent down and joined the chickens in the barn where I literally hit the hay.
Just thought I’d say well done to the police FIT team who were able to navigate the windy and tricky road to turn up most days: good effort!
The Legion in Old Street has undergone a bit of a refurb since the last time I was there. Vague recollections of dodgy sauna-style wood panelling on the walls and a Lilliputian stage awkwardly occupying one corner are now banished by what seemed like an even longer bar than was there before. The venue has had a fresh wave of new promoters which appears to have progressed it from a jack of all things club-based, website like this in an area drowning in the like, there to somewhere incorporating a broader musical palette. A case in point tonight, being the headline band, Death Cigarettes.


I’d seen Death Cigarettes a couple of times around various East London venues over the last twelve months. For a band whose reputation is in part founded on an explosive live show, the cavernous confines of the Legion seemed to take some of the sting out of them, compared to more intimate settings.

Musically, they inhabit that driving New York No Wave inspired sound – thrashing guitars, pounding drums and rumbling bass coupled with urgently delivered vocals. An obvious comparison is with early Yeah Yeah Yeahs, and there is certainly more than a touch of Karen O in enigmatic lead singer Maya.


With this band though, the music is only half the story. Coming on unusually late for a Sunday night, Maya emerges from the encaves of a slightly startled audience to take the stage to join the rest of the band as they thrash away around her. It’s not long though before she heads back out into the throng… One group of people were ensnared by her mic lead, another was treated to an intimate introduction with a flying mic stand before Maya suddenly reappears behind the audience, exhorting the crowd before her from atop a table. At this point, the guitarist also wanted a piece of the audience action and decides to go walkabout, before concluding the set with a piece of probably not premeditated Auto-Destruction, reducing his guitar to matchwood.


Death Cigarettes have certainly been making a few noises of late, with the likes of Artrocker and The Fly singing their praises, and they are set to appear at the Offset Festival (new guitar permitting). For a band with a distinct approach to their music and performance, it will be interesting to see if they will, over time, develop their sound to the same extent that NYC steadfasts, Yeah Yeah Yeahs, have so spectacularly done.
Liberty prints have become something of a British Institution in the fashion world, cialis 40mg inspiring the current vintage scarf and headband trend as well as influencing designers to include whimsical prints in their own creations (basically everybody on the high street). Prints conjure up an image of refined country values, thumb and have a truly English feel to them, stomach reminding us of our grannies chicly riding their bicycles in winding country lanes after World War 2 (maybe that’s just my overactive imagination!)

Until 2nd September an entire exhibition is being dedicated to this quintessentially British item on the fourth floor of the London Liberty store, and Amelia’s Magazine think you should get in touch with your inner fifties housewife and check it out!


Aptly entitled Prints Charming, the designs at Liberty’s exhibition certainly do what they say on the tin. Six designers were invited to contribute to the show to create their own unique take on Liberty’s iconic prints. Designs span from the pottery artist Grayson Perry’s enigmatic creations featuring tombstones, teddy bears, knuckle-dusters, swings, roundabouts and bicycles mounted on fabric, to uber-famous Meg Matthews’ teeny floral print wallpaper pieces given an injection of rock and roll heritage (like Meg herself) with snakeskin and skulls motifs. Other artists involved with the project include Paul Morrison, Mike McInnerney, Michael Angove, Anj Smith and Simon Hart, each taking an individual and modern approach to the eponymous Liberty print.



The exhibition reads like a piece of installation art. In fact, art aside there is much more happening. Take note of the furniture and décor (mirrors, chairs, chandeliers and tables) coated in Liberty prints, heavily featured throughout the window display designed by Interiors company Squint. Not forgetting that the store’s entire exterior is decorated in the Betsy micro-floral print. The show also includes full size dolls dressed in Liberty rags, a Wendy house covered in strips of print by artist Helen Benigson, and vintage bicycles by classic bike-maker Skeppshult redesigned with a Liberty twist (complete with feather headdress!)


(Image from: fashion-stylist)

Being an exhibition, the history of the iconic print is thrown in for good measure too. Documentation of the label’s historic collaborations can be found throughout, featuring modern legends such as Chloe Sevigny for Opening Ceremony, APC, NIKE and Kate Moss for Topshop. This is an art-fashion collaborative experience not to be missed!


Everything designed is available to buy; whether that be in fabric, notebook, scarf, luggage tag, boxer short, wellie boot or lampshade form! With the endless list of talent involved, there’s no doubt something to catch anyone’s magpie eye. Several prints are one-off pieces made especially for the show, such as Matthews’ wallpaper, therefore ensuring a chance of grabbing a piece of history in the making. And who doesn’t love a bit of print patterning? After all, with the current revival of all things retro, Liberty prints are up there with shoulder padding and acid wash in fashionistas’ hearts! So get down to the exhibition before the opportunity to soak up the artistic atmosphere disappears (like most the stock will be sure to do!)

Categories ,Betsy, ,Florals, ,Grayson Perry, ,Liberty, ,Liberty Print, ,Meg Matthews, ,Prints Charming, ,Squint

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Osman (by Amelia)

Osman A/W 2011 by Ellie Sutton
Osman A/W 2011 by Ellie Sutton.

Osman. Not a name that I’m overly familiar with, story cheapest although we have frequently written about designer Osman Yousefzada. He’s trained the likes of the super talented Henrietta Ludgate and when he showed as part of Fashion in Motion at the V&A we were there to admire his work.

Osman. Photography by Tim Adey
Osman. Photography by Tim Adey.

Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011 by Holly Monger
Osman A/W 2011 by Holly Monger.

So it was that with enthusiasm I went to my first Osman show, drug dosage settling on the front row to much amusement as another contributor befriended the head buyer of Browns. Next along some buyers threw a hissy fit when asked to move in favour of Liberty, at which they threatened to leave the show and what’s worse, cancel their Osman orders. I do find these insights into the actual trade part of LFW most intriguing – buyers are massively important at the shows where large orders from key retailers really matter… namely the shows in the BFC tent. And it’s the Liberty and Browns of this world which are Gods, something which lesser shop buyers may discover the embarrassing way. Needless to say I kept my head down and stuck to admiring the ink splodge catwalk, protected the entire length by guards.

Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.
How much do I love this dress?!

Osman A/W 2011 by Ellie Sutton
Osman A/W 2011 by Ellie Sutton.

The Afghan designer is fabled for his clean, regal lines and this was much in evidence as the show opened with a stunning white and royal blue dress that mirrored the catwalk design, which in turn was inspired by a series of lightbox installations by the artist Catherine Yass. Satu Fox wrote in 2009 of Osman’s refusal to follow current trends and this still felt very true in a beautifully elegant show where pared down tailoring was absolutely the order of the day.

Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011 by Holly Monger
Osman A/W 2011 by Holly Monger.

Wide legged trousers, A-line maxi-dresses, a caped dress underscored with a splash of orange, beautiful marled grey boucle wool fabrics… and an intriguing gold apron outfit which opened at the back. I could imagine almost every outfit being worn and admired… there was no filler here. The show ended with a return to the royal blue splotch theme, this time across the breast area of a searing fuchsia maxi-dress. This was an extremely confident collection that explained to me precisely why Osman has the buyers salivating. Absolutely gorgeous. If only he hadn’t ruined it with that one piece of what I presume was fur… entirely unnecessary.

Osman A/W 2011. Photography by Amelia Gregory.
Fur? Or an interesting use of alpaca wool? We’re not sure, and nor is anyone else… I really do hope the latter.

Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.
Osman A/W 2011. Photography by Amelia Gregory.

You can read Naomi Law’s equally admiring review here.

Categories ,Afghan, ,BFC Tent, ,Browns, ,Buyers, ,Catherine Yass, ,Decommissioned, ,Ellie Sutton, ,Fur, ,Henrietta Ludgate, ,Holly Monger, ,lfw, ,liberty, ,London Fashion Week, ,Naomi Law, ,Osman, ,Osman Yousefzada, ,Satu Fox, ,Somerset House, ,Tim Adey

Similar Posts:

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Osman (by Amelia)

Osman A/W 2011 by Ellie Sutton
Osman A/W 2011 by Ellie Sutton.

Osman. Not a name that I’m overly familiar with, story cheapest although we have frequently written about designer Osman Yousefzada. He’s trained the likes of the super talented Henrietta Ludgate and when he showed as part of Fashion in Motion at the V&A we were there to admire his work.

Osman. Photography by Tim Adey
Osman. Photography by Tim Adey.

Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011 by Holly Monger
Osman A/W 2011 by Holly Monger.

So it was that with enthusiasm I went to my first Osman show, drug dosage settling on the front row to much amusement as another contributor befriended the head buyer of Browns. Next along some buyers threw a hissy fit when asked to move in favour of Liberty, at which they threatened to leave the show and what’s worse, cancel their Osman orders. I do find these insights into the actual trade part of LFW most intriguing – buyers are massively important at the shows where large orders from key retailers really matter… namely the shows in the BFC tent. And it’s the Liberty and Browns of this world which are Gods, something which lesser shop buyers may discover the embarrassing way. Needless to say I kept my head down and stuck to admiring the ink splodge catwalk, protected the entire length by guards.

Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.
How much do I love this dress?!

Osman A/W 2011 by Ellie Sutton
Osman A/W 2011 by Ellie Sutton.

The Afghan designer is fabled for his clean, regal lines and this was much in evidence as the show opened with a stunning white and royal blue dress that mirrored the catwalk design, which in turn was inspired by a series of lightbox installations by the artist Catherine Yass. Satu Fox wrote in 2009 of Osman’s refusal to follow current trends and this still felt very true in a beautifully elegant show where pared down tailoring was absolutely the order of the day.

Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011 by Holly Monger
Osman A/W 2011 by Holly Monger.

Wide legged trousers, A-line maxi-dresses, a caped dress underscored with a splash of orange, beautiful marled grey boucle wool fabrics… and an intriguing gold apron outfit which opened at the back. I could imagine almost every outfit being worn and admired… there was no filler here. The show ended with a return to the royal blue splotch theme, this time across the breast area of a searing fuchsia maxi-dress. This was an extremely confident collection that explained to me precisely why Osman has the buyers salivating. Absolutely gorgeous. If only he hadn’t ruined it with that one piece of what I presume was fur… entirely unnecessary.

Osman A/W 2011. Photography by Amelia Gregory.
Fur? Or an interesting use of alpaca wool? We’re not sure, and nor is anyone else… I really do hope the latter.

Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.Osman A/W 2011. Photography by Amelia Gregory.
Osman A/W 2011. Photography by Amelia Gregory.

You can read Naomi Law’s equally admiring review here.

Categories ,Afghan, ,BFC Tent, ,Browns, ,Buyers, ,Catherine Yass, ,Decommissioned, ,Ellie Sutton, ,Fur, ,Henrietta Ludgate, ,Holly Monger, ,lfw, ,liberty, ,London Fashion Week, ,Naomi Law, ,Osman, ,Osman Yousefzada, ,Satu Fox, ,Somerset House, ,Tim Adey

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Amelia’s Magazine | Kinder Aggugini: London Fashion Week S/S 2012 Catwalk Review

Kinder Aggugini S/S 2013 by Emma Reynolds

After salivating and sweating at the Sister by Sibling salon show, I headed to the main tent to catch Kinder Aggugini‘s S/S 2013 offering. I was only given a standing ticket, but I don’t mind at this venue. It’s much better than being on the 24th row, stuck behind some berk fashioning ridiculous millinery, so I patiently waited in the standing queue with the rest of the commoners. It suddenly became ridiculous. The overbearing security ‘guard’ on the door operated in a way more suited to a Tiger Tiger in Croydon – shouting at anybody that dare ask him if they were in the right queue. When one girl who had clearly had enough of his bullish manner told him to ‘go and have a w*nk‘ it took all my strength to stifle giggles.

Kinder Aggugini S/S 2013 by Maya Beus

Inside, I was utterly gobsmacked. The venue was, at most, a quarter full. Why on Earth had we been subjected to such a palaver outside? It was like Olympics seatinggate all over again. I perched on the end of the second row only to be moved to the front as the show was about to start. It’s pretty depressing when this happens, considering the physical and financial strain put on new designers only to half fill a venue. And, I was about to discover, it was to be an unmissable show.

All photography by Matt Bramford

Anyway, I quickly got over my blues as the show started, featuring perhaps the best soundtrack I’ve ever heard at fashion week. It began with that song by Gwen Stefani that samples the Sound of Music, launching the first model out, only to be followed by the likes of Destiny’s Child, Rihanna and the Pussycat Dolls. If I’d had a drink I would have been unable to stop myself from leaping on to the catwalk.

Kinder Aggugini S/S 2013 by Emma Reynolds

The first model appeared in a blue gingham shirt, worn underneath a playful Liberty-print-esque pair of dungarees. It was this twee narrative that would continue for most of the show, and I loved it.

A mix of sexier dresses cut above the knee and floral pinafores followed. Gingham merged with a striking map print, while a one-colour Rococo-inspired print featured on sweaters, loose dresses and an oversized cropped-sleeved overcoat.

Oversized paper-bag waists then made an appearance on skirts and trousers with more and more entertaining prints creating a strong and coherent theme throughout. A cropped-sleeve red blazer with large white buttons, feminine dresses and floral playsuits ensure this S/S 2013 outing will appeal to women with very different styles.

Kinder Aggugini S/S 2013 by Maya Beus

The finale featured a rather eccentric octopus dress – a black velvet and peach sheer mix – which I very much enjoyed but it didn’t seem to fit in anywhere. But, who cares? Certainly not me.

All photography by Matt Bramford

Categories ,BFC, ,Destiny’s Child, ,Emma Reynolds, ,florals, ,Gingham, ,Gwen Stefani, ,kinder aggugini, ,liberty, ,London Fashion Week, ,Matt Bramford, ,Maya Beus, ,Octopus, ,print, ,Pussycat Dolls, ,Rihanna, ,Rococco, ,S/S 2013, ,Somerset House, ,SS13, ,Womenswear

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Amelia’s Magazine | Fashion design inspired by the classics: An interview with Anna Popovich

Anna Popovich by Karolina Burdon

Anna Popovich by Karolina Burdon.

Anna Popovich grew up in Leicester and has taken a far from direct route into fashion, first studying Literature at King’s College London, before refining her style working as a model and an intern for the likes of Roksanda Ilinicic, then topping up her skills at London College of Fashion and Central St Martins. Her innovative Hackney based brand has recently decided to concentrate on selling direct to the public, offering affordably priced limited runs throughout the year straight through their website.

Fashion Illustration by Ivana Bugarinovic

Fashion Illustration by Ivana Bugarinovic.

How did you get from a degree in comparative literature to your own clothing brand?
It’s not the most obvious route is it! Sewing and making clothes has been something I’ve always enjoyed. My Grandmother gave me my first sewing lesson when I was three. It really didn’t occur to me that I could be a fashion designer and as I’d enjoyed literature at school it seemed a sensible choice for a degree. While I was studying I continued to make clothes for myself in my spare time and got involved with the drama society, making costumes for their productions. After my degree I worked in costume for various theatre and opera companies before interning for fashion designer Roksanda Ilincic. It was the latter experience which made me decide to become a fashion designer myself.

Anna Popovich Elizabeth-Shirt-Anthony-Skirt-Long and Mark Dress

What have been the biggest problems you have overcome so far and what have been your biggest triumphs?
I think the biggest problems I’ve had are probably the same ones anyone starting a business of any kind has. As well as having to get your head around tasks you may not be comfortable with, (for me this would be finance and marketing) you have to maintain a strong sense of self belief. I think it’s the latter that can prove the hardest! My biggest triumph has been convincing the lovely Emily Parrett to become a partner in the business, as managing director. Everything seems less daunting when there’s someone else to discuss, worry and celebrate things with. Other highlights have included making a dress in Liberty’s shop window and being invited to speak to a roomful of young designers at the UKFT’s Rise event for creative start-ups.

Anna Popovich by Julie Ritchie

Anna Popovich by Julie Ritchie.

How do you manage to juggle a career as a model alongside your role as a fashion designer?
With some difficulty! Things have improved greatly since I bought a bike as I’m always zipping between my studio, castings and shoots. It’s so interesting working with other fashion labels – I learn so much from the different ways they operate and I’ve been really lucky to get advice from some of the most talented people in the industry.

Anna Popovich by Gianluca Floris

Anna Popovich by Gianluca Floris.

You have decided to concentrate on a direct relationship with your customers: how is this reflected in the way that you work, for instance in the way that the garments are produced and sold?
We’ve recently made the decision to sell direct to customers either online or at events. Our garments are luxury but we want them to be accessible and we see this as the best way of achieving this. Although we understand why they have to do it we hate seeing our prices hugely inflated by retailers so they can take a cut and we don’t want to push our prices down by not paying properly for materials and workmanship or compromising on quality. At the moment most of our pieces are made to order in London but we are starting to stock pieces in more sizes (still made in London) to reduce the time customers have to wait for their order.

Anna Popovich ira dress, ira top

How does your love of classic design manifest itself in your ranges?
The inspiration for each collection is very different but there’re certain ideas which run through them all. From a very early age I’ve poured over images of the opulent dresses of the couture houses operating at the turn of the century – Worth, Poiret, Lanvin. I love the way these designers worked with fabric; draping, folding and embellishing. You’ll always find a bit of the drama of these pieces in my collections often combined with hints of classic menswear.


Anna Popovich by Yelena Bryksenkova.

What materials do you prefer to work with, and why?
The feel of a fabric is incredibly important to me and I love combining textures. Silks and soft wools have been my favourites but I’m seeing more and more great quality synthetic fabrics when I visit my suppliers. These fabrics can have the feel of natural fibres and be much more durable and easy to care for.

Anna Popovich Julius Coat Alexas Trousers -Anthony Dress

I love the combination of unusual colours, what inspired your latest collection?
This season I was inspired by the film Cleopatra staring Elizabeth Taylor and Richard Burton. The colour palette largely came from scenery and costumes in the film itself but there are also colours I chose which came from the research I did into the themes of the film such as the art of astrology.

Anna Popovich SS14 by Slowly The Eggs aka Maria Papadimitriou

Anna Popovich SS14 by Slowly The Eggs aka Maria Papadimitriou.

What do you hope for the label in the future?
More of the same – we’re having a really great time!

Anna Popovich by Melissa Angelik

Anna Popovich by Melissa Angelik.

Categories ,Anna Popovich, ,Cleopatra, ,Emily Parrett, ,Gianluca Floris, ,hackney, ,interview, ,Ivana Bugarinovic, ,Julie Ritchie, ,Karolina Burdon, ,Kings College London, ,Lanvin, ,liberty, ,Maria Papadimitriou, ,Melissa Angelik, ,Poiret, ,Rise, ,Roksanda Ilincic, ,Roksanda Ilinicic, ,Slowly the Eggs, ,UKFT, ,Worth, ,Yelena Bryksenkova

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