On Tuesday night Amelia, myself and Zandra Rhodes met at the Freemason’s Hall to attend the FAD Junior Fashion Awards. Well, Zandra was there, across the catwalk, she didn’t technically ARRIVE with us. We’d been invited by email: an email that was gushing in gratitude for the work we had done to support this charity. I am ashamed to admit that I didn’t have a clue what this lovely lady was talking about – there’s so much good stuff on here that I occasionally miss the odd article. But Fran from FAD was happy, and I was to attend!
The usual beginning ensued – I quiverred in the background having forgotten my ticket while Amelia dragged me by the arm, kicking and screaming, onto the front row. I have to say that I am finally starting to get used to all this and by the A/W 2012 shows I’ll be poised at the front of the queues, shoulders back, sunglasses on, marching to the front.
The Freemason’s was absolutely boiling as always (please sort some air conditioning out for next year, VFS!). In fact, somebody should have supplied fans in goodie bags. Imagine! You could show bin bags covered in sh*t and people would say nice things if you kept them cool.
Fashion Awareness Direct (FAD) are a charity who work with young people to give them the confidence to get into fashion. Where do I sign up?! One of last year’s students, Prash Muraleetharan, delivered the most inspirational speech that I was almost in tears, and the show hadn’t even started. Amelia and I scrambled to write down what he had said. All this before we’d seen a single badly made dressed or batiked skirt (as I imagined).
Amelia and I continually remarked throughout the show about how young these budding designers were. I can honestly say that there was very little difference between this show and those on the BFC catwalk (you know, the on-schedule one that is supposedly the creme-de-la-creme of current British fashion).
You can read Amelia’s full report here. I couldn’t make head nor tail of who was who – the looks appeared, the names changed so quickly, and the running order was in the wrong order. AND, to top it off, it was impossible to take pictures because a certain somebody kept telling me off for getting in the way. Tehe.
This year’s theme had been inspired by the Medieval and Renaissance Galleries at the V&A, which was evident on the catwalk, but not in a typically student way by any means. When the theme was announced, before the show, I thought ‘Oh hear we go – cue silly headgear and bucket top boots’. No such thing – the inspiration had been handled with such sophistication that it acted as a discrete point of reference rather than a fancy dress theme.
So to the winners. The winning collection was David Short’s medieval emerald number, crowning him the first boy ever to scoop the coveted prize.
My favourite was Andre Augusto’s body-con number with exaggerated sleeves and strap detail – an Alexander McQueen in the making.
Sarah Kilkenny’s simple a-line dress with rope detail scooped the Award for Research.
Karmen-Marie Parker burst into tears when Zandra Rhodes (my Zandra) presented her with the award for Commercial Innovation – her sports-luxe denim creation had real style.
A totally inspirational show, which reduced me to tears and left me reeling. In amongst all the ridiculous ludicrousness of fashion week, this was the perfect antidote.
Oh do pop over to Amelia’s review because she’s far more diligent than I am and has listed all the other fabulous youngsters and their creations – and has more gratuitous shots of MY Zandra for your delectation. Oh and here’s a video, in which you can probably see me blubbing somewhere on the left…
Photography by Amelia Gregory and Matt Bramford
Written by Matt Bramford on Wednesday September 29th, 2010 2:40 pm
Nearing the end of fashion week, salvevisit this site everyone begins to look forward to a little light relief and a break from running from venue to venue – maybe some music, a bit of dancing and a drink or two? The Tatty Devine party ticked all the boxes and added an abundance of their snazzy jewelery to oogle at.
Held in their Covent Garden store on Monmouth Street, there was a lively crowd from seven onwards mixing those who had turned up for the party, with the people spilling out from nearby pubs and bars. The Severed Limb were playing on and off with my favourite member playing something which when I asked, was told (in an its-matter-of-fact-way), that it was the wash board.
So…the dulcet tones of the washboard, the bass, and the accordion accompanied the Can Do dancers from Pineapple Studios. With their amazing ruffled, flared skirts and Tatty Devine jewellery the party was literally jumping by 8 o’clock. Western themed jewellery matched the music with fringed necklaces, brooches, horseshoe earrings and cowboy boot charms.
I have always enjoyed the quirkiness of Tatty Devine jewellery and their new pieces do not let the brand down. The moustache and pipe rings are great, as are the famous name tag necklaces and the pom pom earrings Amelia spotted when she popped down later. Rifling through my goodie bag, I was delighted to find a pipe ring included – definite style win.
We’ve always been fans of Tatty Devine and I was pleased to see that they are still going strong with their collaborations. At the moment, Rob Ryan jewellery (who collaborated with us for our second issue) is available from their online store as well as in Covent Garden. Other designers they are working with include Mrs Jones and Gilbert & George.
Nearing the end of fashion week, nurse everyone begins to look forward to a little light relief and a break from running from venue to venue – maybe some music, a bit of dancing and a drink or two? The Tatty Devine party ticked all the boxes and added an abundance of their snazzy jewellery to oogle at.
Held in their Covent Garden store on Monmouth Street, there was a lively crowd from seven onwards mixing those who had turned up for the party, with the people spilling out from nearby pubs and bars. The Severed Limb were playing on and off with my favourite member playing something which when I asked, was told (in an its-matter-of-fact-way), that it was the wash board.
So…the dulcet tones of the washboard, the bass, and the accordion accompanied the Can Do dancers from Pineapple Studios. With their amazing ruffled, flared skirts and Tatty Devine jewellery the party was literally jumping by 8 o’clock. Western themed jewellery matched the music with fringed necklaces, brooches, horseshoe earrings and cowboy boot charms.
I have always enjoyed the quirkiness of Tatty Devine jewellery and their new pieces do not let the brand down. The moustache and pipe rings are great, as are the famous name tag necklaces and the pom pom earrings Amelia spotted when she popped down later. Rifling through my goodie bag, I was delighted to find a pipe ring included – definite style win.
We’ve always been fans of Tatty Devine and I was pleased to see that they are still going strong with their collaborations. At the moment, Rob Ryan jewellery (who collaborated with us for our second issue) is available from their online store as well as in Covent Garden. Other designers they are working with include Mrs Jones and Gilbert & George.
Nearing the end of fashion week, this site everyone begins to look forward to a little light relief and a break from running from venue to venue – maybe some music, recipe a bit of dancing and a drink or two? The Tatty Devine party ticked all the boxes and added an abundance of their snazzy jewellery to oogle at.
Held in their Covent Garden store on Monmouth Street, there was a lively crowd from seven onwards mixing those who had turned up for the party, with the people spilling out from nearby pubs and bars. The Severed Limb were playing on and off with my favourite member playing something which when I asked, was told (in an its-matter-of-fact-way), that it was the wash board.
So…the dulcet tones of the washboard, the bass, and the accordion accompanied the Can Do dancers from Pineapple Studios. With their amazing ruffled, flared skirts and Tatty Devine jewellery, the party was literally jumping by 8 o’clock. Western themed jewellery matched the music with fringed necklaces, brooches, horseshoe earrings and cowboy boot charms.
I have always enjoyed the quirkiness of Tatty Devine jewellery and their new pieces do not let the brand down. The moustache and pipe rings are great, as are the famous name tag necklaces and the pom pom earrings Amelia spotted when she popped down later. Rifling through my goodie bag, I was delighted to find a pipe ring included – definite style win.
We’ve always been fans of Tatty Devine and I was pleased to see that they are still going strong with their collaborations. At the moment, Rob Ryan jewellery (who collaborated with us for our second issue) is available from their online store as well as in Covent Garden. Other designers they are working with include Mrs Jones and Gilbert & George.
As part of Designers Remix, shop designer Charlotte Eskildsen, discount who is creative director of the enterprise published their signature collection last week. After winning the prestigious Danish Design Guldknappen award she has become a force to be reckoned with in international fashion since starting the line in 2002. Her S/S 2011 collection ‘Liquid Sky’ is inspired by cloud formations.
Draped fabrics. Origami folds. A flash orange dress. Scraped back hair tied in tight knots. The show, diagnosis held in the Portico rooms was one of my favourites of the week. Like many others, it stuck strongly to a muted colour range, beginning with pieces in greys, creams and blacks. Small details like the delicate lace insets and just-seen underskirts pulled the collection together extremely well.
Charlotte’s skill lies in how well she collects the fabric together and makes it hang. Ruffles on the shoulders of her cream dresses are restrained and kept from looking fussy, the great bright orange dress (which I desperately want) is understated in all other ways bar the colour and the waterfall collars on the jackets carried the theme of softness through even on heavier fabrics.
The clothes ranged from smart black dresses, to sand toned wafty jackets and ruffled party frocks in various shades of cream. This is a collection that is just good. I can’t put my finger on an exact feature or piece that puts it into a higher category for me and I think that’s why I like it.
More than just a wearable summer collection, it mars together a floaty casual look with added details of specialness without being over the top. If I wanted to sound very fashiony I would call it perfect ‘understated chic’, but hopefully I’ve described it better than that!
Illustration by Katie Harnett
This post is being written nine days after Kinder Aggugini’s Africa inspired show. There was a lot of this lazy naming of inspiration being banded around the press releases this season – it sappears the majority of designers forget that Africa is not simply Africa but a complex continent subdivided via colonial rule and consisting of multiple languages and cultures. But for the purposes of Fashion Africa it has been relegated to Tiger skins and “super fantastic” Safari outfits. For a supposidly fashion forward industry; fashion is (un)surprisingly chained to particular ideas of wealth and escapism.
Illustration by Gemma Randall
It was not ‘Africa’ which inspired Kinder but a European idea of Africa, information pills an idea which often fills the pages of Vogue’s distasteful summer fashion shoots of caucasian models in ‘Colonial Explorer’ inspired outfits striding the Safari. In a twist for a Spring Summer collection inspired by Africa, price the catwalk featured Linen Jackets with trousers to match alongside simple shift dresses. The most exciting thing that appeared on the catwalk were the cardboard hats made by the fantastic Stephen Jones.
Fashion survives and feeds on escapist desires, Dior encapsulated a sense of jubilance with his “New Look” after years of rationing. Whether you want to or not we buy into the idea that what we wear is a projection of our opinions. As a result an entire industry (the High Street,the Ateliers and the Fashion Press) has developed to transform ideas created on the catwalk into the trends currently seen dominating shop window displays. Suddenly have an urge to feel like a pre-Second World War pilot? Then why not buy the Burberry inspired aviator jacket?
Since Kinder’s show, London has finished, Milan began and ended and Paris is in the process of starting. The month of Spring Summer Fashion is drawing to a close. Trend spotters and bloggers waiting eagle eyed for a clue to what we will all be wearing next season, will have already produced trend forecasted. The main problem, lies not with the designers such has Kinder Aggugini who are transcribing their inspiration into garments, but with the increasing dislocation between clothes and the wearer. Fast Fashion means you can be one look tomorrow and another look tomorrow, the result at the moment is the constant plundering of the 70′s aesthetic. Perhaps, in these straightened times, the loss of ‘simpler’ times are being mourned?
Illustration by Katie Harnett
This post is being written nine days after Kinder Aggugini’s Africa inspired show. There was a lot of this lazy naming of inspiration being bandied around the press releases this season – it appears the majority of designers forget that Africa is not simply Africa but a complex continent subdivided via colonial rule and consisting of multiple languages and cultures. But for the purposes of Fashion Africa it has been relegated to Tiger skins and “super fantastic” Safari outfits. For a supposedly fashion forward industry; fashion is (un)surprisingly chained to particular ideas of wealth and escapism.
Illustration by Gemma Randall
It was not ‘Africa’ which inspired Kinder but a European idea of Africa, physician an idea which often fills the pages of Vogue’s distasteful summer fashion shoots of caucasian models in ‘Colonial Explorer’ inspired outfits striding the Safari. In a twist for a Spring Summer collection inspired by Africa, more about the catwalk featured Linen Jackets with trousers to match alongside simple shift dresses. The most exciting thing that appeared on the catwalk were the cardboard hats made by the fantastic Stephen Jones.
Fashion survives and feeds on escapist desires, Dior encapsulated a sense of jubilance with his “New Look” after years of rationing. Whether you want to or not we buy into the idea that what we wear is a projection of our opinions. As a result an entire industry (the High Street,the Ateliers and the Fashion Press) has developed to transform ideas created on the catwalk into the trends currently seen dominating shop window displays. Suddenly have an urge to feel like a pre-Second World War pilot? Then why not buy the Burberry inspired aviator jacket?
Since Kinder’s show, London has finished, Milan began and ended and Paris is in the process of starting. The month of Spring Summer Fashion is drawing to a close. Trend spotters and bloggers waiting eagle eyed for a clue to what we will all be wearing next season, will have already produced trend forecasted. The main problem, lies not with the designers such as Kinder Aggugini who are transcribing their inspiration into garments, but with the increasing dislocation between clothes and the wearer. Fast Fashion means you can be one look tomorrow and another look tomorrow, the result at the moment is the constant plundering of the 70′s aesthetic. Perhaps, in these straightened times, the loss of ‘simpler’ times are being mourned?
Illustration by Katie Harnett
This post is being written nine days after Kinder Aggugini’s ‘Africa’ inspired show. This season there was a lot of this lazy naming of inspiration being bandied around the press releases – it appears designers forget Africa is not simply ‘Africa’ but a complex continent subdivided via colonial rule and consisting of multiple languages and cultures. But for the purposes of Fashion Africa it has been relegated to Tiger skins and “super fantastic” Safari outfits. For a supposedly fashion forward industry; fashion is (un)surprisingly chained to particular ideas of wealth and escapism.
Illustration by Gemma Randall
It was not ‘Africa’ which inspired Kinder but a European idea of Africa, prescription an idea which often fills the pages of Vogue’s distasteful summer fashion shoots of caucasian models in ‘Colonial Explorer’ inspired outfits striding the Safari. In a twist for a Spring Summer collection inspired by Africa, try the catwalk featured Linen Jackets with trousers to match alongside simple shift dresses. The most exciting thing that appeared on the catwalk were the cardboard hats made by the fantastic Stephen Jones.
Fashion survives and feeds on escapist desires, pills Dior encapsulated a sense of jubilance with his “New Look” after years of rationing. Whether you want to or not we buy into the idea that what we wear is a projection of our opinions. As a result an entire industry (the High Street,the Ateliers and the Fashion Press) has developed to transform ideas created on the catwalk into the trends currently seen dominating shop window displays. Suddenly have an urge to feel like a pre-Second World War pilot? Then why not buy the Burberry inspired aviator jacket?
Since Kinder’s show, London has finished, Milan began and ended and Paris is in the process of starting. The month of Spring Summer Fashion is drawing to a close. Trend spotters and bloggers waiting eagle eyed for a clue to what we will all be wearing next season, will have already produced trend forecasted. The main problem, lies not with the designers such as Kinder Aggugini who are transcribing their inspiration into garments, but with the increasing dislocation between clothes and the wearer. Fast Fashion means you can be one look tomorrow and another look tomorrow, the result at the moment is the constant plundering of the 70′s aesthetic. Perhaps, in these straightened times, the loss of ‘simpler’ times are being mourned?
On Tuesday night Amelia, approved myself and Zandra Rhodes met at the Freemason’s Hall to attend the FAD Junior Fashion Awards. Well, advice Zandra was there, adiposity across the catwalk, she didn’t technically ARRIVE with us. We’d been invited by email: an email that was gushing in gratitude for the work we had done to support this charity. I am ashamed to admit that I didn’t have a clue what this lovely lady was talking about – there’s so much good stuff on here that I occasionally miss the odd article. But Fran from FAD was happy, and I was to attend!
The usual beginning ensued – I quiverred in the background having forgotten my ticket while Amelia dragged me by the arm, kicking and screaming, onto the front row. I have to say that I am finally starting to get used to all this and by the A/W 2012 shows I’ll be poised at the front of the queues, shoulders back, sunglasses on, marching to the front.
The Freemason’s was absolutely boiling as always (please sort some air conditioning out for next year, VFS!). In fact, somebody should have supplied fans in goodie bags. Imagine! You could show bin bags covered in sh*t and people would say nice things if you kept them cool.
Fashion Awareness Direct (FAD) are a charity who work with young people to give them the confidence to get into fashion. Where do I sign up?! One of last year’s students, Prash Muraleetharan, delivered the most inspirational speech that I was almost in tears, and the show hadn’t even started. Amelia and I scrambled to write down what he had said. All this before we’d seen a single badly made dressed or batiked skirt (as I imagined).
Amelia and I continually remarked throughout the show about how young these budding designers were. I can honestly say that there was very little difference between this show and those on the BFC catwalk (you know, the on-schedule one that is supposedly the creme-de-la-creme of current British fashion).
You can read Amelia’s full report here. I couldn’t make head nor tail of who was who – the looks appeared, the names changed so quickly, and the running order was in the wrong order. AND, to top it off, it was impossible to take pictures because a certain somebody kept telling me off for getting in the way. Tehe.
This year’s theme had been inspired by the Medieval and Renaissance Galleries at the V&A, which was evident on the catwalk, but not in a typically student way by any means. When the theme was announced, before the show, I thought ‘Oh hear we go – cue silly headgear and bucket top boots’. No such thing – the inspiration had been handled with such sophistication that it acted as a discrete point of reference rather than a fancy dress theme.
So to the winners. The winning collection was David Short’s medieval emerald number, crowning him the first boy ever to scoop the coveted prize.
My favourite was Andre Augusto’s body-con number with exaggerated sleeves and strap detail – an Alexander McQueen in the making.
Sarah Kilkenny’s simple a-line dress with rope detail scooped the Award for Research.
Karmen-Marie Parker burst into tears when Zandra Rhodes (my Zandra) presented her with the award for Commercial Innovation – her sports-luxe denim creation had real style.
A totally inspirational show, which reduced me to tears and left me reeling. In amongst all the ridiculous ludicrousness of fashion week, this was the perfect antidote.
Oh do pop over to Amelia’s review because she’s far more diligent than I am and has listed all the other fabulous youngsters and their creations – and has more gratuitous shots of MY Zandra for your delectation. Oh and here’s a video, in which you can probably see me blubbing somewhere on the left…
Photography by Amelia Gregory and Matt Bramford
Written by Matt Bramford on Wednesday September 29th, 2010 2:40 pm
It’s always a treat at Fashion Week to find that the show you are about to see, decease starting in the next few minutes, is at a totally different venue to the one you had in your head and are currently standing at. I found myself in this marvellous situation as Tim Soar’s show approached. God knows why I thought it was at Somerset House and not at the Freemason’s Hall. Menswear day brought these kind of surprises all day – with many designers scaling down their presence. I had seen Tim’s show a year ago in the BFC tent, so how dare they move its location?!
I need not have worried as I legged it up Drury Lane, for, true to form, the show was running late and hadn’t even been seated when I showed up. I was right at the back of the queue, though – AGAIN – so decided to perch by the photographer’s pit in the hope of getting a better shot than I would have positioned on one of the back rows.
This show saw Soar draw inspiration from the 1970s, and in particular David Bowie’s character ‘Mr Newton’ in Nicholas Roeg’s epic ‘The Man Who Fell From Earth.’ This inspiration was, in true Tim Soar style, handled with delicacy and acted only as a descrete reference here and there. Trousers flared off, but not in a grotesque fancy dress sense, and lapels were elongated, but not in a Stayin’ Alive, Stayin’ Alive, Hah Hah Hah Hah sense. The bulk of the collection relied on Soar’s showmanship as a really great tailor with a unique vision.
Making the best use of luxe fabrics like mohair, satin, wool crepe and linen, models wore strict suits with a piecemeal utilitarian aesthetic. The use of Tyvek, the waxy crushed industrial material usually reserved for workers boiler suits, also adds to this technical flavour.
Blazers were banded with cummerbund-like straps in contrasting colours – where jackets were dark, the bands were of gold silk, and where jackets were sand, the bands were black. Denim made an appearance, also creating horizontal lines across structured tailoring.
Alongside this semi-formal attire, there were the usual design quirks that Tim Soar is quickly faming himself for. His appreciation of the aesthetic properties of materials and quality of texture was also on display, with crushed materials and bursts of vibrant colour (he is, after all, also a graphic designer).
It’s hard to imagine how a Tyvek jailer-style striped suit will work alongside an exemplary tailored blazer, but somehow Tim Soar’s collections always convey a stylish coherence.
This season also brought more womenswear, which is basically menswear with allowances for hips, busts and bums. It’s a testament to Tim Soar’s generally cool attitude, though, that his aesthetic works wonders on both women and men.
It’s always a treat at Fashion Week to find that the show you are about to see, doctor starting in the next few minutes, is at a totally different venue to the one you had in your head and are currently standing at. I found myself in this marvellous situation as Tim Soar’s show approached. God knows why I thought it was at Somerset House and not at the Freemason’s Hall. Menswear day brought these kind of surprises all day – with many designers scaling down their presence. I had seen Tim’s show a year ago in the BFC tent, so how dare they move its location?!
I need not have worried as I legged it up Drury Lane, for, true to form, the show was running late and hadn’t even been seated when I showed up. I was right at the back of the queue, though – AGAIN – so decided to perch by the photographer’s pit in the hope of getting a better shot than I would have positioned on one of the back rows.
This show saw Soar draw inspiration from the 1970s, and in particular David Bowie’s character ‘Mr Newton’ in Nicholas Roeg’s epic ‘The Man Who Fell From Earth.’ This inspiration was, in true Tim Soar style, handled with delicacy and acted only as a descrete reference here and there. Trousers flared off, but not in a grotesque fancy dress sense, and lapels were elongated, but not in a Stayin’ Alive, Stayin’ Alive, Hah Hah Hah Hah sense. The bulk of the collection relied on Soar’s showmanship as a really great tailor with a unique vision.
Making the best use of luxe fabrics like mohair, satin, wool crepe and linen, models wore strict suits with a piecemeal utilitarian aesthetic. The use of Tyvek, the waxy crushed industrial material usually reserved for workers boiler suits, also adds to this technical flavour.
Blazers were banded with cummerbund-like straps in contrasting colours – where jackets were dark, the bands were of gold silk, and where jackets were sand, the bands were black. Denim made an appearance, also creating horizontal lines across structured tailoring.
Alongside this semi-formal attire, there were the usual design quirks that Tim Soar is quickly faming himself for. His appreciation of the aesthetic properties of materials and quality of texture was also on display, with crushed materials and bursts of vibrant colour (he is, after all, also a graphic designer).
It’s hard to imagine how a Tyvek jailer-style striped suit will work alongside an exemplary tailored blazer, but somehow Tim Soar’s collections always convey a stylish coherence.
This season also brought more womenswear, which is basically menswear with allowances for hips, busts and bums. It’s a testament to Tim Soar’s generally cool attitude, though, that his aesthetic works wonders on both women and men.
Born in India, sale Stefan Orschel-Read grew up in Scotland, he won gold medals as a dressage rider for Great Britain and also studied law before deciding on a career in fashion. His Central Saint Martins graduate collection in 2008 was based on Virginia Wolfe’s novel ‘Orlando’; a historical biography in which the subject’s lives over 400 years and changes gender mid way. Subsequent collections were inspired by cathedral murals and the works of Shakespeare, so it was interesting to see the RCA graduate’s stimulus for S/S 2011 being something a slightly more conventional.
Entitled ‘The Spy Who Becomes Me’, SS11 is inspired by an imagined playboy youth in the Riviera of the Ligurian Sea and his struggle to evolve into ‘a self-sufficient gentleman of responsibilities’.
Although more subdued than his previous seasons, this sophisticated collection successfully utlilised an array of luxurious fabrics which were expertly tailored and incorporated some distinctive detailing. The tag line of the collection is ’We all have a little bit of espionage in us’, but I doubt Orschel Read would be the best outfitter for a Bond-style spy-on-a-mission who hopes to be easily lost in a crowd.
Looks were presented in a refined palette of greys, soft khakis and airforce blues, punctuated with jewel tones and blazes of iridescence.
Modern slim-fitting suits with traces of utilitarian military styling, such as extended epaulettes, were created in sumptuous British cashmere tailoring wools and iridescent tonic suiting. The blazers at the more muted end of the palette were complemented with dupion silk shirts, glowing in emerald and olive tones.
Digitally printed monograms, paisley and bird motifs were applied to boxers and shirt panels, some silk brocade being produced in collaboration with Italian luxury tailor Brioni, apparently the go-to-coutouriers of a whole host of names from Nelson Mandela to Robert Kennedy and Luciano Pavarotti to Donald Trump.
Alongside his blazers and formal trousers, Orschel-Read showed biker jackets in cashmere suiting, jeans named after MI5 and MI6 and gauzy hand dyed and beaded bias cut vests seen under many of the blazers. Oversized trench coats in pale denim continued the spy theme, and monogrammed underwear was shown with raglan sleeve sweaters with rib detailing.
Born in India, decease Stefan Orschel-Read grew up in Scotland, he won gold medals as a dressage rider for Great Britain and also studied law before deciding on a career in fashion. His Central Saint Martins graduate collection in 2008 was based on Virginia Wolfe’s novel ‘Orlando’; a historical biography in which the subject’s lives over 400 years and changes gender mid way. Subsequent collections were inspired by cathedral murals and the works of Shakespeare, so it was interesting to see the RCA graduate’s stimulus for S/S 2011 being something a slightly more conventional.
Entitled ‘The Spy Who Becomes Me’, SS11 is inspired by an imagined playboy youth in the Riviera of the Ligurian Sea and his struggle to evolve into ‘a self-sufficient gentleman of responsibilities’.
Although more subdued than his previous seasons, this sophisticated collection successfully utlilised an array of luxurious fabrics which were expertly tailored and incorporated some distinctive detailing. The tag line of the collection is ’We all have a little bit of espionage in us’, but I doubt Orschel Read would be the best outfitter for a Bond-style spy-on-a-mission who hopes to be easily lost in a crowd.
Looks were presented in a refined palette of greys, soft khakis and airforce blues, punctuated with jewel tones and blazes of iridescence.
Modern slim-fitting suits with traces of utilitarian military styling, such as extended epaulettes, were created in sumptuous British cashmere tailoring wools and iridescent tonic suiting. The blazers at the more muted end of the palette were complemented with dupion silk shirts, glowing in emerald and olive tones.
Digitally printed monograms, paisley and bird motifs were applied to boxers and shirt panels, some silk brocade being produced in collaboration with Italian luxury tailor Brioni, apparently the go-to-coutouriers of a whole host of names from Nelson Mandela to Robert Kennedy and Luciano Pavarotti to Donald Trump.
Alongside his blazers and formal trousers, Orschel-Read showed biker jackets in cashmere suiting, jeans named after MI5 and MI6 and gauzy hand dyed and beaded bias cut vests seen under many of the blazers. Oversized trench coats in pale denim continued the spy theme, and monogrammed underwear was shown with raglan sleeve sweaters with rib detailing.
The Tightrope Walker – an illustration of a dress designed by Florence Melrose, find illustrated by Barbara Ana Gomez.
I’m a bit rubbish when it actually comes to checking what’s what during fashion week – I will generally go to most things that I’m invited to on the grounds that if someone has bothered to invite me then I should generally return the honour by actually turning up. Not so most magazine editors I might add – many was the time that I would swan into a fashion show under the guise of Katie Grand at The Face. She never went, approved and yours truly got the golden tickets.
And as I’ve already mentioned I don’t do queues – not in Tescos, prescription and certainly not during fashion week. To this end my heart sank as I rounded the corner to Freemasons’ Hall and found a line of people streaming down the street. What was this FAD awards malarkey anyway? Heading to the front of the queue I waggled my ticket at an unknown PR person and hoped for the best, so was somewhat surprised to be informed in hushed tones that I was a VIP and could go straight on through. Upstairs in one of the many architecturally fabulous chambers, Matt and I sipped on sweet fizzy stuff as we tried to figure out what this was all about.
Dress by Yashodah Rodgers as illustrated by Kila Kitu.
Apparently we’ve been very supportive of FAD in the past, and once I’d looked up our previous coverage it did suddenly all ring a bell. But I wasn’t quite prepared for the sheer unadulterated upbeat joy of this event. Right in the thick of a hectic fashion week it’s a true testament to the achievement of this organisation that I could sit through yet another long catwalk show and come out the other end beaming with goodwill.
The European Fashion Designer award winning dress from Paul Vasileff and Shahira Bakhoum. Illustrated by Abigail Nottingham.
Just to recap quickly, FAD stands for Fashion Awareness Direct and it is a charity that aims to empower young people – as the brochure says “Fashion is a great way to connect with young people from different backgrounds, to give them confidence and raise their aspirations for the future.”
Last year we covered the undergraduates awards show, but this year we were in for a much younger treat: the FAD Junior Awards showcased the designs of finalists chosen from 130 teenagers aged 16-19. Yes dear reader, you may well have to keep pinching yourself as you take a look through the images. I know I did, and I was sitting right there when they paraded past. Created over the course of five days at the University of East London with the help of an experienced team of tutors, the outfits put together by these young designers would put many graduates to shame.
To start off the evening’s events previous finalist Prash Muraleetharan took to the stage with a bit of confident advice, endearingly delivered. “It’s what you do with this moment which determines a winner…. so get upstairs and network,” he advised, somewhat sagely. At the end he winked. And I’m sure he winked at me. Blimey… what a charmer… it’s quite hard to countenance that Prash must still be a teenager, and yet he already runs his own fashion label with a website and everything.
Prash Muraleetharan dispels his words of wisdom at the start of the ceremony. All photography by Amelia Gregory.
After the V&A inspired catwalk show we had speeches from the sleek Susan Aubrey-Cound of M&S and Lucy Jones of UEL, followed by the prizegiving by the extremely fabulous Zandra Rhodes, who is *the cutest* when she smiles! The winners and their parents looked so overwhelmed it really did warm the cockles of my jaded fashionista heart.
Paul Vasileff and Shahira Bakhoum of Milan step up first to take the prize for the European Fashion Designer Competition, which was the culmination of a two year project.
Karmen-Marie Parker with her winning design shortly before she burst into tears… aw, bless.
Andre Augusto: pattern cutting award winner.
Research award winner Sarah Kilkenny.
17 year old David Short – the first boy to become overall winner and a proper little fashionista in the making.
Within this blog you’ll find my favourite pieces to hit the runway – and just remember, they were all designed and made by 16-19 year olds. Quite astonishing I’m sure you’ll agree.
Shomari Williams.
Yashodah Rodgers.
Charlie Ibouillie.
Sinead Cloonan.
The winner of the European competition.
Rebecca Glyn-Blanco.
Natalie Goreham.
Florence Melrose.
Misbah Siddique.
And another completely gratuitous shot of Zandra because this post isn’t long enough already. Because I WUV HER.
Written by Amelia Gregory on Tuesday September 28th, 2010 1:15 pm
The Tightrope Walker – an illustration of a dress designed by Florence Melrose, illustrated by Barbara Ana Gomez.
I’m a bit rubbish when it actually comes to checking what’s what during fashion week – I will generally go to most things that I’m invited to on the grounds that if someone has bothered to invite me then I should generally return the honour by actually turning up. Not so most magazine editors I might add – many was the time that I would swan into a fashion show under the guise of Katie Grand at The Face. She never went, and yours truly got the golden tickets.
And as I’ve already mentioned I don’t do queues – not in Tescos, and certainly not during fashion week. To this end my heart sank as I rounded the corner to Freemasons’ Hall and found a line of people streaming down the street. What was this FAD awards malarkey anyway? Heading to the front of the queue I waggled my ticket at an unknown PR person and hoped for the best, so was somewhat surprised to be informed in hushed tones that I was a VIP and could go straight on through. Upstairs in one of the many architecturally fabulous chambers, Matt and I sipped on sweet fizzy stuff as we tried to figure out what this was all about.
Dress by Yashodah Rodgers as illustrated by Kila Kitu.
Apparently we’ve been very supportive of FAD in the past, and once I’d looked up our previous coverage it did suddenly all ring a bell. But I wasn’t quite prepared for the sheer unadulterated upbeat joy of this event. Right in the thick of a hectic fashion week it’s a true testament to the achievement of this organisation that I could sit through yet another long catwalk show and come out the other end beaming with goodwill.
The European Fashion Designer award winning dress from Paul Vasileff and Shahira Bakhoum. Illustrated by Abigail Nottingham.
Just to recap quickly, FAD stands for Fashion Awareness Direct and it is a charity that aims to empower young people – as the brochure says “Fashion is a great way to connect with young people from different backgrounds, to give them confidence and raise their aspirations for the future.”
Last year we covered the undergraduates awards show, but this year we were in for a much younger treat: the FAD Junior Awards showcased the designs of finalists chosen from 130 teenagers aged 16-19. Yes dear reader, you may well have to keep pinching yourself as you take a look through the images. I know I did, and I was sitting right there when they paraded past. Created over the course of five days at the University of East London with the help of an experienced team of tutors, the outfits put together by these young designers would put many graduates to shame.
To start off the evening’s events previous finalist Prash Muraleetharan took to the stage with a bit of confident advice, endearingly delivered. “It’s what you do with this moment which determines a winner…. so get upstairs and network,” he advised, somewhat sagely. At the end he winked. And I’m sure he winked at me. Blimey… what a charmer… it’s quite hard to countenance that Prash must still be a teenager, and yet he already runs his own fashion label with a website and everything.
Prash Muraleetharan dispels his words of wisdom at the start of the ceremony. All photography by Amelia Gregory.
After the V&A inspired catwalk show we had speeches from the sleek Susan Aubrey-Cound of M&S and Lucy Jones of UEL, followed by the prizegiving by the extremely fabulous Zandra Rhodes, who is *the cutest* when she smiles! The winners and their parents looked so overwhelmed it really did warm the cockles of my jaded fashionista heart.
Paul Vasileff and Shahira Bakhoum of Milan step up first to take the prize for the European Fashion Designer Competition, which was the culmination of a two year project.
Karmen-Marie Parker with her winning design shortly before she burst into tears… aw, bless.
Andre Augusto: pattern cutting award winner.
Research award winner Sarah Kilkenny.
17 year old David Short – the first boy to become overall winner and a proper little fashionista in the making.
Within this blog you’ll find my favourite pieces to hit the runway – and just remember, they were all designed and made by 16-19 year olds. Quite astonishing I’m sure you’ll agree.
Shomari Williams.
Yashodah Rodgers.
Charlie Ibouillie.
Sinead Cloonan.
The winner of the European competition.
Rebecca Glyn-Blanco.
Natalie Goreham.
Florence Melrose.
Misbah Siddique.
And another completely gratuitous shot of Zandra because this post isn’t long enough already. Because I WUV HER.
Written by Amelia Gregory on Tuesday September 28th, 2010 1:15 pm
Tania Kowalski was a workshop manager at a well-known contemporary jewellery gallery in London when Synnove Saelthun arrived from New York to join the design team. They soon discovered that they had similar views on design and business ethics, more aboutcialis 40mg and became good friends. Several years later they started the Oria brand, prescription using Synnove’s design skills and Tania’s production expertise. Synnove is a technically brilliant goldsmith with a passion for design and an eye for detail. Tania is a trained jeweller, viagra with a wide range of experience in the jewellery industry, from design creation through to production. Her expertise includes sourcing ethical materials and ensuring fair business practice.
Tania’s passion for other cultures has led her to visit remote tribes in the Amazon of Brazil, hill tribes in Nepal and the Dogon people of Mali. It was during these travels that she became fascinated with the cultural importance and symbolic meaning of tribal adornment. When designing a new collection, the couple sit down together to discuss what the new collection will symbolise. They research and refine story boards, and after ensuring that the designs are technically feasible Synnove makes an initial prototype, the best of which will go into production.
The use of the phoenix is a symbol of honesty and justice in Chinese mythology, and is one of the inspirations for the Nina collection. The lotus symbolises purity and beauty in many different cultures, and it inspired their silver lotus collection.
Working in Nepal Tania discovered that the safe working conditions and fair living wages which we take for granted in the West are not necessarily the norm in other parts of the world. This early experience was important in persuading Tania to commit to fairtrade sourcing as a founding principle of Oria.
Vintage fashion, about it illustrated by Matilde Sazio
Kim Sklinar, viagra sale aka Preloved Reloved, cheap has set herself an interesting New Year’s challenge. For the duration of 2011, Kim isn’t going to buy any new clothes. No more high-street bargains, no more feeding corporate giants, no more fast-fashion waste, no siree. ‘Another one?’ I hear you cry – and you’d be right. But this one is a little different.
While Kim hopes to raise awareness about the amount of cheap clothing we purchase and what effects that has on the environment and people’s lives, there’s also a bigger reason closer to home. Kim’s father was diagnosed with cancer over 18 months ago, and she decided to set up the project to raise funds for Macmillan, the cancer care and support charity. Unfortunately, as of only last week, Kim’s dad won’t see the project through its fruition. But Kim will dedicate the project to his memory.
So, how do you do it? Well, Kim’s vowed to buy only vintage and from outlets like eBay, and she’ll spend more time in charity shops which also benefits all of the organisations that run them. I had a chat with her about the project and how she thinks she’ll manage it all…
What gave you the idea for Preloved, Reloved in the first place?
Well I always like to dress a little differently. My style is mainstream with a retro edge, I suppose. I always seem to end up with a daft New Year’s resolution – last year I cycled from London to Paris for The Institute of Cancer Research. I like using my time to help others and spread awareness.
Were you a fan of vintage and upcycling before you started the project?
Yes! I always admire my friends’ outfits; well, those who wear vintage and second-hand fashion. Upcycling is something I have experimented with for ages at home and now is the time to make sure I actually finish some projects!
Where will you source your outfits?
Charity shops, vintage stores, eBay, my mum’s wardrobe…! I made a lined cape last night from linen and satin for balmy summer nights (booking a holiday soon!).
What does the project hope to achieve?
I want to raise awareness of numerous charities related to my Dad’s illnesses. I want my friends to know that too much of an unhealthy lifestyle is probably going to lead to an early demise. I also want to raise the profile of vintage and second-hand fashion; I remember as a kid we use to take the mick out of anyone who dressed from a charity shop. I myself as a student had a stigma against them. Now it’s become kitsch, cool and quirky. It’s good for the environment.
How much do you hope to raise and what are the funds likely to be used for?
£2500 is my Just Giving target – it goes directly to Macmillan. However, with my shopping at many different charity shops, my cash goes straight to them – win win all round! I have my thinking cap on about how to expand the project though.
Why did you choose Macmillan?
My dad (and his dad) had cancer – he died last week unfortunately. And it wasn’t the cancer that killed him, it was his heart and his adult-onset diabetes. A poor lifestyle in his twenties and thirties caused it and he was only 57 when he passed. So as I said before, this project benefits other charities focussing on these causes too through me spending money at their outlets.
Not that far in, but have you come accross any problems so far? Has anything that happened that you weren’t expecting?
Avoiding shops is quite hard as I realised I can’t just pop into the Topshop sale and treat myself – which I suppose is good for my wallet and I’m going to do less impulse-buying on the way home from work.
With my Dad passing, I haven’t had as much time to go browsing shops as much as I’d like. This weekend, however, I’m going to the Girls of Guildford vintage fair and gig – for some serious retail therapy, cupcake-nomming and also to check out some great live music away from the bustle of London.
What are you wearing today? Where’s it all from?
Dark blue skinny jeans, leather knee boots that I already owned with black and cream patterned blouse from River Island that I bought from Cancer Research UK. I’m also wearing red rose earrings from Magnolia Jewellery.
Do you plan to make or alter any of your clothes? If so, how?
Yes – I love sewing and making jewellery too – I made a cape last week and have upcycled a pair of old, torn jeans from my uni days into a denim mini. I have a small collection of retro patterns including a lovely dress with a pussy bow. I love being able to create something out of fabric I love: last year I went to a lovely Indian wedding and couldn’t find The Outfit – so I made a purple maxi-dress with a halterneck and glammed it up with ribbons dangling down my back. Saved myself a fortune too!
What else do you get up to?
I run Never Enough Notes – a music e-zine, and I’m cycling the London-Brighton this summer with my brother and friends to raise money for the British Heart Foundation.
What would be your perfect Preloved, Reloved outfit?
For daytime it would easily be vintage jeans, brown boots that look a bit worn-out, a floaty shirt or cheeky tee, a tweed jacket and a battered satchel.
For evening, I love ball gowns and retro dresses so would be something glam that I could wear with a pair of 1970s heels! Oh there’s way too much choice, I love it!
Annika Sanders and Kerry Seager are self-taught fashion designers. They started up Junky Styling after they received lots of compliments for their deconstructed and restyled secondhand suits made to go out clubbing in during the 1990’s.
What prompted your approach to dressmaking?
Our approach was initially borne out of a lack of money but it soon became a necessity for individuality and quality. At first Annika’s mother did most of the sewing so our designs were heavily directed by her.
Have you seen many changes over the years?
Aside from all the wrinkles on our faces? We have seen the tangible development of a marketplace that never existed before. Education has enabled the sustainable movement to become more widely accepted and understood, approved and now many new brands think about sustainability before they even start designing.
Where did you go out in the past and do you still go clubbing?
We went to a wide mixture of venues that hosted a similar dressy scene. It was such a brilliant time, and we still enjoy socialising and a bit of a shuffle. But we always try to ensure that we are not the oldest at the bar…
Read the rest of this interview and see more illustrations of Junky Styling’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here. You’ve been going for a very long time. Have attitudes to ethical fashion started to change yet?
Consumers are starting to question the huge exploitation of people and the environment that permits their clothing to be so cheap, treat because it doesn’t add up. There is still a long way to go but the fashion industry is slowly changing the way it does business.
What has the People Tree brand achieved?
We support 5, website like this 000 farmers, case artisans and their families in developing countries by producing well designed fairtrade and sustainable products. For us it’s about creating sustainable livelihoods that put food on the table at the end of the day.
You’ve collaborated with both Bora Aksu and Karen Nichol. What have they brought to People Tree?
We’ve worked with Bora for four years because we share the view that good fashion design should last for years. He is a master of beautiful, feminine draped designs that we produce in organic and fairtrade cotton, and we’ve already started designing an exciting new collection for S/S 2012. Like me Karen is passionate about handicrafts and she loves traditional Japanese textiles and designs. She works with our hand knitters in Nepal to create beautiful appliquéd and hand embroidered embellishments You’ve been going for a very long time. Have attitudes to ethical fashion started to change yet?
Consumers are starting to question the huge exploitation of people and the environment that permits their clothing to be so cheap, see because it doesn’t add up. There is still a long way to go but the fashion industry is slowly changing the way it does business.
What has the People Tree brand achieved?
We support 5, try 000 farmers, artisans and their families in developing countries by producing well designed fairtrade and sustainable products. For us it’s about creating sustainable livelihoods that put food on the table at the end of the day.
You’ve collaborated with both Bora Aksu and Karen Nichol. What have they brought to People Tree?
We’ve worked with Bora for four years because we share the view that good fashion design should last for years. He is a master of beautiful, feminine draped designs that we produce in organic and fairtrade cotton, and we’ve already started designing an exciting new collection for S/S 2012. Like me Karen is passionate about handicrafts and she loves traditional Japanese textiles and designs. She works with our hand knitters in Nepal to create beautiful appliquéd and hand embroidered embellishments How did the idea of working with old porcelain come about?
I was tired of producing other peoples’ ideas (as a stage producer) so in 2007 I decided to start working on my own project, dosage which soon developed into my rapidly growing label, stomach Sägen. I go to flea markets as often as I can for inspiration and to collect source material; I have amassed a huge collection of vintage buttons as well as piles of chipped and damaged porcelain that is no longer wanted. I like to work with my hands and I love turning items from the past into modern accessories.
Sägen means Old Saga in Swedish – why did you chose this name for your brand?
I come from a small island called Gotland in the middle of the Baltic Sea and I have wonderful memories of listening to all the old myths when I was a kid. I came up with the idea for Sägen when I was there and the name reflects my interest in recycling a little bit of history into new treasures, so I find the name very suitable.
How do you cut the porcelain and set it in silver?
I cut and grind the porcelain with machines, which is a very dirty, dusty and dangerous job: I have been close to losing my fingers many times. When I am working in my basement studio I forget about everything else, instead focusing on the patterns that I am obsessed with. I decide what shapes to make up depending on the motifs in the porcelain, then I set the porcelain in silver (which is 98% recycled) so that it curves, bends and stretches around the shape I have cut out. Ivana Basilotta S/S 2011 by Bex Glover.
Ivana Basilotta is Italian but has lived in Germany as well as the UK. She channels her observations of different cultures into her work, treatment sometimes the ideas flowing so fast that her pen can’t keep up and her scissors can’t cut the fabric fast enough. Quite often she only realises she was inspired by a certain idea once the collection has been finished. Having previously studied business Ivana is well placed to run her label, prostate and feels that a good business knowledge is as important as the creative force of a design house.
A committed vegetarian, she designs with peace silk, which is made in India without the killing of the silk moth. Because peace silk is spun as a fibre rather than reeled as a thread it is warmer and softer than ordinary silk. “I cannot imagine eating meat,” she says. “I find it strange that people eat dead animals.” She feels that being a vegetarian brings a great sense of freedom and well being, and it is an easy way to lead a greener life. “Farm land that could directly produce food for humans is used to farm and feed animals for slaughter, which uses up far more resources.” She does not like to imagine the stress and sorrow that farmed animals must experience, and wants no part in it…
Howies has since 1995 pioneered the creation of ethical active clothing with a strong design aesthetic. Based in Cardigan Bay, case Wales, remedy the company has built up a devoted fan base via its affiliation with outdoor sports such as surfing, order mountain biking and skateboarding. Products are made from high performing sustainable fabrics that will last, with a proportion of profits ploughed back into grassroots social and environmental projects via the Earth Tax. Although some clothes are made in China and Turkey they ensure best practice by employing the same factories as other companies they trust, such as M&S…
Read the rest of this interview and see more illustrations of Howie’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
Written by Amelia Gregory on Monday January 24th, 2011 1:26 pm
David Downton is one of the most prolific living fashion illustrators, sickness and by far my favourite (no offence, healing contributors!) His loose, dosage visionary style seems so effortless and radiates elegance and beauty. Beginning his career as a commercial illustrator, it wasn’t until he attended Paris couture shows over a decade ago that he really began to explore fashion illustration. Since then, he’s created images of the world’s most groundbreaking fashion and its most beautiful women. From Dior to Dita Von Teese, he’s captured the essence and spirit of women and fashion like no other image maker before him. His images are everywhere, in books, in magazines, on billboards, on the walls of illustration students’ bedrooms and hell – even M&S tote bags.
This month sees the launch of Downton’s first solo book – Masters of Fashion Illustration. Inside, it explores the work of the greatest fashion illustrators of the twentieth century as well as a good look at his own work. You’re in for a treat here – page after page of lavish images celebrate the genre, featuring the greats of fashion illustration as well as looking at the influence of other artists and designers.
Hi David! I’m worried about asking all the questions you’ve been asked already… but… How did you become a fashion illustrator?
In a way, I was ‘mugged’ by fashion. I was fairly well established as an all-round commercial illustrator – who occasionally took on fashion commissions – when the FT sent me to Paris to draw at the couture shows. That was in July 1996 and I felt like I’d been given the keys to a magic kingdom.
How do your pieces come together?
Surprisingly slowly. I keep working until it looks effortless, which means doing a lot of drawing. I am looking for a kind of controlled spontaneity.
What techniques do you use?
It really depends on the brief, my mood and what I am trying to convey. I love using Rotring ink, because it is such a rich black and Dr. Marten’s black ink, because it has a velvety, violet cast to it. I also use gouache, watercolour, oil stick, occasionally acrylics… really anything that seems appropriate or inspiring at a given moment.
What qualities do fashion illustrations have that photographs or film don’t?
A personal sensibility (very few illustrations are the result of a team effort). A sense of the moment, fluidity, dexterity. Drawings tell the truth without needing to be accurate. The camera is a gadget (and we all love gadgets), but we have been saturated by photographic imagery. It’s a point and shoot world.
Who has been your favourite subject to draw, portrait-wise?
In no particular order: Cate Blanchett, Dita Von Teese, Erin O’ Connor, Paloma Picasso, Lady Amanda Harlech, Linda Evangelista and Carmen. I’ll stop there, but the truth is, everyone I’ve drawn has been inspiring.
Which designers are your favourites to illustrate?
Lacroix, Dior, Gaultier, Chanel, Valentino…. the masters.
Which other image makers have inspired you/do you admire?
Again, too many to list fully. How about Matisse, Boldini, Picasso, Francis Bacon, Euan Uglow, Réne Gruau, Mats Gustafsson, Tony Viramontes, Abraham Ganes, Al Hirshfield and Bob Peak to kick off with?
How do your collaborations come around?
It depends – sometimes I think of a project I’d love to do and pursue it…. At other times it comes to me, either directly, or via my agent. There are no hard and fast rules, but I’m always trying to scare something up.
Here at Amelia’s Magazine, we love fashion illustration and Amelia’s next book will be a celebration of the genre. What advice would you give to our army of up-and-coming illustrators?
My advice would be simple; keep drawing. You can’t be too good at it. And when you’re not drawing, keep looking, training your eye. Be professional. Fashion illustration is a profession, as well as a passion. Most of all enjoy it; you have the whole world at your fingertips.
There seems to be a real revival of fashion illustration at the moment – magazines and websites are showcasing sketchbooks and commissioning more and more illustrators and exhibitions are popping up everywhere. Why do you think illustration excites people?
I was once working backstage at Dior and a model said “Drawing… wow, that’s new!” I thought, ‘drawing is now so old, it’s new!’ In other words, like everything else it’s cyclical. I think a lot of people just forgot about it. But, to be honest, although everyone talks about a revival, fashion illustration never really went anywhere. Perhaps you just needed to look harder.
Will you ever use a computer as part of your imagemaking?!
Never say never, as they say.
What can we expect from the new book?
It’s beautiful! Gorgeous! A celebration of my favourite fashion illustrators from the turn of the 20th century up until the late 80s, followed by a portfolio of my own work.
How did the book come together? Did you enjoy creating it?
I worked very closely with the designer, Karen Morgan, and loved every agonising minute of it! It was a big leap for me. I’d done 2 issues of my own fashion illustration magazine Pourquoi Pas? and I thought I knew what I was doing, nevertheless it was daunting to do a 240 page book in my ‘spare’ time. But it was a labour of love; I got to look at the the work of the artists I most love; I met Tony Viramontes’ brother and René Bouché’s widow; I had access to the Vogue archive. I have to say, the publishers (Laurence King) were brilliant, very indulgent and I think we are all proud of what we achieved.
So, what else do you get up to?
I have two teenage children (actually my daughter’s 20, now), so all the usual things. I’m a lazy workaholic. When I’m not working I am very happy doing ‘nothing’. I live in the countryside an hour from London; a long way from the world of fashion.
David Downton is one of the most prolific living fashion illustrators, sickness and by far my favourite (no offence, healing contributors!) His loose, dosage visionary style seems so effortless and radiates elegance and beauty. Beginning his career as a commercial illustrator, it wasn’t until he attended Paris couture shows over a decade ago that he really began to explore fashion illustration. Since then, he’s created images of the world’s most groundbreaking fashion and its most beautiful women. From Dior to Dita Von Teese, he’s captured the essence and spirit of women and fashion like no other image maker before him. His images are everywhere, in books, in magazines, on billboards, on the walls of illustration students’ bedrooms and hell – even M&S tote bags.
This month sees the launch of Downton’s first solo book – Masters of Fashion Illustration. Inside, it explores the work of the greatest fashion illustrators of the twentieth century as well as a good look at his own work. You’re in for a treat here – page after page of lavish images celebrate the genre, featuring the greats of fashion illustration as well as looking at the influence of other artists and designers.
Hi David! I’m worried about asking all the questions you’ve been asked already… but… How did you become a fashion illustrator?
In a way, I was ‘mugged’ by fashion. I was fairly well established as an all-round commercial illustrator – who occasionally took on fashion commissions – when the FT sent me to Paris to draw at the couture shows. That was in July 1996 and I felt like I’d been given the keys to a magic kingdom.
How do your pieces come together?
Surprisingly slowly. I keep working until it looks effortless, which means doing a lot of drawing. I am looking for a kind of controlled spontaneity.
What techniques do you use?
It really depends on the brief, my mood and what I am trying to convey. I love using Rotring ink, because it is such a rich black and Dr. Marten’s black ink, because it has a velvety, violet cast to it. I also use gouache, watercolour, oil stick, occasionally acrylics… really anything that seems appropriate or inspiring at a given moment.
What qualities do fashion illustrations have that photographs or film don’t?
A personal sensibility (very few illustrations are the result of a team effort). A sense of the moment, fluidity, dexterity. Drawings tell the truth without needing to be accurate. The camera is a gadget (and we all love gadgets), but we have been saturated by photographic imagery. It’s a point and shoot world.
Who has been your favourite subject to draw, portrait-wise?
In no particular order: Cate Blanchett, Dita Von Teese, Erin O’ Connor, Paloma Picasso, Lady Amanda Harlech, Linda Evangelista and Carmen. I’ll stop there, but the truth is, everyone I’ve drawn has been inspiring.
Which designers are your favourites to illustrate?
Lacroix, Dior, Gaultier, Chanel, Valentino…. the masters.
Which other image makers have inspired you/do you admire?
Again, too many to list fully. How about Matisse, Boldini, Picasso, Francis Bacon, Euan Uglow, Réne Gruau, Mats Gustafsson, Tony Viramontes, Abraham Ganes, Al Hirshfield and Bob Peak to kick off with?
How do your collaborations come around?
It depends – sometimes I think of a project I’d love to do and pursue it…. At other times it comes to me, either directly, or via my agent. There are no hard and fast rules, but I’m always trying to scare something up.
Here at Amelia’s Magazine, we love fashion illustration and Amelia’s next book will be a celebration of the genre. What advice would you give to our army of up-and-coming illustrators?
My advice would be simple; keep drawing. You can’t be too good at it. And when you’re not drawing, keep looking, training your eye. Be professional. Fashion illustration is a profession, as well as a passion. Most of all enjoy it; you have the whole world at your fingertips.
There seems to be a real revival of fashion illustration at the moment – magazines and websites are showcasing sketchbooks and commissioning more and more illustrators and exhibitions are popping up everywhere. Why do you think illustration excites people?
I was once working backstage at Dior and a model said “Drawing… wow, that’s new!” I thought, ‘drawing is now so old, it’s new!’ In other words, like everything else it’s cyclical. I think a lot of people just forgot about it. But, to be honest, although everyone talks about a revival, fashion illustration never really went anywhere. Perhaps you just needed to look harder.
Will you ever use a computer as part of your imagemaking?!
Never say never, as they say.
What can we expect from the new book?
It’s beautiful! Gorgeous! A celebration of my favourite fashion illustrators from the turn of the 20th century up until the late 80s, followed by a portfolio of my own work.
How did the book come together? Did you enjoy creating it?
I worked very closely with the designer, Karen Morgan, and loved every agonising minute of it! It was a big leap for me. I’d done 2 issues of my own fashion illustration magazine Pourquoi Pas? and I thought I knew what I was doing, nevertheless it was daunting to do a 240 page book in my ‘spare’ time. But it was a labour of love; I got to look at the the work of the artists I most love; I met Tony Viramontes’ brother and René Bouché’s widow; I had access to the Vogue archive. I have to say, the publishers (Laurence King) were brilliant, very indulgent and I think we are all proud of what we achieved.
So, what else do you get up to?
I have two teenage children (actually my daughter’s 20, now), so all the usual things. I’m a lazy workaholic. When I’m not working I am very happy doing ‘nothing’. I live in the countryside an hour from London; a long way from the world of fashion.
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, nurse which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, buy information pills did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all. I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, The Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about
An acquired taste maybe, but wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, patient which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, stomach did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, pharmacy they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about
An acquired taste maybe, but wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, price which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”. Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to off kilter beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, there which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, ailment did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out next week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”.
Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to trademark awkward beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, diagnosis which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, information pills did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out next week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”.
Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to trademark awkward beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
Get Cape. Wear Cape. Fly. by June Chanpoomidole.
Our Saturday starter was none other than Sam Duckworth of Get Cape. Wear Cape. Fly. who changed his stage time so that he could watch the ill-fated England match on Sunday. Those Climate Campers who knew him were suitably excited and soon stood on the corner of the Craft Field with the megaphone. It’s amazing what a big name does… the festival goers were soon flooding into our small area, page slightly disbelieving that our wee stage could be hosting such a well known musician.
Meanwhile I stood slightly panicked on the entrance as the minutes slowly ticked by… and then Sam came ambling down the leafy rise, slightly late having come straight from taking part in a debate about the rise of the BNP at the Leftfield Stage. A more mild mannered and charming young man you would be hard to come by, but Sam’s grasp of how important it is to speak out against the ills of this world is admirable. Without undue ceremony he was soon aboard the Tripod Stage, holding a borrowed acoustic guitar. “Can you all hear me? I’ve got a big voice so I can sing louder!”
Sunglassed against the blazing heat Sam sung new songs from his upcoming album alongside old crowd pleasers such as One More With Feeling. Unbidden he spoke with passion of meeting a Bangladeshi woman who had lost her family as a direct result of the effects of climate change, and how important it is to stand up to the big corporations. A truly special young man who has been off my radar for awhile, I now remember why I featured Get Cape. Wear Cape. Fly. in Amelia’s Magazine all those years ago. What a star. Sam’s new single Collapsing Cities is out in August, followed by a 22 date tour in September and October.
Next up we had Kyla La Grange, a beautiful girl with a stunning voice (does it matter that she was beautiful? It shouldn’t, but she really was, what can I say? And talented…) She arrived without fanfare and I found her practicing behind our van on the same acoustic guitar that Sam had borrowed.
This was the first time in awhile that the husky voiced Kyla had played her songs without added production but she’s an accomplished songwriter and songs like the catchy single Vampire Smile worked just as well without backing. Definitely a talent to watch: her debut album is currently in production.
Kyla’s favourite bits of Glastonbury: Arcadia was absolutely brilliant but as far as performances go it was a tie between Laura Marling and Florence and the Machine. They were both faultless.
Patch William were another band we shared with the BBC Introducing stage (or should that be the other way around). They arrived complete with their own recording facilities, although I will hopefully attempt to cobble together some of the footage I shot myself (oh Final Cut Pro, how I yearn to learn your charms).
Fronted by William and his god sister Ali, Patch William braved the blazing heat dressed as if they had just stepped out of a fairytale, all flowing hair, wide trousers and Ali crowned in a flower garland so beloved of festival goers this year. Their melodic harmonies were perfect for a lazy summer day such as this, and culminated in the Ivor Novello nominated The Last Bus, a stunning song that saw Ali nimbly swap from guitar to cello. Just gorgeous.
Patch William liked playing the Tripod Stage because: It was great to be able to play a set which was powered solely by a solar panel! Patch William’s favourite bits of Glastonbury: Discovering a naked mermaid at Shangri La and being able to say ‘hello glastonbury’ during our set (something which we’d only dreamed of before).
Patch William play the Firefly Music Festival and Belladrum Festival in Scotland. Their next single release will be Skinny White Boy and they plan to go on tour in September. Watch their set at BBC Introducing here.
Then we were supposed to host The Federals, but unfortunately some misunderstood information meant that they hadn’t come prepared for our particular stage set up and all I got was this picture.
Oh well! You win some you lose some: they seemed like nice lads, and went on to play, yes, you’ve guessed it, the BBC Introducing stage. Instead we had a bit of a gap before an exclusive secret set from the wonderful Robin Ince… who turned up a good hour early so we all sat around having a cup of tea and a chinwag.
Robin was determined to perform his set back to front, so I would be introducing him after he’d finished, and Danny Chivers could come on as a warm up act at the end. This meant that Robin also started sat on the floor with his back to the audience. To another disbelieving crowd – “Yes, we really do have Robin Ince performing here in a minute” – Robin gave a brilliant performance that touched on themes of favourite suicides, the use of jazz hands in the popularisation of science and banality in politics.
I’ve uploaded part of his performance for your delection here:
At the end he called on me to come up and introduce him, but then carried on heckling me from the floor. Can anyone tell me, did he do his gig in the Comedy Tent during the England match on Sunday dressed as an octopus? Muchos love going out to you Robin.
Last but by no means least the Tripod Stage was delighted to host Dry the River, a folk band from East London attired in vaguely matched check shirts. Accompanied by guitar, bass, violin, glockenspiel and snare drum, Dry the River sing of history, culture, religion – often in gorgeous four part falsetto boy harmonies. Lead singer Peter Liddle studied anthropology and is now en route to become a doctor; a background that clearly informs his unusual lyrics. If there is any sense in this world Dry the River will be a major success: in fact if I were the betting kind I would lay the notes down hand over fist for this unsigned band. Really really brilliant, I feel so blessed to have found them.
I asked bearded bassist Scott to answer a few questions:
Scott’s feelings on the Tripod Stage gig: The Climate Camp Tripod Stage was awesome! We played as the sunshine beamed down on our faces, and the people around were so laid back and friendly. Plus we all got a cup of tea while we played which was like a dream after two days of camping. We even got a chance to road-test a new tune we’ve been working on because of the relaxed atmosphere of the show, and it went down well!
Scott’s favourite part of Glastonbury: It’s tough to pick a ‘best bit’ for the whole weekend but for me heading out to get lost in the maze of Shangri La at night was amazing, and bumping into Neville Staple backstage in the Dance Arena was pretty cool. Obviously the gigs we were able to play while we were there all stand out too, the Climate Camp for the friendly hospitable people there, the Crow’s Nest for the amazing view of the whole festival at sunset and of course the BBC Introducing set was just so exciting with the cameras and everything.
Make sure you catch up with Dry the River live – they’re playing Standon Calling, the Big Chill and Underground Festival in Gloucester. You can download a FREE 3 track EP from their myspace which includes an unreleased version of Coast, a never before heard track recorded earlier this summer. Dry the River headline the Lexington on September 30th and you can buy tickets here. In the meantime see them on BBC Introducing here.
What is the impact on our relationship with the environment – when existing in a world where sensor monitors constantly interpret our daily surroundings, producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction?
Photograph by Ludwig Zeller
The Weather Camera is Kjen Wilkens response to her search for a human presence within this deluge of electronic readings. Instead of taking a photograph to a record a special moment, the user of The Weather Camera can record the atmospheric conditions, weaving these into autobiographical memory. In time encouraging new methods of narration, titled by the designer as “Sensor Poetics.”
Becky Pilditch‘s prothestics are “objects of empowerment”, showcasing how functional pieces of designs can be both a thing of beauty and an extension of the wearer’s personality. Becky worked and developed the project with Holly Franklin .
Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space. A fantastic aspect of the website is the blog, which can be used by other prosthetic limb users to feed back directly to the project.
In the Animation section of the exhibition Lauri Warsta’s Traumdeutung awaited. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary,” the calming, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the data currently available on the subject matter: The Global Reserves of Dreams. The beauty of the animation, being it contained the possibility, that it was entirely a dream.
The subtle block coloring of the animation maintained a ‘warmth’ more accustomed with hand drawn animation, that can sometimes be lost in 3D animation. This is an outcome of Warsta’s experiments in combining; “two extremes (3D and Handmade) clash and merge. For example, bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”
Adnan Lalani‘s experiment with augmented reality catches the attention, through being something the viewer can interact with. The action of turning the Pop Up Book’s pages is suplimented by additional narration appearing on the screen placed directly behind the book and inline with the viewers eye.
Below is a video documenting the Pop Up Book’s Prototype. Earlier this week Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a Pop Up Book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”
Eventually Adnan hopes that as we grow increasingly comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”
The eye catching work of Design Interaction Graduate Louise O’Conner; used experimental dance to convey the movement of the smallest particles, for example: Atoms, in an attempt to connect us to movements that are beyond our physical awareness. Visit the exhibition to watch the film!
A particular lovely idea was the mapping out to scale, the measurements of the solar system along Kingsland High Street and up into Stamford Hill. Several shopkeepers were to host a planet…
Photography by Mark Henderson
You can find the map and information about the project here:
Katrin Baumgarten’s Aesthetics of Disgust explores humans’ relationship and our reactions; both emotional and physical to the things or materials which disgust us. Using inanimate objects all too often taken for granted, (i.e. Light Switches) Kartin added disturbing features such as goo or hair that moved as the light switch is pressed. By ‘touching’ us back, the presence of these inanimate objects is brought back to the forefront of our attention.
In the installation at the Royal College of Art a screen documents the level of the reaction of each user.
Another subject explored by Katrina is Intimate touch or sexual disgust and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” The outcome of which is the Intimate Touch Object, an item which enables you to touch another person secretly…
FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. Children draw onto the projector screen (this could be the kitchen floor, wall etc…) and an bring their drawings to life by clicking the ‘movie’ button. The idea being to “enrich their visual vocabulary,” sense of narrative and most importantly encourage children’s creativity.
Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.
Images Courtesy of the Students and addition photographs by Sally Mumby-Croft
At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), activism (we had a purpose) and being in lovely places with lovely people.
The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.
Mini ceilidh en route in Wales.
An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.
We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.
Awaiting news in the pub… many people knew activists on the flotilla.
We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.
The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.
Endless housing estates.
Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.
Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…
Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.
At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog here.
Written by Amelia Gregory on Friday July 2nd, 2010 7:55 pm
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, nurse which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, buy information pills did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all. I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, The Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about
An acquired taste maybe, but wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, patient which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, stomach did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, pharmacy they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about
An acquired taste maybe, but wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, price which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”. Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to off kilter beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, there which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, ailment did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out next week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”.
Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to trademark awkward beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, diagnosis which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, information pills did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out next week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”.
Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to trademark awkward beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
Get Cape. Wear Cape. Fly. by June Chanpoomidole.
Our Saturday starter was none other than Sam Duckworth of Get Cape. Wear Cape. Fly. who changed his stage time so that he could watch the ill-fated England match on Sunday. Those Climate Campers who knew him were suitably excited and soon stood on the corner of the Craft Field with the megaphone. It’s amazing what a big name does… the festival goers were soon flooding into our small area, page slightly disbelieving that our wee stage could be hosting such a well known musician.
Meanwhile I stood slightly panicked on the entrance as the minutes slowly ticked by… and then Sam came ambling down the leafy rise, slightly late having come straight from taking part in a debate about the rise of the BNP at the Leftfield Stage. A more mild mannered and charming young man you would be hard to come by, but Sam’s grasp of how important it is to speak out against the ills of this world is admirable. Without undue ceremony he was soon aboard the Tripod Stage, holding a borrowed acoustic guitar. “Can you all hear me? I’ve got a big voice so I can sing louder!”
Sunglassed against the blazing heat Sam sung new songs from his upcoming album alongside old crowd pleasers such as One More With Feeling. Unbidden he spoke with passion of meeting a Bangladeshi woman who had lost her family as a direct result of the effects of climate change, and how important it is to stand up to the big corporations. A truly special young man who has been off my radar for awhile, I now remember why I featured Get Cape. Wear Cape. Fly. in Amelia’s Magazine all those years ago. What a star. Sam’s new single Collapsing Cities is out in August, followed by a 22 date tour in September and October.
Next up we had Kyla La Grange, a beautiful girl with a stunning voice (does it matter that she was beautiful? It shouldn’t, but she really was, what can I say? And talented…) She arrived without fanfare and I found her practicing behind our van on the same acoustic guitar that Sam had borrowed.
This was the first time in awhile that the husky voiced Kyla had played her songs without added production but she’s an accomplished songwriter and songs like the catchy single Vampire Smile worked just as well without backing. Definitely a talent to watch: her debut album is currently in production.
Kyla’s favourite bits of Glastonbury: Arcadia was absolutely brilliant but as far as performances go it was a tie between Laura Marling and Florence and the Machine. They were both faultless.
Patch William were another band we shared with the BBC Introducing stage (or should that be the other way around). They arrived complete with their own recording facilities, although I will hopefully attempt to cobble together some of the footage I shot myself (oh Final Cut Pro, how I yearn to learn your charms).
Fronted by William and his god sister Ali, Patch William braved the blazing heat dressed as if they had just stepped out of a fairytale, all flowing hair, wide trousers and Ali crowned in a flower garland so beloved of festival goers this year. Their melodic harmonies were perfect for a lazy summer day such as this, and culminated in the Ivor Novello nominated The Last Bus, a stunning song that saw Ali nimbly swap from guitar to cello. Just gorgeous.
Patch William liked playing the Tripod Stage because: It was great to be able to play a set which was powered solely by a solar panel! Patch William’s favourite bits of Glastonbury: Discovering a naked mermaid at Shangri La and being able to say ‘hello glastonbury’ during our set (something which we’d only dreamed of before).
Patch William play the Firefly Music Festival and Belladrum Festival in Scotland. Their next single release will be Skinny White Boy and they plan to go on tour in September. Watch their set at BBC Introducing here.
Then we were supposed to host The Federals, but unfortunately some misunderstood information meant that they hadn’t come prepared for our particular stage set up and all I got was this picture.
Oh well! You win some you lose some: they seemed like nice lads, and went on to play, yes, you’ve guessed it, the BBC Introducing stage. Instead we had a bit of a gap before an exclusive secret set from the wonderful Robin Ince… who turned up a good hour early so we all sat around having a cup of tea and a chinwag.
Robin was determined to perform his set back to front, so I would be introducing him after he’d finished, and Danny Chivers could come on as a warm up act at the end. This meant that Robin also started sat on the floor with his back to the audience. To another disbelieving crowd – “Yes, we really do have Robin Ince performing here in a minute” – Robin gave a brilliant performance that touched on themes of favourite suicides, the use of jazz hands in the popularisation of science and banality in politics.
I’ve uploaded part of his performance for your delection here:
At the end he called on me to come up and introduce him, but then carried on heckling me from the floor. Can anyone tell me, did he do his gig in the Comedy Tent during the England match on Sunday dressed as an octopus? Muchos love going out to you Robin.
Last but by no means least the Tripod Stage was delighted to host Dry the River, a folk band from East London attired in vaguely matched check shirts. Accompanied by guitar, bass, violin, glockenspiel and snare drum, Dry the River sing of history, culture, religion – often in gorgeous four part falsetto boy harmonies. Lead singer Peter Liddle studied anthropology and is now en route to become a doctor; a background that clearly informs his unusual lyrics. If there is any sense in this world Dry the River will be a major success: in fact if I were the betting kind I would lay the notes down hand over fist for this unsigned band. Really really brilliant, I feel so blessed to have found them.
I asked bearded bassist Scott to answer a few questions:
Scott’s feelings on the Tripod Stage gig: The Climate Camp Tripod Stage was awesome! We played as the sunshine beamed down on our faces, and the people around were so laid back and friendly. Plus we all got a cup of tea while we played which was like a dream after two days of camping. We even got a chance to road-test a new tune we’ve been working on because of the relaxed atmosphere of the show, and it went down well!
Scott’s favourite part of Glastonbury: It’s tough to pick a ‘best bit’ for the whole weekend but for me heading out to get lost in the maze of Shangri La at night was amazing, and bumping into Neville Staple backstage in the Dance Arena was pretty cool. Obviously the gigs we were able to play while we were there all stand out too, the Climate Camp for the friendly hospitable people there, the Crow’s Nest for the amazing view of the whole festival at sunset and of course the BBC Introducing set was just so exciting with the cameras and everything.
Make sure you catch up with Dry the River live – they’re playing Standon Calling, the Big Chill and Underground Festival in Gloucester. You can download a FREE 3 track EP from their myspace which includes an unreleased version of Coast, a never before heard track recorded earlier this summer. Dry the River headline the Lexington on September 30th and you can buy tickets here. In the meantime see them on BBC Introducing here.
What is the impact on our relationship with the environment – when existing in a world where sensor monitors constantly interpret our daily surroundings, producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction?
Photograph by Ludwig Zeller
The Weather Camera is Kjen Wilkens response to her search for a human presence within this deluge of electronic readings. Instead of taking a photograph to a record a special moment, the user of The Weather Camera can record the atmospheric conditions, weaving these into autobiographical memory. In time encouraging new methods of narration, titled by the designer as “Sensor Poetics.”
Becky Pilditch‘s prothestics are “objects of empowerment”, showcasing how functional pieces of designs can be both a thing of beauty and an extension of the wearer’s personality. Becky worked and developed the project with Holly Franklin .
Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space. A fantastic aspect of the website is the blog, which can be used by other prosthetic limb users to feed back directly to the project.
In the Animation section of the exhibition Lauri Warsta’s Traumdeutung awaited. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary,” the calming, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the data currently available on the subject matter: The Global Reserves of Dreams. The beauty of the animation, being it contained the possibility, that it was entirely a dream.
The subtle block coloring of the animation maintained a ‘warmth’ more accustomed with hand drawn animation, that can sometimes be lost in 3D animation. This is an outcome of Warsta’s experiments in combining; “two extremes (3D and Handmade) clash and merge. For example, bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”
Adnan Lalani‘s experiment with augmented reality catches the attention, through being something the viewer can interact with. The action of turning the Pop Up Book’s pages is suplimented by additional narration appearing on the screen placed directly behind the book and inline with the viewers eye.
Below is a video documenting the Pop Up Book’s Prototype. Earlier this week Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a Pop Up Book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”
Eventually Adnan hopes that as we grow increasingly comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”
The eye catching work of Design Interaction Graduate Louise O’Conner; used experimental dance to convey the movement of the smallest particles, for example: Atoms, in an attempt to connect us to movements that are beyond our physical awareness. Visit the exhibition to watch the film!
A particular lovely idea was the mapping out to scale, the measurements of the solar system along Kingsland High Street and up into Stamford Hill. Several shopkeepers were to host a planet…
Photography by Mark Henderson
You can find the map and information about the project here:
Katrin Baumgarten’s Aesthetics of Disgust explores humans’ relationship and our reactions; both emotional and physical to the things or materials which disgust us. Using inanimate objects all too often taken for granted, (i.e. Light Switches) Kartin added disturbing features such as goo or hair that moved as the light switch is pressed. By ‘touching’ us back, the presence of these inanimate objects is brought back to the forefront of our attention.
In the installation at the Royal College of Art a screen documents the level of the reaction of each user.
Another subject explored by Katrina is Intimate touch or sexual disgust and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” The outcome of which is the Intimate Touch Object, an item which enables you to touch another person secretly…
FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. Children draw onto the projector screen (this could be the kitchen floor, wall etc…) and an bring their drawings to life by clicking the ‘movie’ button. The idea being to “enrich their visual vocabulary,” sense of narrative and most importantly encourage children’s creativity.
Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.
Images Courtesy of the Students and addition photographs by Sally Mumby-Croft
At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), activism (we had a purpose) and being in lovely places with lovely people.
The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.
Mini ceilidh en route in Wales.
An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.
We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.
Awaiting news in the pub… many people knew activists on the flotilla.
We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.
The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.
Endless housing estates.
Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.
Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…
Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.
At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog here.
Written by Amelia Gregory on Friday July 2nd, 2010 7:55 pm
I went travelling this summer and it was an amazing experience…but don’t worry I’m not going to bore all readers with stories of finding myself whilst contemplating life on the top of a mountain. One thing I did do though, pilule was visit a tea plantation in the Cameron Highlands. It was the Boh plantation and I was taken on a nice little tour of the factory and the fields – it all looked very pretty and appealing. I realise now that the tea they were growing was more than likely sprayed with chemicals and had extras added once it had dried.
Tea is big, stuff competitive business, especially here in the UK. Pukka Teas are one of the few companies to recognise the new demands consumers are making on what they drink, for example where it has come from and what good it will do to the body. I spoke to founder and herbologist Sebastian Pole to find out why he has developed the fairtrade, organic company.
The press day was a very relaxed affair at the Crimson Bar in the Soho Hotel, with every tea from the range available plus a lovely selection of cakes and biscuits. After settling down, Sebastian explained the ethos behind the business to me ‘I didn’t just want to sell, there are enough companies out there looking for sales’. A herbologist by trade, making money in the big bad world of business is far from his mind, ‘I wanted people to start looking for quality when they buy their tea. Any tea that is not organic is likely to have been sprayed and there is no reason for this’ he told me.
At the moment the majority of the range is tea, but they are expanding. With health supplements proving to be successful, Sebastian told me that he is using his contacts in India and Sri Lanka to source more sustainably produced supplements. Based on foods (such as new superfood mushroom) instead of chemicals, the nutrients they release into the body last much longer.
Already making ripples in the consumer market, Pukka Teas has picked up a celebrity fan in the shape of supermodel Erin O’Connor (star of M&S campaigns, read our interview of their illustrator here). She was so keen on the teas she set up the sanctuary spa at London Fashion Week 2008 as an area for the models to relax and unwind with Detox teas. For the moment, Sebastian is working on getting all of the teas certified as fair trade, and will continue to practice the brands lifestyle choice of ‘ayurveda’, the art of living wisely.
Sebastian founded the Pukka Teas company with Tim Westwell in 2001
Written by Florence Massey on Thursday November 4th, 2010 2:48 pm
