Marnie Hollande

Amelia’s Magazine | London Fashion Week S/S 2011: Presentation and Film Review: Ziad Ghanem

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Menswear day usually brings out the most stylish men, cialis 40mg buy more about whether sharp sartorial, ask post-punk or borderline ridiculous. Here’s a very quick look at what some of them were wearing for your delectation…

Love this Christopher Shannon print:

I love this guy’s boots. Bang on trend.

These AREN’T men – they are Amelia Gregory and Amelia’s Magazine illustrator Naomi Law!


Illustration by Michelle Urvall Nyrén

I have to say that I was more than a little disappointed when cult couturier Ziad Ghanem revealed, look when I interviewed him last month, that he would be showing a film for ‘Mother Russia’, his S/S 2011 collection, rather than producing a show. How would I cope without Ziad on the catwalk line-up? It was the highlight of my A/W 2010 fashion week by far.

Well, true to form, Ziad still managed to dazzle at swanky Shoreditch haunt Avalon on Monday night. I thought I might miss this one because I had hotted it from central London after the FAD Awards, and it turns out I did miss the live presentation of the collection. Gutted.


Photographs kindly courtesy of Masayo Matsuda

The venue, though, was packed full of the intriguing breed of person that Ziad’s visionary work attracts – people with antlers on their heads, for example. It’s a delight to simply stand and admire these people, who always seem to look amazing no matter what they are wearing. I had a job on trying to distinguish who was in the presentation and who was a guest!

The presentation featured a selection of the outfits from Ziad’s S/S 2011 collection, modelled by some familiar faces who have wurked his dramatic ensembles before. They were, inevitably, incredible.


Illustrations by Michelle Urvall Nyrén

As per usual, the sense of drama in Ziad’s collection was palpable. Models with painted white faces leaped around one of Avalon’s many rooms, wearing theatrical numbers that enveloped them. Enormous a-line dresses that models held up by their sides to create the illusion of wings featured and fabrics were adorned with exotic patterns in all sorts of vibrant colours (some of which I recognised from Ziad’s A/W 2010 collection and are quickly becoming a signature). One-shoulder capes featured on the guys who cavorted and writhed with busty ladies in strapless numbers.


Photographs kindly courtesy of Masayo Matsuda

Alongside this ferocious performance, in another room, the film was screened. The room featured grand antique armchairs and had zero lighting, creating yet more drama that the film would inevitably bring.

Directed by Marnie Hollande, fashion filmmaker who we interview recently, this encapsulated what Ziad Ghanem’s eponymous label has come to represent. Dramatic, Russian-inspired music played like a haunting melody as the models, again firm Ziad favourites, pranced around what looked like an old theatre. It had masses of drama and style, as always, as models leaped across the screen and cavorted with each other.

Enjoy:

‘Mother Russia’ by Ziad Ghanem on Vimeo.

Stills from the film:

The good news is that Ziad revealed on his Facebook page that, due to the generosity of a private buyer who has snapped up the entire collection, the Grand Master and his works of art will return to the catwalk next season. A/W 2011 can’t come some enough.

Written by Matt Bramford on Friday September 24th, 2010 12:45 pm

Categories ,Avalon, ,couture, ,drama, ,fashion, ,film, ,London Fashion Week, ,Marnie Hollande, ,Presentation, ,review, ,S/S 2011, ,shoreditch, ,Vibrant, ,Ziad Ghanem

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Amelia’s Magazine | Graduate Fashion Week Extra: Royal College of Art MA 2010

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Illustration by Gemma Milly of Zara Gorman’s Millinery.

Over the last few years the RCA’s MA Fashion course has quietly been producing a series of extremely talented designers; from those reinventing menswear: James Long and Katie Eary to the individual take on womenswear by Michael van der Ham, hospital Erdem and Holly Fulton (whose influence could already be seen on the Bournemouth catwalk). All of whom (except perhaps, stomach Erdem) subsequently – pretty much straight away- showed at London Fashion Week via Lulu Kennedy’s Fashion East.

Zara Gorman’s graduated from the Milinery MA (a class of one) with her exquisitely shaped hats constructed from a combination of leather, pilule wood and plastic.

Illustration by Katey Harvey

Astrid Andersen plays with fashion’s ability to celebrate and pastiche it’s own brand at the same time on the same item (think LV’s monogrammed bags or Moschino Jeans). Her menswear re-constructed the base elements of sportswear – the hoody, the sweatpants through incredibly luxurious materials (sadly this show was sponsored by Kopenhagen Fur – this is not a luxury material!). This was sportswear for the nouveau riche and a celebration of trashy aesthetics so loved by Eddie of Ab Fab…

The less media friendly elements of sportswear were visited on the RCA catwalk this year, Courtney McWilliams’s take on casual wear focused on the harder youth. Who displayed across t-shirts and jackets what in recent years has come to represent a particular type of English youth: the Pit Bull. The word ‘Chav’ being the inspiration for a couple of the 2010 MA graduates, this collection was a literal inspiration of a term created in the media. Both designers exaggerated how an idea of masculine dominance and power can be created through dress and aesthetic choice, playing with the viewers ability to associate certain items of dress with particular ideas surrounding masculinity.

Illustration by Joseph Keirs

In contrast to Andersen and McWilliams, Trine Jensen provided a jovial take on menswear through his breathtaking sweaters covered with charms (as in bracelet) to hoops. A nod to the collector within us all.

Victoria Stone’s cut up chiffon shirts in conjunction with her oversized suits presented a masculine take on womenswear, a look for those inspired by Woody Allen’s Annie Hall Illustration By Marnie Hollande

Sam McCoach’s tubular tightly woven knitwear sashed down the catwalk. The ankle grazing dresses set off by the muted colour block graphic coats, complete with exaggerated rounded shoulders. A nod perhaps to Louise Goldin experimental knitwear.

Illustration by Lesley Barnes

Poppy Cartwright’s white collection was skin tight and slightly trashy through the use of high shine trousers. The collection celebrated femininity and the female form through the cut of the dress falling tight across the body. The body emphasised through the sections cut out and the white on white embroidery.

All illustrations by Naomi Law

Frances Convey’s colour and shapes were a moment of joy, the designer’s soft fabrics accentuating hips and shoulders.

Illustration by Katie Harvey

The monochrome creped collection by Cecile Bahnsen came complete with 1990′s inspired sportswear jackets. Elements of grunge reappeared through the designers choice of length – often the dresses hang tightly around the ankle. Flashes of Amber from clueless appear with the presentation of the Fez hat. It’s that time already. The revival of the 1990′s.

Illustration by Marnie Hollande

Bahnsen’s graphic monochrome was interspersed with pastel pink dresses constructed through negative spacing.

Yuri Yufere dramatic feminine shapes were hardened by the narrow metal poles woven into the garments, creating a visible extension of the body. Pushing the material into that grey area of personal space which surrounds us all. This year’s 2010 graduates presented an incredible exhibition of the craft, research and invention currently occurring within the RCA’s Fashion Department. Amelia’s Magazine waits eagerly to see where they go next.

Illustration by Lesley Barnes

Written by Sally Mumby-Croft on Friday June 18th, 2010 10:23 am

Categories ,Astrid Andersen, ,Cecile Bahnsen, ,Courtney McWilliams, ,Erdem, ,fashion, ,Fashion East, ,Frances Convey, ,Gemma Milly, ,Graduate Fashion Week, ,James Long, ,Joseph Keirs, ,Katey Harvey, ,Katie Eary, ,knitwear, ,Lesley Barnes, ,Lulu Kennedy, ,ma, ,Marnie Hollande, ,menswear, ,Michael van der Ham, ,millinery, ,Poppy Cartwright, ,rca, ,Royal College of Art, ,Sam McCoach, ,Victoria Stone, ,Womenswear, ,Yuri Yufere, ,Zara Gorman

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Amelia’s Magazine | Exhibition: Herb Ritts

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A Herb Ritts photograph is instantly recognisable and admittedly my first thought on seeing his early work at the rather stuffy Hamiltons Gallery was, ‘It’s all a bit Athena isn’t it’. As obvious as it sounds there is something incredibly late 80s/early 90s about his work. Take ‘Fred with tires’, one of his most popular prints featuring a muscle bound mechanic looking intensely at well, some tires. Homo-erotic seemed to be the order of the day. In effect, his photography is so of it’s era that your immediate reaction is to be a bit sneering. The days of buff young oil covered men and girls in tennis skirts adorning our living room walls are well and truly over. The 80s have become just one big ironic joke.

However, it was time to stop being smug, the fact is I actually love Herb Ritts. This is the man that gave us a crotch grabbing Madonna on the cover of True Blue and the Mer-boy in the ‘Cherish’ video. Remember the genius that was ‘Keep it in the closet’ featuring Miss Naomi Campbell? Herb was perhaps the only man to make Michael Jackson look sexy in a video. The infamous ‘Cindy Crawford straddling KD Lang’ shot ….the list goes on. Rather than being some anachronistic relic of the late 20th century, Herb actually helped define the aesthetic of the time, making black and white indicative of all that was fashionable and cutting-edge. Perhaps it was incredibly commercial and a touch cheesy but it worked. So, as much out of nostalgia than admiration I actually started to enjoy the exhibition.

A collection of his most well-known work, it covers all bases from his striking figurative work, all intense poses and clean lines, to his adventures in the world of celebrity portraiture. Tom Cruise (1994) and Nicole Kidman (1999) never looked better. His work with the A-list isn’t about creating the definitive image of his subject but stripping away the glitz and glamour and finding something new. In addition his more surrealist side is represented with works such as Mask (1989) and Djimon with Octopus (1989) as well as his near obsession with the body, specifically ‘skin’ (covered in oil, dusted in sand, dripping with sweat…), present throughout the exhibition. A great collection that rarely sees the light of day, wherever you are Mr Ritts, I apologise for ever doubting you.



Written by Lena Dystant on Tuesday August 7th, 2007 4:21 pm


Categories ,exhibition, ,Hamiltons Gallery, ,Herb Ritts, ,Print

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Amelia’s Magazine | Pre-London Fashion Week S/S 2011 Interview: Ziad Ghanem

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JASPER GARVIDA lfw s/s 2011 Rachel Clare Price
A selection of Jessie’s corsarges

Walking around Broadway Market, approved one cold wintery Saturday, feeling hungry and looking at all the delicious food I could ill afford, (oh the joys of being a student!). I came across a treasure trove of a stall run by the delightful Jessie and Buddug and instantly fell in love with their charming designs. Since this initial visit, I have returned time and time again to buy unique necklaces as birthday (incredibly successful!) gifts.

So you can imagine my delight coming across their Columbia Road shop, originally located in the upstairs of one the picturesque houses adorning the street. Jessie and Buddug have recently expanded ‘downstairs’, and in celebration of their success, I had the pleasure of interviewing the talented textile artists for Amelia’s Magazine.

I first noticed your designs at Broadway Market on Saturday, was this your first venture?

Buddug: We started broadway market after we graduated 5 years ago and got the shop 2 years ago.

What was your experience of the market? Do you still have a stall there?

Buddug: We still have a stall at Broadway Market, we feel it has grown so much since we started. It’s been cold and wet at times but it’s been great learning what people buy. Its been great socially too, speaking with our friends and customers.

As friends from home, what has it been like to work together?

Buddug: We met when we were on art foundation and always said we we would like to collaborate together in the future. We find it easier that we both do our own work and then display together because we both have different working hours.

You previously occupied an upstairs room in Columbia Road, how did the opportunity to expand into a downstairs space arise?

Buddug: We got offered a place at ground level by Bev who had the shop before us, she made handmade clothes and toys etc, she offered it to us before anyone else which was an honour and we jumped at the chance.

What was your experience of the Goldsmiths Textiles course (which sadly no longer exists?)

Jessie: I was at Goldsmiths, at a very tricky time, the course was going through a real denial period, as they were finding the debate about what to do with textiles and fine art really hard. Which made it hard for us as students and as someone who is passionate about cloth and textiles and most of all making, I found the course incredibly frustrating!

But I had very supportive parents; Primmy Chorley and I am close friends with Audrey Walker and Eirian and Denys Short. So I always had a huge back up behind me in the textile world. I did feel incredibly pulled between the two worlds though and I was lucky enough to come out fighting, determined to set up my own business and to carry on my making process.

Overall I am pleased I went through the Goldsmiths experience, as the academic and written side of it, (for me) has helped me today to think the way I do and pushed me in other ways.

What course did you study Buddug and what was your experiences?

I studied at London Guildhall (now London Metropolitan University)in Jewellery, silversmithing and other crafts. I enjoyed the experimenting with different materials. It was very much a hands on course.

Buddug’s designs for Urban Outfitters.

Buddug, what was it like to work for Urban Outfitters?

It was quite difficult working for URBAN OUTFITTERS, due to the ammount i had to make! and I waited a long time for payment!

Jessie, what role does recycling play in your practice? Why is it important to you and how did you first become interested in using recycled materials?

Recycled materials has and I believe will always be a huge part of my work, I like it that it creates a timeless feeling, I guess it started from the scrap books I made with my Mum when I was young and colleting and using found and recycled items for me creates a story, old clothes and books hold some kind of story and depth to them.

A detail from Jessie’s seating plan for her Wedding Collection.

And how did the wedding collection develop?

I was asked to create a whole wedding theme for a lady who used to buy my cards at Broadway Market, I handmade her invites, table names and a seating plan and really from here I got other customers and then early this year I designed some invites which were slightly quicker to make and I did a huge wedding show in London and its kind of gone from here I have made for several weddings this summer and I am already making for 2011-2012 weddings.

An enamel plate by Buddug.

Buddug, how did you start designing the Home Ornaments collection?

I’ve always been interested in developing the enamel process since university and always liked/inspired by objects mother and grandmother had in the kitchen, I invested in a bigger kiln, which was a challenge to make bigger things!

What materials do you like working with and why?

Jessie: Fabrics, worn clothing, paper they all hold such a good quality and are embedded with an excisting narrative

Designs by Jessie Chorley

Buddug: I’ve always tried to use things that are around me and be inventive with the materials i already have/been thrown away and in old/secound hand things, there’s such a quality in materials and making process and a added charm in old things and it’s actually nicer to use…

Broach by Buddug

I like to combine different materials metal and fabric. fabric and paper or wood…but i mostly enjoy metal and enamel. I really like the solidness of metal and the duribility of it as a raw material.

What was it like to make the stage set for: the launch of Laura Dockrill’s book Ugly Shy Girl and how did you became involved in this?

Buddug: I can’t remember were we met Laura Dockrill, but she asked if we were interested in doing the stage for her. It was quite a challenge because we didn’t know the size of the stage but the best thing was Jessie’s bunting it was really big and yellow!

Have you made or participated in Set Design before? Is this something you will continue to participate in?

Jessie: Yes for me it is a real passion, I love to create things and watch others create a story with the objects I make. A lot of quite random masks and house like boxes which I display in the shop are often borrowed for shoots, and I always like the outcome. For me styling our shop is like creating a stage set I love making it all different each week and then watching the customers come in and their response to it!

My degree show was also about staging and the response of the audience and the creator, for this I made a huge seven foot book which you could walk inside.

Buddug: I haven’t done much set design before, but wold love to, it’s been quite good having practice doing the shop window.

What are the inspirations for your collections?

Jessie: Story telling, people places and preserving memories creating beautiful things from lost or found objects.

Buddug My inspiration for my work is a collection of things I find and come across, I usually collect and draw in sketch books. Nature, a sense of home comforts and memories/naustalgic sences. It’a quite a mish mash of ideas and influencs.

Design by Buddug

We have a few pieces in the shop were we bring things together such as the fabric bows with enamel buttons, but we find it easier to make our own work and display together.

Do you both run and participate in the organisation of the workshops?

Jessie: No I run the workshops I have done for quite a few years now. For me I love to go out and meet other people and hopefully change the way they see the world through making, I have worked with a lot of charities, which is both frustrating and very rewarding at the same time, I am always touched by certain characters which can feed directly in to my work.

The whole workshop trend has gone huge now though and people expect so much more, and have so much more since places like hobby craft became so big and shows like The Knit and Stitch.

I am currently organising my Christmas workshops which will be in November in North London. I will have some day workshops creating simple gift wrap and gifts.

Jess Chorley

Buddug Jess does a lot of workshops, I’m yet to start, but it might be something I would be interested in doing when I’m a bit older.

What’s next for Jess Chorley and Buddug?

Buddug: At the moment we are preparing for christmas, thinking of making stocking filler ideas and promoting our little shop. Nothing too big, taking up projects as they come along…

To find out more please visit: www.jessiechorley.com, www.buddug.com and www.jandbtheshop.com

We started broadway market after we graduated 5 years ago and got a shop 2 years ago.

We still have a stall at Broadway Market, medical we feel it has grown so much since we started. It’s been cold and wet at times but it’s been great learning what people buy. Its been great socially too, prescription speaking with our friends and customers.

We got offered a place at ground level by Bev who had the shop before us, she made hand made clothes and toys etc, she offered it to us before anyone else which was an honour and we jumped at the chance.

We met when we were on art foundation and always said we we wold like to collaborate together in he future.We find it easier that we both do our own work and then display together because we both have different working hours.

What was your experience of the Goldsmiths Textiles course (which sadly no longer exists?)

Jessie
I was at Goldsmiths at a very tricky time the course was going through a real denial period they were finding the whole debate to do with textiles and fine art very hard which made it hard for us a students so as someone who is passionate about cloth and textiles and most of all making I found the course incredibly frustrating! But I had very supportive parents Primmy Chorley and I am close friend with Audrey walker and Eirian and Denys Short so I always had a huge back up behind me in the textile world. I did feel incredibly pulled between the two words though and I was luck enough to come out fighting and to be determined to set up my own business and to carry on my making process. But overall I am please I went through the Goldsmiths experience as the academic and written side of it for me has helped me today to think the way I do and pushed me in other ways.

BUDDUG
I studied at London Guildhall (now London Metropolitan University) Jewellery, silversmithing and other crafts. I enjoyed the experimenting in different materials, it was very much a hands on course.

BUDDUG

it was quite difficult working for URBAN OUTFITTERS, due to the ammount i had to make! and I waited a long time for payment!

What role does recycling play in your practice? Why is it important to you and how did you first become interested in using recycled materials?

Jessie

Recycled materials has and I believe will always be a huge part of my work I like it that it creates a timeless feeling, I guess it started from the scrap books I made with my Mum when I was young and colleting and using found and recycled items for me creates a story, old clothes and books hold some kind of story and depth to them.
How did the wedding collection develop?
I was asked to create a whole wedding theme for a lady who used to buy y cards at Broadway Market, I hand made her invites, table names and a seating plan and really from here I got other customers and then early this year I designed some invites which were slightly quicker to make and I did a huge wedding show in London and its kind of gone from here I have made for several weddings this summer and I am already making for 2011-2012 weddings.

BUDDUG
(home ornaments)
I’ve always been interested in developing the enamel process since university and always liked/inspired by objects mother and grandmother had in the kitchen, i invested in a bigger kiln, and was a challenge to make bigger things!

What materials do you like working with and why?
Jessie
Fabrics, worn clothing, paper they all hold such a good quality and are embedded with an excisting narrative

BUDDUG
I’ve always tried to use things that are around me and be inventive with the materials i already have/been thrown away and in old/secound hand things, there’s such a quality in materials and making process and a added charm in old things and it’s actually nicer to use…

I like to combine different materials metal and fabric. fabric and paper or wood…but i mostyl enjoy metal and enamel. i really like the solidness of metal and the duribility of it as a raw material.

BUDDUG
I can’t remmeber were we met Laura Dokrill, but she asked if we were interested in doing the stage.It was quite a challenge because we didn’t know the size of the stage but the best thing was jessie’s bunting it was really big and yellow!

Have you made or participated in Set design before? Is this something you will continue to participate in?

Jessie:

Yes for me it is a real passion I love to create things and watch others create a story with the objects I make a lot of quite randon masks and house like boxes which I display in the shop and people ofter borrow them for shoots, and I always like the outcome. For me styling our shop is like creating a stage set I love making it all different each week and then watching the customers come in and there responsis to it!
My degree show was also about staging and the response of the audience and the creator, for this a made a huge seven foot book which you could walk inside of.

BUDDUG
I haven’t done much set design before, but wold love to, it’s been quite good having practice doing the shop window.

What are the inspirations for your collections?

Jessie:
Story telling, people places and preserving memories creating beautiful things from lost or found objects.

BUDDUG
My inspiration for my work is a collection of things I find and come across, i usually collect and draw in sketch books. Nature, a sense of home comforts and memories/naustalgic sences. It’a quite a mish mash of ideas and influencs.

We have a few pieces in the shop were we bring things together such as the fabric bows with enamel buttons, but we find it easier to make our own work and display together.

Do you both run and participate in the organisation of the workshops?

Jessie
No I run the workshops I have done for quite a few years now for me I love to go out and meet other people and to hopefully change the way they see the world through making, I have worked in a lot of charities which is both frustrating and very rewarding at the same time, I always touched by certain characters which can feed directly in to my work.
The whole workshop trend has gone huge now though and people expect so much more, and have so much more since places like hobby craft got so big and shows like the Knit and Stitch.

I am currently organising my Christmas workshops which will be in Nov in North London I will have some day workshops creating simple gift wrap and gifts.

BUDDUG
Jess does a lot of workshops, I’m yet to start, but might be something I would be interested in doing when I’m a bit older.


Immodesty Blaize wearing Ziad Ghanem AW 2010, buy illustrated by Krister Selin

At Fashion Week in February, flailing after a weekend of shows and struggling to even stand up, I was dragged to a late evening show by previous fashion editor Sally Mumby Croft. ‘You’ll LOVE it!’ she exclaimed. I couldn’t say no, could I? So off we popped to see the Autumn/Winter 2010 collection of one Ziad Ghanem.

Wow. I had never seen anything like it in my life, and it was, by and large, the highlight of my fashion week (and my year, probs.) Ziad Ghanem is a trained couturier, which smacks you in the face when you first see his clothes. It almost feels a little disrespectful to call Ghanem’s creation ‘clothes’ – such a meaningless word to describe these works of art.


Photography by Matt Bramford

I couldn’t wait to find out more about the designer. The name sounded so familiar; it turned out I’d bought a Ziad Ghanem t-shirt a few years ago in a sample sale. I was delirious!

The show featured the most beautiful creations, modelled by tattooed models of all shapes and sizes, with a breathtaking finale featuring Immodesty Blaize. The show was a lesson in how to undress, and Immodesty certainly did – with the final show piece being three dresses, each removed to reveal the next. The audience went crazy, as did I.

I’ve been waiting since February to have a chat with Ziad about his collection and what the future holds, and last week, I finally got the chance.


Ziad Ghanem, illustrated by June Chanpoomidole

Hi Ziad! What are you working on at the moment?
I am working on my new collection for spring/summer 2011. I am making a film for it…

What is it about fashion and making beautiful clothes that keeps you hooked?
I love to dress people. I am ever so grateful to my models and to my supportive clients. They are my muses. I also love the fact that I can do what ever I wish and I don’t have to listen to any fashion ‘rules’ that the industry forces on other designers.

You work both in ready-to-wear and couture. Do you have a preference?
I would rather work in couture. I understand it more.


Ziad Ghanem couture, illustrated by Joana Faria

What techniques do you use? Are the array of embellishments and features handmade?
Most features are hand made, especially in couture – we always use traditional methods.I love printing and beading. I am a trained couturier.

Your astounding AW2010 show was the highlight of my fashion week, by far. Can you tell us a bit about it? Were you pleased with the outcome?
Thank you, I was very pleased – I am so happy with all the positive feedback. I want everybody to know that you made my day.

The finalé featuring Immodesty Blaize and the 3-piece ensemble was incredible. How did this collaboration come about?
My collection was about the art of dressing and undressing. On catwalks, particularly in the fashion shows of the 1950s, models really worked the outfits. I wanted a burlesque artist to undress – they do it best. I didn’t want it to be about nudity – it is about the art of undressing. I met Immodesty and asked her to model in my show and I am very grateful that she did. She is an amazing performer and artist.






Photography by Matt Bramford

The models you used were incredibly diverse, as if each piece had been tailored to an individual. We also see recurring models, like Jme and Polly Fey, throughout your work. What’s the story behind your models?
I love working ‘in family’ I only use models that understand and read my work. My models are artists that want to wear and perform in my clothes. I let the model be themselves and I ask and take their opinion into consideration.
My shows are a platform and a chance for people I love to show off. I love helping and I love getting help back. It is the secret of a healthy society.

Going back to your SS2010 collection, there was a strong sustainability ethic with recycled couture and a reaction to consumerism. Are these issues important to you?
Yes. I respect the world and the planet I live in. I am anti-fur and anti-cruelty to people and animals. I want happy people to work with my clothes so I am anti-sweatshop labour. But, I am realistic in knowing where to draw the ethical line.

Your inspiration over the past few seasons has been cited as anything from Victoriana to the Middle East. Can you talk us through where your inspiration comes from, and how it translates to the catwalk?
I am inspired by many cultures and I love music and films.I want be a film maker when I grow up. At the moment I’m still a baby playing dressing up… hahahahaha!


Ziad Ghanem AW 2010, illustrated by Naomi Law

We’ve recently had a chat with Marnie Hollande about the film on which she collaborated with you. Where you happy with the result? What was the aim of this film?
Marnie is a wonderful artist and a lovely person. I am more than happy and thankful for her work and talent. There will be more and more to come. She is a lady… and I want apologise about the dirty talk in my studio. I blame Aiden Connor, my assistant…!

What can we expect from Ziad Ghanem SS2011?
Romance and a carnival of print and a performance. I love it when my clothes perform and my models always do a great job. 
Plenty of organic silk. A very simple silhouette

What does the future hold for Ziad Ghanem?
The present is wonderful I can hear and feel my self breathing and nothing can replace that. The future is a bonus and I welcome it with open arms.


Ziad Ghanem AW 2010, illuustrated by Amy Martino

To see our review of Ziad’s autumn/winter show, click here, and to see more photographs, click here.

Written by Matt Bramford on Monday August 23rd, 2010 2:25 pm

Categories ,1950s, ,A/W 2010, ,Aiden Connor, ,Amy Martino, ,Burlesque, ,couture, ,fashion, ,film, ,Immodesty Blaize, ,Jme, ,Joana Faria, ,June Chanpoomidole, ,Krister Selin, ,London Fashion Week, ,Marnie Hollande, ,Middle East, ,Naomi Law, ,Nudity, ,performance, ,Polly Fey, ,print, ,Ready-to-wear, ,Romance, ,Sally Mumby-Croft, ,Undressing, ,Victoriana, ,Ziad Ghanem

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Amelia’s Magazine | An interview with couturier Ziad Ghanem

by


Immodesty Blaize wearing Ziad Ghanem AW 2010, illustrated by Krister Selin

At Fashion Week in February, flailing after a weekend of shows and struggling to even stand up, I was dragged to a late evening show by previous fashion editor Sally Mumby Croft. ‘You’ll LOVE it!’ she exclaimed. I couldn’t say no, could I? So off we popped to see the Autumn/Winter 2010 collection of one Ziad Ghanem.

Wow. I had never seen anything like it in my life, and it was, by and large, the highlight of my fashion week (and my year, probs.) Ziad Ghanem is a trained couturier, which smacks you in the face when you first see his clothes. It almost feels a little disrespectful to call Ghanem’s creation ‘clothes’ – such a meaningless word to describe these works of art.


Photography by Matt Bramford

I couldn’t wait to find out more about the designer. The name sounded so familiar; it turned out I’d bought a Ziad Ghanem t-shirt a few years ago in a sample sale. I was delirious!

The show featured the most beautiful creations, modelled by tattooed models of all shapes and sizes, with a breathtaking finale featuring Immodesty Blaize. The show was a lesson in how to undress, and Immodesty certainly did – with the final show piece being three dresses, each removed to reveal the next. The audience went crazy, as did I.

I’ve been waiting since February to have a chat with Ziad about his collection and what the future holds, and last week, I finally got the chance.


Ziad Ghanem, illustrated by June Chanpoomidole

Hi Ziad! What are you working on at the moment?
I am working on my new collection for spring/summer 2011. I am making a film for it…

What is it about fashion and making beautiful clothes that keeps you hooked?
I love to dress people. I am ever so grateful to my models and to my supportive clients. They are my muses. I also love the fact that I can do what ever I wish and I don’t have to listen to any fashion ‘rules’ that the industry forces on other designers.

You work both in ready-to-wear and couture. Do you have a preference?
I would rather work in couture. I understand it more.


Ziad Ghanem couture, illustrated by Joana Faria

What techniques do you use? Are the array of embellishments and features handmade?
Most features are hand made, especially in couture – we always use traditional methods.I love printing and beading. I am a trained couturier.

Your astounding AW2010 show was the highlight of my fashion week, by far. Can you tell us a bit about it? Were you pleased with the outcome?
Thank you, I was very pleased – I am so happy with all the positive feedback. I want everybody to know that you made my day.

The finalé featuring Immodesty Blaize and the 3-piece ensemble was incredible. How did this collaboration come about?
My collection was about the art of dressing and undressing. On catwalks, particularly in the fashion shows of the 1950s, models really worked the outfits. I wanted a burlesque artist to undress – they do it best. I didn’t want it to be about nudity – it is about the art of undressing. I met Immodesty and asked her to model in my show and I am very grateful that she did. She is an amazing performer and artist.






Photography by Matt Bramford

The models you used were incredibly diverse, as if each piece had been tailored to an individual. We also see recurring models, like Jme and Polly Fey, throughout your work. What’s the story behind your models?
I love working ‘in family’ I only use models that understand and read my work. My models are artists that want to wear and perform in my clothes. I let the model be themselves and I ask and take their opinion into consideration.
My shows are a platform and a chance for people I love to show off. I love helping and I love getting help back. It is the secret of a healthy society.

Going back to your SS2010 collection, there was a strong sustainability ethic with recycled couture and a reaction to consumerism. Are these issues important to you?
Yes. I respect the world and the planet I live in. I am anti-fur and anti-cruelty to people and animals. I want happy people to work with my clothes so I am anti-sweatshop labour. But, I am realistic in knowing where to draw the ethical line.

Your inspiration over the past few seasons has been cited as anything from Victoriana to the Middle East. Can you talk us through where your inspiration comes from, and how it translates to the catwalk?
I am inspired by many cultures and I love music and films.I want be a film maker when I grow up. At the moment I’m still a baby playing dressing up… hahahahaha!


Ziad Ghanem AW 2010, illustrated by Naomi Law

We’ve recently had a chat with Marnie Hollande about the film on which she collaborated with you. Where you happy with the result? What was the aim of this film?
Marnie is a wonderful artist and a lovely person. I am more than happy and thankful for her work and talent. There will be more and more to come. She is a lady… and I want apologise about the dirty talk in my studio. I blame Aiden Connor, my assistant…!

What can we expect from Ziad Ghanem SS2011?
Romance and a carnival of print and a performance. I love it when my clothes perform and my models always do a great job. 
Plenty of organic silk. A very simple silhouette

What does the future hold for Ziad Ghanem?
The present is wonderful I can hear and feel my self breathing and nothing can replace that. The future is a bonus and I welcome it with open arms.


Ziad Ghanem AW 2010, illuustrated by Amy Martino

To see our review of Ziad’s autumn/winter show, click here, and to see more photographs, click here.



Written by Matt Bramford on Monday August 23rd, 2010 2:25 pm


Categories ,1950s, ,A/W 2010, ,Aiden Connor, ,Amy Martino, ,Burlesque, ,couture, ,fashion, ,film, ,Immodesty Blaize, ,Jme, ,Joana Faria, ,June Chanpoomidole, ,Krister Selin, ,London Fashion Week, ,Marnie Hollande, ,Middle East, ,Naomi Law, ,Nudity, ,performance, ,Polly Fey, ,print, ,Ready-to-wear, ,Romance, ,Sally Mumby-Croft, ,Undressing, ,Victoriana, ,Ziad Ghanem

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Amelia’s Magazine | An interview with fashion film maker Marnie Hollande

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Marnie Holland, recipe illustrated by Lana Hughes

Fashion and film have long been bedfellows, here but with the roaring success of Nick Knight’s SHOWstudio video blog, find and luxury brands like Chanel making their own mini movies, the ‘Fashion Film’ is finally stepping into the spotlight.

When she’s not working as an illustrator or playing in her band, Fables, Marnie Holland makes fashion films, teaming up with avant-garde designer Ziad Ghanem on film short, JME.

JME from Marnie Hollande on Vimeo.

Specializing in performance pieces involving sculptural costume during her BA at Goldsmiths, it seems inevitable that Marnie would make the move into fashion films, and Ghanem’s theatrical, otherwordly clothing make the perfect muse.

Your collaboration with Ziad Ghanem is fantastic – is this your first film?
Thanks! I made films from all my performance pieces but it’s my first film with a vague narrative, yes.

How did you meet him, and end up collaborating on the project?
I contacted to him originally to work in his studio, which I did for a while, which lead to working more exclusively with the performance and choreographic side of his last show. But film is one of the main inspirations in Ziad’s work, so making a film was always something he’s wanted to do. After I showed him my work I was just in the right place at the right time.

What were your (and the designer’s) aims – to showcase the clothes?
No not as such, it was more to reiterate the brand. A lot of how it was constructed was taken from what’s already present in Ziad’s work – such as the Baroque, symbolism, melodrama, Romanticism and London as a character.

But also to focus primarily on the subject, which is part of the basic design process for Ziad’s clothes – tailoring the piece to the individual. Jme (the model in the film) has modelled many of the Ghanem collections and has a very alluring natural melancholy and stillness about his look; it was pretty much written about him!

Ziad Ghanem is known as the ‘cult couturier’ and for mixing street wear and couture –was that an element of his work you wanted to convey in the film?
Not consciously, or at least not specifically to reflect that nametag. I suppose the shifts between a couture silk cape, a PVC printed tracksuit and eventually desecrating the garment adhere to Ziad’s mixing of high and low cultural influences.

But it was the more that the ceremony of the transitions would lead the film narrative and the pieces would frame them. I like that the clothes characterize the changes and change Jme’s role.

Anyway in terms of mixing, Ziad is inspired by everything. Whatever you pick from his pieces or from his ideas will clash harmoniously; that’s his gift.

DUAL from Marnie Hollande on Vimeo.

Could you describe some of the difficulties/limitations in translating fashion onto the big screen?
I suppose sticking to the point could be challenge. It’s a fashion film after all, not a Sundance entry. There’s a brand to look after. But it shouldn’t be difficult if the clothes inspire you.

Do you do everything yourself – e.g. planning, filming, editing, or is your work more collaborative?
Yes, with the help of camera/lighting extraordinaire Roman Rappak, who is, luckily for me, already an amazing filmmaker. Also Maeve Keeley and Athena Kleanthous who made everything run like clockwork.

Have you got any more projects with Ghanem in the pipeline?
Yes indeed. We’ll be making a short-film involving the whole collection in time for this year’s London Fashion Week.

Why do you think the fashion industry has started to wake up to the potential of fashion films, and what do you think their ‘role’ is, if any?
Because it’s there! It’s big swimming pool of promotional space to occupy. That’s not to say it doesn’t have a place in film, it certainly does. I’d say it’s a link that’s been brewing for a long time, SHOWStudio have obviously played the biggest role in that bridging. People also like to invest in a story. But mainly it gives people like me and Karl Lagerfeld something to do.

En Pointe from Marnie Hollande on Vimeo.

What (from fashion designers to film makers) inspires you, or is one of your key influences?
It changes daily unfortunately and I blame the blogging industry. In terms of film I had an amazing piano teacher who stressed the importance of rhythm like nobody’s business, to the point whereby everything you see and make has to be broken down and calculated in terms of its pace and rhythmic weight. I like directors and films that look like they’ve thought about that a bit. As for fashion, I’m not consistent; I just like clothes that talk about something bigger than clothes. I think Ziad, McQueen and Leigh Bowery have/had that covered.

What advice would you have for budding fashion film makers?
Make them; it’s very simple. Although I stole that from a very clever friend!

To see more of Marnie’s videos, visit her Vimeo page.
In the run up to London Fashion Week, we’ll be catching up with Ziad Ghanem. Keep an eye out!

Written by Lauren Smith on Wednesday August 18th, 2010 4:24 pm

Categories ,Alexander McQueen, ,baroque, ,chanel, ,couture, ,fashion, ,film, ,goldsmiths, ,Jme, ,Karl Lagerfeld, ,Lana Hughes, ,Leigh Bowery, ,london, ,Marnie Hollande, ,Nick Knight, ,PVC, ,Romanticism, ,Showstudio, ,Vimeo, ,Ziad Ghanem

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Amelia’s Magazine | Illustrators take on the Leaders’ Debate. Brown, Cameron and Clegg, watch out!

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We are currently working under capacity without an earth editor intern. If you are interested in this position you would need to be available to work on it from Monday-Thursday every week for the next three months. Please email me with the title I WANT TO BE THE EARTH EDITOR and tell me why you would like the position, viagra ed what you currently do, and with some relevant examples of your writing. You would need to write and collate your own blogs, as well as co-ordinating contributing writers and illustrators. It’s a great section to work on if you care about the world we live in.
Nick-Clegg-Election-2010-Antonia-Parker
Illustration by Antonia Parker.

Last week it occurred to me that if one drew something remotely funny and sent it around twitter at the same time as everyone was going mental with the hashtag #leadersdebate whilst watching the Leaders’ Debate on the TV, medications one was more or less garunteed a huge amount of retweets and a viral hit.

Except there was something that was irking me about this twitter phenomenon: and that was the poor quality of the drawings that were tickling the fancy of so many. So I sent out my own twitter message to see if anyone was up for drawing something satirical and vaguely amusing that we could send out on twitter at the appropriate time this week, and knowing that I hang out with lots of very talented illustrators on twitter.

Then I read in the Evening Standard that the election has already brought about a vast outpouring of artistic ingenuity: drinks (slightly poisonous looking concoctions in virulent red, blue and yellow), logo decorated jellies and even rag rugs have all been created with the election in mind. So it seems I am not the first to cotton onto a general feverish mood in the artistic firmament.

Here, then, are the results of my callout. This blog is not about my political leanings – though I’d happily take a pop shot at Cameron’s flabby potato head (sorry Sam) before I’d see him in power – but rather about an experiment in the way we communicate during election time in 2010. So these images will also be twitpic-ed out come 8.30pm tonight. Feel free to join in the fun and let’s see how far they travel!

With thanks to the lovely illustrators who answered my callout with such glee. It seems I touched a nerve…

jenny robins - leaders debate
jenny robins - gordon brown bigot
Illustrations by Jenny Robins.

Clegg, Cameron, Brown-Abi Daker
Illustration by Abi Daker.

Leaders Debate Katie Harnett
Illustration by Katie Harnett.

Gordon-Brown-Election-2010-Antonia-Parker
David-Cameron-Election-2010-Antonia-Parker
Illustrations by Antonia Parker.

Marnie Hollande-Leaders Debate
Illustration by Marnie Hollande.

DEBATE-Matt Thomas
Illustration by Matt Thomas.

Colourbox leadersdebate
Illustration by Colourbox.

kellie black leadersdebate
Illustration by Kellie Black.

Written by Amelia Gregory on Thursday April 29th, 2010 1:04 pm

Categories ,Abigail Daker, ,Antonia Parker, ,Colourbox, ,David Cameron, ,General Election, ,Gordon Brown, ,illustration, ,Jenny Robins, ,Katie Harnett, ,Kellie Black, ,Leaders’ Debate, ,Marnie Hollande, ,Matt Thomas, ,Nick Clegg, ,TV, ,Twitpic, ,twitter

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Amelia’s Magazine | Illustrators take on the Leaders’ Debate. Brown, Cameron and Clegg, watch out!

by

We are currently working under capacity without an earth editor intern. If you are interested in this position you would need to be available to work on it from Monday-Thursday every week for the next three months. Please email me with the title I WANT TO BE THE EARTH EDITOR and tell me why you would like the position, viagra ed what you currently do, and with some relevant examples of your writing. You would need to write and collate your own blogs, as well as co-ordinating contributing writers and illustrators. It’s a great section to work on if you care about the world we live in.
Nick-Clegg-Election-2010-Antonia-Parker
Illustration by Antonia Parker.

Last week it occurred to me that if one drew something remotely funny and sent it around twitter at the same time as everyone was going mental with the hashtag #leadersdebate whilst watching the Leaders’ Debate on the TV, medications one was more or less garunteed a huge amount of retweets and a viral hit.

Except there was something that was irking me about this twitter phenomenon: and that was the poor quality of the drawings that were tickling the fancy of so many. So I sent out my own twitter message to see if anyone was up for drawing something satirical and vaguely amusing that we could send out on twitter at the appropriate time this week, and knowing that I hang out with lots of very talented illustrators on twitter.

Then I read in the Evening Standard that the election has already brought about a vast outpouring of artistic ingenuity: drinks (slightly poisonous looking concoctions in virulent red, blue and yellow), logo decorated jellies and even rag rugs have all been created with the election in mind. So it seems I am not the first to cotton onto a general feverish mood in the artistic firmament.

Here, then, are the results of my callout. This blog is not about my political leanings – though I’d happily take a pop shot at Cameron’s flabby potato head (sorry Sam) before I’d see him in power – but rather about an experiment in the way we communicate during election time in 2010. So these images will also be twitpic-ed out come 8.30pm tonight. Feel free to join in the fun and let’s see how far they travel!

With thanks to the lovely illustrators who answered my callout with such glee. It seems I touched a nerve…

jenny robins - leaders debate
jenny robins - gordon brown bigot
Illustrations by Jenny Robins.

Clegg, Cameron, Brown-Abi Daker
Illustration by Abi Daker.

Leaders Debate Katie Harnett
Illustration by Katie Harnett.

Gordon-Brown-Election-2010-Antonia-Parker
David-Cameron-Election-2010-Antonia-Parker
Illustrations by Antonia Parker.

Marnie Hollande-Leaders Debate
Illustration by Marnie Hollande.

DEBATE-Matt Thomas
Illustration by Matt Thomas.

Colourbox leadersdebate
Illustration by Colourbox.

kellie black leadersdebate
Illustration by Kellie Black.

Written by Amelia Gregory on Thursday April 29th, 2010 1:04 pm

Categories ,Abigail Daker, ,Antonia Parker, ,Colourbox, ,David Cameron, ,General Election, ,Gordon Brown, ,illustration, ,Jenny Robins, ,Katie Harnett, ,Kellie Black, ,Leaders’ Debate, ,Marnie Hollande, ,Matt Thomas, ,Nick Clegg, ,TV, ,Twitpic, ,twitter

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Amelia’s Magazine | Exhibition Review: Curatorial Collective Circuit Wisely Present 17 Artists

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You might not know it, shop sickness but you know Alain Johannes. Producer and artist extraordinaire, having previously produced and collaborated with the infamous Queens of the Stone Age; No Doubt, PJ Harvey, Eleven, and toured with the super group Them Crooked Vultures earlier this year, Johannes is renowned throughout many rock circles for his mesmerising guitar skills, which in March of this year had me caught in a spell during a musical intermission of the Crooked Vultures’ intense set. Thinking Johannes was a brave man to compete with the likes of Grohl, Homme and Jones, I was left blown away by his talent and unequivocal sound.

Making a stand in his own right, Johannes recently released his debut record Spark, co released with Dangerbird Records and Rekords Rekords, the latter label set up by fellow musical maestro Josh Homme of QOTSA and Them Crooked Vultures fame. This is definitely a family affair, and what an awesome family. Dedicating his debut record to his late wife and producing partner Natasha Shneider, fellow Queens of the Stone Age and Eagles of Death Metal collaborator, there is a great sense of magnitude, of heartfelt pain and strength that breathes through the tracks. First track and single Endless Eyes is a beautifully and eloquent tribute to Natasha, and sets the tone for the entire record. Johannes’ signature cigar box guitar creates such a definitive sound it’s refreshing to describe as innovative and enchanting. However stand out tracks include Return to You, which has an unashamed Beatles-esque tone to it, bringing an air of nostalgia and warmth to the record, which can’t be a bad thing.

The record stealing guitar crescendo of a masterpiece to my ears is the incredible Speechless, which builds with such classical and flamenco ferocity; it’s topped by Johannes’ elegant vocals that beautifully complete the ghostly track. Gentle Ghosts draws the record toward its close, but not without a trek through a sensory mind field that awakes the goose bumps scheduled for truly remarkable artists. There’s so much passion and raw emotion surging through Spark, its hard not to feel a greater sense of appreciation. Closing with Unfinished Plan, a classical guitar led cathartic and heartbreaking end to a brilliant debut. Spark shines and splinters through Johannes’ incredibly personal journey, and I’m pretty stoked to be along for the ride.

Alain Johannes’ Spark is for those who likes a bit of substance sprinkled over their desert rock desserts, a treat of a record that won’t turn sour the more you listen. Johannes brings light to the desert rock scene, which, though never fading, has now taken a new and brilliant direction.
Alain Johannes Spark

You might not know it, this web but you know Alain Johannes. Producer and artist extraordinaire, having previously produced and collaborated with the infamous Queens of the Stone Age; No Doubt, PJ Harvey, Eleven, and toured with the super group Them Crooked Vultures earlier this year, Johannes is renowned throughout many rock circles for his mesmerising guitar skills, which in March of this year had me caught in a spell during a musical intermission of the Crooked Vultures’ intense set. Thinking Johannes was a brave man to compete with the likes of Grohl, Homme and Jones, I was left blown away by his talent and unequivocal sound.

Johannes Alain Tim Norris

Making a stand in his own right, Johannes recently released his debut record Spark, co released with Dangerbird Records and Rekords Rekords, the latter label set up by fellow musical maestro Josh Homme of QOTSA and Them Crooked Vultures fame. This is definitely a family affair, and what an awesome family. Dedicating his debut record to his late wife and producing partner Natasha Shneider, fellow Queens of the Stone Age and Eagles of Death Metal collaborator, there is a great sense of magnitude, of heartfelt pain and strength that breathes through the tracks. First track and single Endless Eyes is a beautifully and eloquent tribute to Natasha, and sets the tone for the entire record. Johannes’ signature cigar box guitar creates such a definitive sound it’s refreshing to describe as innovative and enchanting. However stand out tracks include Return to You, which has an unashamed Beatles-esque tone to it, bringing an air of nostalgia and warmth to the record, which can’t be a bad thing.

The record stealing guitar crescendo of a masterpiece to my ears is the incredible Speechless, which builds with such classical and flamenco ferocity; it’s topped by Johannes’ elegant vocals that beautifully complete the ghostly track. Gentle Ghosts draws the record toward its close, but not without a trek through a sensory mind field that awakes the goose bumps scheduled for truly remarkable artists. There’s so much passion and raw emotion surging through Spark, its hard not to feel a greater sense of appreciation. Closing with Unfinished Plan, a classical guitar led cathartic and heartbreaking end to a brilliant debut. Spark shines and splinters through Johannes’ incredibly personal journey, and I’m pretty stoked to be along for the ride.

Alain Johannes’ Spark is for those who likes a bit of substance sprinkled over their desert rock desserts, a treat of a record that won’t turn sour the more you listen. Johannes brings light to the desert rock scene, which, though never fading, has now taken a new and brilliant direction.
Flyer designed by Russell Palmer

Two years since their first show in the basement of Shoreditch Town Hall, pharmacy Circuit Wisely presented 17 Artists in an East London live-work space. This second exhibition asked artists to respond to the location and ‘architecture’ of a residential building, store investigating its scope for possible comment on the contested geography of East London.

Emily Whitebread Stills from a Film (2010)

The artists work (of which I was one) had to be temporal and capable of negotiating the duplicitous communal spaces of the building, illness such as the car park, balconies, stairwells, lifts and terraces. Circuit Wisely made it explicit that the artwork was not to impinge on the everyday movement occurring within the building, pushing the artists to consider how their work would be installed without marking the building and it’s context within the geographical location.

The exhibition began on the ground level of the first stairwell, Mihaela Brebenel’s installation 1 to 7; G to 6A – Loose Ends invited the viewer to follow the woolen thread wrapped around the handrails and architectural piping. Mihaela’s work explored the notion of navigating a particular space – through externalising the internal sources of what one does and does not see upon entering a residential building.

Mihaela Brebenel 1 to 7; G to 6A – Loose Ends

Continuing upwards, I passed Richard King’s decorative installation and a burning red screen-print by Daniel Wilkins. However my attention was held by Ben Fox’sculptural shanty-town: Sublet City. The contrasting nature of the contemporary East London building and Fox’s fragile houses echo the rapid development of East London, where an organic mixture of old and new is being skewed by the rapid destruction of original property in favour of the new. Beautifully made from found materials, it is accompanied by ‘the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.’

Richard King Untitled

Dan Wilkins Untitled (2008)

Ben Fox Sublet City

The next level was occupied by Will Jennings’ Portfolio. A critical reflection on the building’s owner and his vast property ‘portfolio’. The publication’s investigative text combined with photographic documentation of the property portfolio aimed to create a dialogue between shared landscape and the increasing capitalisation of the concept of home. It is rare that such an opportunity for a piece of work criticising the building is installed in the location that it is criticising. It was interesting to see the interaction and discussion this piece caused with the residence of the building presenting them with the opportunity to re-think their living space. A favourable comparison to make is Hans Haacke’s ‘Shapolsky et al., Manhattan Real Estate Holdings, a Real-Time Social System as of May 1,1971′.

Will Jennings Portfolio

After reading the Portfolio, I continue to walk up the stairs and see Richard King’s second ornamental piece. Hanging in the window, on the level above, the back drop being the East London Skyline, are three beautiful photographs by Alex Ressel.

Richard King Untitled

Alex Ressel A Three Frame Film

Natalie Dray’s ‘DIAL 2-2-4-9 AND POINT TO THE SKY’ a vinyl text piece standing opposite a comical 3D image Lost in Space. The image of a famous Robot appears to vibrate from the paper and into a form of hologram – this I am seeing without the help of 3D glasses.

Natalie Dray

After the completing the stairwell, I made my way to Charlotte Gibson’s Sitting Room Installation made my eyes pop! The collection of brightly coloured collages, furniture, lamps, china, jelly, plastic and string are arranged in such a way that the space inbetween them becomes more important through the string that attaches them, the water and jelly that resides in the objects and the shadows casted.

Charlotte Gibson Sitting Room Installation

Natascha Nanji’s A Tail of Two Cities occupied the lift in the second stairwell. The ceiling was covered with punctured black pvc, the work physically inserted itself into the lift, the gaping weight of the shells contained within the black fabric imposing itself upon the lift experience, transforming a banal everyday occurrence into something uncanny. On one journey a chattering couple walked in unaware of what was above their heads, until a shell grazed the top of the man’s head, alarming him and drawing his attention to the ceiling. A scene from a horror film perhaps?

Natascha Nanji A Tail of Two Cities

After coming down in the lift, I returned to the 5th Floor to find the walkway occupied by Zoe Paul’s Buoy and the terrace contained Susanna JP Byrne’s Cy Cartographer No. Sculpture. Standing tall, the sculpture looks out towards the city – reminiscent of a century guard, looking out over the London landscape. The copper wire felt referential of a school science project and the tripod’s brightly coloured poles appeared similar to the yard sticks used to measure playing fields during practical geography lessons.


Susanna JP Byrne Cy Cartographer No. Sculpture

Zoe Paul Buoy Photograph by Selvi May

Marnie Hollande’s performance piece Gas wowed the audience on the exhibition’s opening night. A figure emerged onto the walkway, her face covered by a shimmering midnight blue mask, the body cloaked in chiffon with attached balloons. Moving onto the terrace to continue the performance, the body and balloons struggled against both the wind and crowd. The exceptionally strong wind increased the movements of the performer moving within the constraints of her costume. At one point, balloons detached themselves from the costume and were carried into the darkness.

Marnie Hollande Gas

On reflection Jennings, Dray, Fox and Bryne’s pieces directly tackled the building’s geographical location. The other pieces included by Circuit Wisely responded more directly towards the architecture, whereas others echoed the idea of ornamentation. Personally, the importance of the exhibition, lay in tracing perspectives and making connections between the work within the building’s parameters. Circuit Wisely shift away from the stress and importance of individual works when umbrellaed into a singular meaning all too common with groups shows.

The exciting thing about Circuit Wisely is not just the diversity of work on display but the transition they have gone through as a collective of curators. The success of CWII were that the visitor appeared to be completely free to move about the building, but were fact deliberately manoeuvred to encounter the work in relationship to the various movements one can make within the space. The curation and choice of art works allows visitors to experience different environments and transports them from a block of flats to an interesting space for creative people to come together and display work. This show is successful as it is not constrained by the gallery space. It is a platform for the viewer to encounter works in different environments heightening their experience of viewing a group show – and this is the success of the Circuit Wisely curatorial team.

All Photographs by Circuit Wisely

Written by Emily Whitebread on Monday November 8th, 2010 12:48 pm

Categories ,A Tale of Two Cities, ,Alex Hemsley, ,Alex Ressel, ,Ben Fox, ,Buoy, ,Charlotte Gibson, ,Circuit Wisely, ,Curation, ,Daniel Wilkins, ,Emily Whitebread, ,Gas, ,Gery Georgeiva, ,Marnie Hollande, ,Modernism, ,Natalie Dray, ,Natascha Nanji, ,photography, ,Richard King, ,Sally Mumby-Croft, ,Selvi May, ,Stairwells, ,Sublet City, ,Susanna JP Bryne, ,Untitled, ,Will Jennings, ,Zoe Paul

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