Amelia’s Magazine | Matthew Williamson Exhibition Review


Illustration by Mina Bach

When Flo and I waltzed into Somerset House on a sunny Saturday afternoon, web nurse we were shivering with excitement. An entire exhibition devoted to Matthew Williamson, the King of boho chic? The man who practically invented Sienna Miller’s wardrobe, and garnered serious fashion kudos for bringing a rich, India inspired palette of colours onto the catwalk after years of nineties minimalism? We braced ourselves for a carnival of colour, with endless displays of amazing outfits, and sketchbooks of his designs to drool over.

How wrong we were. The exhibition is free, which should have been a sign it wasn’t going to match up to the epic Victor and Rolf exhibition at the Barbican way back in 2008. Based on the coffee-table tome published by Rizzoli, the show is basically an extension of the book – a couple of blown up photos from across Williamson’s career, some choice quotes from admirers in the fashion industry, and one or two sketches and backstage snaps thrown in for good measure. Quotes came from all the usual suspects: Anna Wintour, Alexandra Shulman and Lucy Yeomans all sing his praises on typed plaques alongside the photos. One of the more interesting observations made by Wintour was her admiration of Williamson’s ability to understand lifestyle as well as style when designing his collections. Comparisons to Celia Birtwell and Zandra Rhodes followed and I think that it would have been great if more had been made of the quotes and the points they made.

All very nice – but with the book splayed out on a sofa for you to flick through, we couldn’t help feeling slightly cheated by the whole thing. Granted, it’s cheaper than buying the book, and the photos do look lovely on the walls – it was fun to see his first catwalk show with all the ‘supers’ lined up in a row, and there are some nice personal shots too – but it took us about five minutes to walk around the whole thing. We left feeling none the wiser as to what makes Matthew tick (more what other people think make him tick). Where was the back story behind his collections, or better still, samples of the clothes themselves? I can’t afford a Matthew Williamson dress, so to just catch a glimpse of his archive would have been nice.Compare that to Viktor & Rolf, where we were treated to a giant room of eerie dolls wearing every single collection they had designed, with the crazy design concepts explained, and videos of the finished look on the catwalk. Pure fashion escapism.

It just seemed that with this exhibition, there was a missed opportunity. I just hope the Dior Fashion Illustration show at Somerset House fares better!.That’s £6 to get into so hopefully the money will go to making the exhibition feel like more of an planned project rather than a marketing tool for the book. So for a window into Williamson’s world of bohemian glam – buy the book – and if you don’t want to fork out forty quid, do go and see the exhibition. Also, If you do, we spotted many autographed copies of the book in the exhibition shop looking rather lonely…

Categories ,Central Saint Martins, ,fashion, ,fashion exhibition, ,Gallery, ,london, ,london designer, ,Matthew Williamson, ,menswear, ,museum, ,photography, ,review, ,Somerset House, ,Womenswear

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Amelia’s Magazine | Eley Kishimoto & Cancer Research UK: Fukuro Bag

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With such dry, look visit ironic observations as ‘home is where the house is‘, this cialis 40mg Superabundance introduces itself as a melodious continuation of the faux-geek, visit web insightful pop-rock that first emerged in Voices of Animals and Men, but proceeds to take us on a spiralling journey into the dark depths of the Young Knives‘ psyche. In Terra Firma, we are confronted with the beginnings of the climactic incantations that slowly envelop us in a humming and howling hypnosis in Current of the River, which follows a sombre, medieval chant in the delightfully foreboding, pagan harmonies of Mummy Light the Fire. I don’t like to compare bands, but I found some of their wistful, nautical narratives redolent of the Decemberists‘ historical fictions.

While the insinuations of suicide in Counters left me feeling tempted to phone the three band members to see that they were alright, Rue the Days has a positively nonchalant nineties feel and Flies, a gentle meditation on the natural world, seems to encapsulate a recurring fascination with human-animal relationships; a little idiosyncratic perhaps, but I get the feeling this album is somewhat an eruption of the Young Knives’ musical multiple personality.

I listened to every word of the album, and realised it was poetry; a super abundance of philosophical metaphors immersed in a synthesis of unexpected genres, undulating from pensive, orchestral flickers to thick, satisfying explosions of bass, good old enthusiastic shouting and some of the catchiest hooks around. It may leave you weeping, but it may just as well have you running out the house in your dancing shoes.

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Photograph by Jason Nocito

Thrilling things happen when oddballs get their hands on dance music, sickness and Hercules And Love Affair are the perfect latest example of that. These five colourful characters currently breathing new life into disco are an NYC-based collective comprising of Hawaiian-born jewellery designer/DJ Kim Ann Foxman, illness Amazonian CocoRosie and Debbie Harry collaborator Nomi, about it gay B-boy dancer Shayne, Miss Piggy-loving ex-waiter Andrew Butler and new rave hoodie-donning keyboardist Morgan. And then there’s Antony Hegarty of course, he of the Johnsons fame, and it is his beautifully crooning vocals combined with the pulsing rhythms, incessant bassline and playful horns of Blind that has worked both dancefloor enthusiasts and bloggers into a frenzy since it leaked onto the internet late last year.

The outfit’s self-titled debut is littered with more of his famously melancholic performances over shimmering beat-driven efforts, but do this eccentric bunch have the talent and songwriting capabilities to sustain an entire album? The answer is yes – by the bucketload. Hercules And Love Affair slinks delicately into action with dark and sultry opener Time Will as Hegarty pleads “I cannot be half a wife” repeatedly over finger clicks and minimal backing before segueing nicely into Hercules Theme; a more upbeat affair driven by sweeping strings, soft female vocals and discordant brass snatches. This track along with the light and breezy sway of Athene, Iris’ stripped down stomp and the headspin-inducing walking bassline and scat singing of closer True False/Fake Real prove that Butler and co. can shine magnificently even when they don’t play the Antony trump card. One trick ponies this lot certainly are not.

Blind, of course, is sumptuous, sounding more and more like a classic with every listen, but it is cushioned by album tracks that each stand up admirably alongside it, and which reference everything from Chicago house to punk funk, techno and disco simultaneously through the irresistible ice cold veneer conjured up by killer production duo main-man Butler and DFA’s Tim Goldsworthy. In fact, Hercules And Love Affair is the perfect example of an epic work so cleverly constructed that its wide-ranging influences seep out subtly instead of bombarding the listener. Heartbreaking and dramatic yet utterly danceable, it boasts intelligence, heart and soul and features musical prowess that will stop you dead in your tracks. Prepare for this to soundtrack your life for months to come.

Once upon a time there was a hunter, help who woke one day to find himself transformed into the deer he killed before he had rested. Is he now the hunter? Or is he the prey?

Fashion, illness performance, advice and storytelling merged into one as Daydream Nation’s design duo Kay and Jing presented their ominous tale ‘Good Night Deer’ at the Institute of Contemporary Arts. Whilst the audience sauntered in, a man stood behind the branched mic stand donning a furry animal head. He cackled, and whistled, and screeched, and crooned ‘There’s nothing in this world for you my dear’, whilst the band played at his side. The stage had morphed into a forest.

The lights dimmed, and the performers crept in with what looked like a white drum, acting as a moon. Each of them haunted the stage wearing sleeveless t-shirts in dark brown, with bark print on the front. By pulling them up over their heads giving the illusion of trees, the indoor theatre became a night scene. With all the garments made by manipulating old clothes, Kay and Jing create new myths each season. Two girls merged together in one outfit and became a deer, whilst others had t-shirts, and dresses in earthy beiges, browns and greens, and were embroidered with antlers and deer’s.

A large silver sheet was laid on the floor, with the hunter concealed beneath it. It rustled, and lifted, before finally revealing the deer. Looking up at its audience, it was literally a deer caught in the headlights. Draped coats fastened up with bows, and a brown pinafore was worn over a silk, blue blouse. Daydream Nation’s show was an utterly enjoyable evening, full of enthusiasm and creativity.

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I LOVE THIS SONG SO MUCH.

Young Love is the beautifully melancholic ode of a one-night stand. The Mystery Jets are bang-on in featuring Laura Marling, more about the latest young darling of the music scene, tadalafil on the first single to be taken from their second album, Twenty One. I’ve never been a huge Mystery Jets fan (I wasn’t fooled, and I most certainly wasn’t called Denis) but the dialogue between Laura and Blaine telling both sides of a brief encounter won me over within the first ten seconds.

In a move I haven’t seen since the works of Jane Austen, the love affair is cut short by that damnably unpredictable British weather. Far from regarding this as twee, the lyrics “you wrote your number on my hand but it came off in the rain” melted my icily sarcastic heart.

Laura sings of how “young love never seems to last”, and it’s with this stark honesty the dialogue tells of the ephemeral nature of youthful liaisons and the quiet acceptance of the pains of growing up. It’s this self-effacing honesty combined with the vintage handclaps, oohs and aahs that create one of the best pop songs of this year.

Oh, and check out the video: it’s bound to be at the top of the YouTube hit parade in no time, as Laura and the Mystery Jet boys are involved in a game of human curling. Now that should be an Olympic sport.
‘Five Portraits of Cloth’, site a large scale, tadalafil cunningly crafted work by Jayne Archard could have been an enveloping piece – if it hadn’t had to compete with cramped canteen style tables and chairs. The Tricycle Gallery suffers a problem often seen in community arts spaces: areas are not properly defined, this meaning that an exhibition space can be transformed into a cinema’s ante-room, and a café’s overspill seating space. I’m all for showing artwork in something other than the traditional White Cube, but it can only be a hindrance to the work when you have to battle with a chair to see it properly.

‘Other Visible Things’
is part of the Tricycle Gallery’s Recent Graduates 2008 programme; giving artists like Archard and Knight valuable exposure that can be difficult to achieve so soon after graduation. Regrettably, in this case the work shown doesn’t function as well in the outside world as in the bubble of the art college – why should the artists assume that all the gallery goers would be able to read, or even care about, the references to conceptual art history? Adam Knight’s ‘Studio Corner (After Mel Bochner)‘(below) is an interesting photograph that investigates illusion and the documentation of a sculptural object, so why the need for the clever nudges and winks to those with a subscription to Art Review?

Even the title of this show is taken from Bochner‘s influential exhibition: ‘Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art‘. In the confines of the art college studio, Archard and Knight’s works are accessible as the viewers are more likely to have a similar knowledge to that of the makers. In the Tricycle Gallery, a space attached to a café, theatre and cinema in Kilburn, the art history allusions can seem like an elitist in-joke. I can see that Knight’s work in particular could be viewed as a playful re-working of ideas about Minimalism and Conceptual Art, but unfortunately the humour falls short.

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Walking into Gramaphone five minutes into Tom James Scott‘s set was not a good idea. His music sounded so delicate that even the whir of the drinks refrigerators was distracting, this web so the sound of a door opening and two stumbling youths almost threatened to destroy the ethereal atmosphere he had created. His fragile guitar sound had an almost filmic quality; evoking images of cinematic landscapes. The performance seemed shyly self conscious, order perhaps a little fractured, but in a way that only enhanced its subtle beauty.

The acapella sound that began Wounded Knee’s set also demanded the audience’s full attention: the quiet fell once more. The singular figure of Drew Wright concocted an alchemy of sounds that ranged from the ghostly to the jubilant. Relying on effects pedals to build up intricate and textured music, the songs still sounded firmly traditional. Who’d have thought that a looped kazoo and bassy scat singing could sound so Gaelic! His music contrasts a sense of history with a playful method of music-making to create a joyful racket.

Having been lulled into a state of wooziness by the last two acts, I’m not sure I was quite ready for Jenny Hoyston. Perhaps it wasn’t that well-considered a line up by Upset The Rhythm, as previously I was more than eager to see the solo efforts of Erase Errata’s vocalist/guitarist. Hoyston’s back and forth with the audience seemed to amuse most people present, but to me it jarred after the pathos of James Scott and Wounded Knee. However, there’s no doubt that the slightly scrappy sound of Hoyston and her drummer revived me slightly; driven on by the sparse yet considered drum sound. Brief, low fi songs shined when they included rhythmic Krautrock references. It’s just a shame that the vitality of Hoyston’s music seemed oddly displaced after the previous acts.

The toilet paper is really thin here in Brazil. And it’s tropical as all hell. In an invigorating, this though makes-me-wilt-severely kinda way. And that’s about all I have to complain about so far.

We’ve been here since Wednesday and since then it’s been non-stop. We touched down on Wednesday at 6.30am after a smooth and fairly non-eventful flight on a Brazilian airline. The lights inside the cabin were getting all new rave and glo-stick on us, prostate which I actually quite enjoyed. Plenty of leg room, this site and even better: not one, but TWO spare seats adjacent to us. I live for the movies and the food when I fly, and was really impressed with the whole thing until I settled in to watch Nanny Diaries, when halfway through it, it switched over to Pirates of the Caribbean in Portugese. Nooooooooo I’m forever doomed to the dis-satisfaction of never being bothered to want to watch the first half of that film again to get to the part where Nanny gets with cute boy and affects loving change in her employers’ lives.
The effects of global warming are clearly upon us. Whether it’s on the front page of the newspaper, stuff or staring us right in the face, abortion climate change is the greatest environmental challenge facing us today. Blooming and reproducing in February; even nature and wildlife seem to be getting confused what time of year it is! The world seems to be wilting before our eyes. Environmental activists have been pushing the seriousness of this problem for a long time now, and thankfully the rest of the world are starting to take note. Artists, historically, are often first on the mark too, defining such issues. ‘Climate 4 Change’ exhibition does just that.

Leaflets and posters emblazoned with ‘Campaign against climate change’, and ‘Do you know the constitution of human rights?’ overwhelmed me as I entered. The smell of incense hit my nose.

Allie Biswas’ ‘No Rave’ painting (below) propped against the wall on the floor. Her abstract blue painting was organic, with orange, green and yellow forms, often dripping down the canvas. Frustrated with the ‘anonymous’ theme running throughout the exhibition, she claimed her work by scribbling her name on a post-it-note, and sticking it to the wall.
In the ‘Bombastic Bureau’, a man with his oversized army jacket, wearing a shiny wrestling mask protests: ‘Don’t worry I’m here, here to kill the rabbit!’ As the notes on a keyboard haunted the space, on the wall were projections of war. In a small room on its own was a short film where hands pushed and pulled, gripped and slipped throughout, defining gravity.

There was a small, perspex house, suitable for a hamster, but filled with furniture, beds, a TV, kitchen, even a parked car outside. Sawdust covered the floor, and food pellets spilled over the sink. Opposite, a man sat on the floor and asked me to shred pages of newspaper. As I proceeded on doing so, he took the tears, put them in a sealable food bag, and signed it ‘Don’. “What does it mean?” I asked, “It would take too long, I’ll tell you in the pub afterwards! Make of it what you want,” he replied. I wasn’t sure what I wanted to make of it, and maybe he didn’t either, but the bag is sitting next to me now, so thank you Don!

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Glasgow School of Arts textiles degree has churned out some pretty talented folk in its time; Jonathan Saunders and Pam Hogg are just two of their previous students. So all eyes will be on the graduates showcasing their womenswear collections in the Fashion as Textiles show at the Atrium Gallery. This exhibition aims to explore the relationship between textiles and fashion and dispel the idea of these as two separate disciplines.
Suspended from the ceiling Emmi Lahtinen‘s simple shift dresses hang like clouds, more about weightless yet substantial. Inspired by Finnish minimalism and Cecil Beaton, Lahtinen’s dresses embody a sense of light, depth and wonder. Her rain-soaked palate of greys, blues and greens are created using a mixture of screen printing and dying with digital inkjets.
Inspired by the stained glass windows in Glasgow’s Burrell Collection, Lori Marshall’s collection features high-waisted leggings with digital-prints of stained glass, laser etched velour and layered tops of sheer fabric with Tudor-style ruffled necklines.
Florence To moves away from conventional approaches to textile design. Working in neutral colours, To wraps strips of raffia and polyvinyl around wooden rings. These are linked together to create large-scale accessories, which are draped over tailored silhouettes, creating serene and lightweight designs.
Combining woven fabrics with synthetic materials, Shona Douglas’ collection challenges traditional approaches to weaving. Using raw edged silks and wools cut to fold around the body, Douglas’s skirts and tunics combine a rough-hewn aesthetic with a minimalist approach.
Huddling in the corner like a murder of crows, Louise Browns blue and black coats are dramatic and elegant, featuring appliquéd velvet roses, and topped with light-as-moor-mist ruffles. Brown focuses on volume and as a quote from Coco Chanel overhead reminds us: ‘Fashion is architecture, it is a matter of proportions’.
Although the layout of the Atrium means that some of the students have had to cramp their work into one corner, the gallery is flooded is light and its size allows intimacy, encouraging a closer view of the clothes and highlighting the details that are missed in fashion shows. That these textiles stand up to this level of scrutiny is a testimony to the talent of these promising designers.

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Seven pound alcoholic ‘Coconut Grenades’ combined with WAG central a la Mahiki Bar was perhaps not the ideal location for treating my ears to a lovely bit of Swedish pop. However, cialis 40mg I was determined not to let jersey sequinned smock dresses and trout pouts get in the way of seeing my new favourite female artist, stomach Lykke Li, who EVERYONE who is anyone is talking about, singing her wee heart out whilst shakin’ them hips, and proceeded to squeeze my way to the front of the unjustifiably ostentatious venue.

The best thing to come out of Sweden since momma’s homemade meatballs, this innocent-looking, (looking being the operative word) Bambi-eyed 21-year old starlet knocked me off my feet that fine evening, and left me hungry for more. Performing late in the night under extremely dim lighting – advanced apologies about the video quality – it was initially hard to get into the mood, but when Lykke’s alluring voice rang out to Dance, Dance, Dance it was effortless to let go of all previous pent-up bitterness; a perfectly chosen track to start off the show. Creating an all round exhilarating but unperturbed ambience, she continued to deliver hefty handfuls of arousing yet sensitive, alternative pop, with tracks such as I’m Good I’m Gone packing a jaunty punch with an attitude, the heart-wrenching Tonight, and the most painfully addictive song of the year, Little Bit, which just happens to be her forthcoming single. Sincere and honest words of unrequited love, pain, lust and heartache were sung in an omen to the most complicated of relationships.

With dance moves as quirky as her Princess Leia inspired hair-do, and mountainous amounts of raw energy, the pretty young thing owned the stage and was within her own element, even with the rather challenging audience present. Hopefully the next time Lykke will be down in London town her team will be able to find a better-suiting venue to compliment such fine talent. Now if you excuse me, I shall be off to listen to her album, Youth Novels, on repeat again and again. And again.

Lykke Li performing ‘Little Bit’ live @ Mahiki – for more Amelia’s videos click away: AMELIA’S VIDS.
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If Kate Bush was a man, prostate joined a book club with Joy Division, had Patrick Wolf over for cups of tea on a regular basis and they all did each others’ make-up on ketamine, this collective of genius might have produced sounds equivalent to FrYars‘ musical offering. Following last year’s EP The Ides, The Perfidy is a keyboard-borne manifestation of this scenario of auditory dreams, but with unique elements that only FrYars – the pseudonym of nineteen-year-old Ben Garrett – could create; songs formed from prose, telling melancholic folk stories of treacherous impregnation, ‘evil’ and the collapsing marriage of a novelist: “Now you can see there’s a mess you’re in/ No problem solved without ketamine/ And it’s probably best that you stay in your hole/ For I’d rather stick to my ethanol”. The video for Olive Eyes is like a French film noir starring Garrett as a New Romantic enshrouded in horrifying shadows, contemptuously eating a bowl of cornflakes. Indeed, there is something of the k-hole that lingers in this slightly nightmarish scene, but something equally intriguing and seductive; a conflicting attraction which the music itself also provokes. I imagine it is most probable that when he finished the making of this EP, FrYars raised Lord Nelson from the dead, had a duel with him, and won; such is the strength of the message that anything is possible, subliminally communicated through FrYars’ astonishingly original work. Kismet, Hardy! I’m off to join that book club.
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Cruel schoolyard carrot-top (FYI, dosage Redhead Lauren says carrot tops are actually green you bullies) nicknames are to be no more. Gingers got a makeover courtesy of number one, find handsome Ron Weasley, and number two, the quiet but feisty popstrel from Girls Aloud, Nicola Roberts.

In collaboration with luxury cosmetics brand Jelly Pong Pong, the less talked about girl band member has introduced a new make-up range in celebration of pale-skinned Celtic beauties, such as our lovely fashion Ed, Miss. McColl. Dainty Doll offers beautifying products from neutral bases and eye shadows to blushing pink lip-glosses; everything a girl needs to achieve China doll cheeks and plumped up babydoll lips to compliment the whitest of complexions.

For the lucky sun-kissed goddesses out there, their finest offerings include shimmering Venus magical pearls for highlighting your most exquisite features, and gourmet lip salves (which claim to rekindle your soul), comprised of the most indulgent ingredient list of chocolate, sugar, milk, liquorice and honey. Yum yum. Packaging is just as decadent – little pocket-sized boxes in all shapes and sizes, gilded, embossed and ribboned, all dusted off with a little sparkle. If you’re one for splashing out on such facial décor then succumb to these divine temptations, but be prepared to shell out for such extravagance.

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Yes, capsule I know, another ethical, ‘save the planet’ calico bag, but when elite designers start getting their mitts on them you know you can only expect the finest. Eley Kishimoto has teamed up with Cancer Research UK in aid of raising money to help fund research towards beating cancer by launching a self-effacing, reusable organic cotton bag printed (with water based inks, might I add) with a humble orange owl upon a vivid blue moon. No fat ‘I’m not a plastic bag‘ slogans all over the front, this simple bag aims to cause effect without having to rub it in everyone’s faces.

I am not one for drumming the fact that we’re practically killing the planet just by breathing, into your sullied ears, but if we can help out Mother Nature as well as donate to a reputable charity that saves lives, then surely it’s worth forking out a measly £2.99 for this little gem? With countless designs of new reusable bags on the scene it’s become easier than ever to become slightly greener, but add that extra solicitous factor by choosing this bag in particular. Take your wee owl home from March the 1st at all Cancer Research UK shops.

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Amelia’s Magazine | A Review of 50 Fabulous Frocks at the Fashion Museum, Bath

Fashion Museum, Bath, 50FF Review
Illustration of 1900s champagne fancy dress costume, unknown maker, by Freddy Thorn.

Like any good birthday bash, it begins with champagne; a bottle of 1904 Veuve Clicquot to be exact, taking the form of an elaborate Edwardian fancy dress ensemble.

Recently listed by CNN as one of the top ten fashion museums in the world, Bath’s Fashion Museum has come a long way since its creation by Doris Langley Moore and the Bath City Council in 1963. This is a varied exhibition, featuring 50 of the fashion museums ‘greatest hits’ with dresses spanning across the ages, from one of the oldest dresses in any UK museum (a 1660 piece affectionately known as the ‘Silver Tissue Dress’) to a fresh-off-the-catwalk 2012 Louis Vuitton piece. Eveningwear sits comfortably by poolside attire, sportswear next to corsets; each dress a snapshot of fashion history.

5 dresses at 50 Fabulous Frocks exhibition, Fashion Museum, Bath
Illustration of 5 of the 50 dresses by May Van Milllingen.

There are plenty of ‘celebrity’ frocks here: a Christian Dior dress from the 1950s, a Chanel from the 1960s and a Jean-Paul Gaultier from the 1990s just a few of the gems in this collection. With dresses that have graced the pages of Vogue alongside cages and crinolines, these pieces form a dynamic exhibit exploring dresses across the centuries.

Black lace Rocha dress now part of 50 Fabulous Frocks Exhibition
Red lace Erdem Dress on Catwalk
Photos of red and navy lace Erdem and black Rocha dress by Chris Moore.

An ostrich feather 1960s Yves Saint Laurent concoction made for ballerina Margot Fonteyn catches my eye as does a Dame Vivienne Westwood regency style dress nestled among the kinds of dresses it’s emulating. A 1940s pink Mickey Mouse aertex dress sits next to a polka-dot housecoat lined with gingham and there’s even a wedding dress from the 1890s among the ranks. These clothes are famous; there’s a red mini dress worn by Ernestine Carter, a former Fashion Editor of The Sunday Times, as well as an Ossie Clark dress literally taken straight out of a David Hockney, Tate painting.

Dress by Poiret part of 50 Fabulous Frocks Exhibition.
Alexander McQueen dress from 50 Fabulous Frocks exhibition
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Photos of Poirot dress, Alexander McQueen dress and cream silk ball gown provided by Fashion Museum, Bath & North East Somerset Council.

I go to the exhibit twice, once with my friends on a sunny Saturday and we whizz through it in true tourist fashion (pun intentional) as I snap a few photos. We amble through the corsets and cages, pantsuits and Burberry raincoats, quickly and hungrily. We notice a group of young female museum-goers all wearing the same outfit in alternate colours, each one clad in a pair of converse paired with brightly coloured jeans. I note that in this exhibit, the tables have turned, and the dresses, behind the security of their glass cases, are the audience for our own catwalk as we prance back and forth.

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A Vivienne Westwood dress (centre) alongside two dresses from the late 1800s, illustration by Karolina Burdon.

The second time I go by myself on a rainy Sunday and I listen to every single commentary for each dress, writing notes as I go. The other gallery-folk are, like the dresses, a melting pot: families with young children; a few fashion students drawing the dresses in their sketchbooks. Amongst the chatter I can hear loud, excited French. Thirty or so people come and go while I examine the collection.

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Wall text at Fashion Museum, Bath
50 Fabulous Frocks Dresses Bath Fashion Museum
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50FF Dresses, 50 Fabulous Frocks Dresses Bath Fashion Museum
50 Fabulous Frocks Exhibition, Fashion Museum, Bath
All photography by Jessica Cook.

While I sit on the floor sucking the end of my pen and agonising over the spelling of ‘Vuitton’, there is a mother and her two children in the museum providing an alternative narrative to the info handsets. “Mummy, what is it?” says child no1. The mother pauses for a second as though thrown off balance by the question, “It’s dresses from the last 50 years,” she says, which is wrong, and I feel the same wince I had as a kid when I first realised that parents aren’t infallible. The exhibition is a celebration that the Fashion Museum is 50 years young, but the dresses themselves span across the ages as far back as the 1600s. Her mistake is understandable, as the date underneath the sign does read 1963- 2013 after all.

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Red wool mini dress by André Courrèges, black Ossie Clark gown and 1930s evening dress, illustration by Gareth A Hopkins.

Wow!” says child no2 as he reaches a dress from the 1800s. “Isn’t it amazing?” says the mother, her eyes alight. “Just like mummy used to wear,” she says pointing at a short, red little number. The children press their faces against the glass as though they are looking into the past.

Woman in champagne dress
Photo of champagne bottle dress provided by Fashion Museum, Bath & North East Somerset Council.

The 50 Fabulous Frocks exhibition at the Fashion Museum, Bath is open from 2 February 2013 to the 31st December 2013. Entry is £2.

Categories ,50 Fabulous Frocks, ,Alexander McQueen, ,Bath, ,Bath City Council, ,Birthday, ,celebration, ,Champagne, ,Christian Dior, ,CNN, ,corset, ,David Hockney, ,Doris Langley Moore, ,Dresses, ,Edwardian, ,Erdem, ,Ernestine Carter, ,Eveningwear, ,exhibit, ,fashion, ,Fashion Museum, ,Freddy Thorn, ,Gareth A Hopkins, ,history, ,Jean Paul Gaultier, ,Karolina Burdon, ,Louis Vuitton, ,Margot Fonteyn, ,May van Millingen, ,Mickey Mouse, ,museum, ,Ossie Clark, ,Silver Tissue Dress, ,Tate, ,The Sunday Times, ,Veuve Clicquot, ,Vivienne Westwood, ,vogue, ,Wedding Dress, ,Yves Saint Laurent

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Amelia’s Magazine | Angels of Anarchy at Manchester Art Gallery

Angel3Courtesy of George and Betty Woodman and Marian Goodman Gallery, pills New York

When I hear the word Surrealism, for sale instantly the likes of Salvador Dali, approved André Breton, André Masson and Max Ernst come to my mind. Well I can now add Frida Khalo, Leonora Carrington, Eileen Agar and many more female Surrealist artists to that male dominated list, thanks to Manchester’s Art Gallery! Their current exhibition, Angels of Anarchy, sets out to not only celebrate the works of female artists but to educate and inform those who know little (people like me) or nothing at all about the important role females played in the Surrealist movement. How about that?

Angel Courtesy Private collection, Dilbeek, Belgium © DACS 2009

The exhibition covers five main categories within Surrealism – Portrait/Self-Portrait, Landscape, Interior, Still Life and Fantasy; the medium used ranges from sculpture to photography to film and the more traditional oil on canvas. Thanks to Salma Hayek’s performance in the eponymous film, Frida Khalo -who features in both Portrait/Self Portrait and Interior – is probably the name most will recognise but you will not be disappointed with the other lesser-known artists on display.

Angel2

Courtesy ADAGP Paris, Musée National d’Art Modern – Centre Georges Pompidou. Courtesy Photo CNAC / MNAM, Dis. RMN / courtesy  Jacques Faujour

The most interesting piece comes in the form of film by photographer/filmmaker Lola Alvarez Bravo -who incidentally went to school with Frida and was one of her closest friends. The 30 seconds (approx) of rare footage is left untitled but is captivating from start to end, not least thanks to the presence of Frida herself; the artist is more stunning on film that I had imagined. There is no audio in this eerie film and it’s quite foretelling that Frida is welcoming death into her home in the shape of an innocent looking girl; this was shot when Frida was in ill health and I thought this was one of many nice surprises within the exhibition. Bravo documented much of Frida’s life and she went on documenting even after her death; there is a poignant shot of Frida’s room after her death (Frida’s Room 1954), where her wheelchair, paintbrushes, a self-portrait and a picture of her husband are strategically placed in order to sum up her life. This particular scene left a lump in your throat!

Fini_Le-Bout-du-MondeCourtesy Manchester Gallery

Another big name featured in the exhibition is Eileen Agar – whose Angel of Anarchy (1936-1940) mixed media head dress is featured alongside its opposite number Angels of Mercy (1936-1940) – only two surviving pieces of four, are portraits of Joseph Bard (her husband) and to see them both is quite magical. Angel of Anarchy is wrapped in rich African bark cloth decorated in Chinese silk, beads and osprey and ostrich feathers and has a decadent aura about it. Angel of Mercy is quite the opposite but none less impressive to its corresponding part, using only her skills to sculpt the piece and her hand to paint it.

Agar_Angel-of-AnarchyCourtesy Manchester Gallery

Whist big names like Kahlo, Agar, Oppenheim and Cahun are used to encourage people to visit the exhibition the lesser known artists really do shine and in some cases surpass their well known counterparts. Kay Sage’s beautiful black and white, landscape photography will lead you into the word of the extra-ordinary within the ordinary – her vision of seeing something interesting within what seems to be an ordinary landscape impressed me a great deal! Leonora Carrington’s self portrait (1937-1938) will immediately grab your attention as it did mine; I faced this one particular piece for a good10 minutes and I must admit I was truly transfixed and consumed in my trail of thought! This, in my opinion, is by far was the best self portrait (oil on canvas) in the entire show. I felt deep sympathy for Carrington and I was left wondering and wanting to know more about this wonderful talent.

Angel1

Courtesy Banco de Mexico Deigo Rivera & Frida Kahlo Museums Trust, Mexico DF / DACS 2009

The exhibition is over teeming with beautiful oils on canvas and sculptures that include a rarely seen Lee Miller torso cast that has only even been exhibited once before. Surrealist literature is present in the form of Leonora Carrington’s En Bas ( Down Below 1945) a memoir of her emotional journey after Max Ernst is arrested by the Nazis which leads her to being institutionalized in a mental hospital in Spain. There are video instillations by Francesca Woodman documenting herself exploring the female form and a beautiful interpretation of ‘There was a Miller on a River’ (1971), by Eva Svankmajerova. This old folk song tells the story of a young soldier returning home after 20 years. His parents do not recognise him, rob and murder him; once they realise it was their son they take their own lives. Such a brutal act is given a beautiful lease of life in Svankmajerova’s gorgeous illustrations.

Oppenheim_SquirrelCourtesy Manchester Gallery

Another nice surprise is the room ‘Teenangels’ in which the Manchester Art gallery has teamed up with art students from Levenshulme High School who have came up with their own Surrealist inspired artwork. I would have happily been left to think they were part of the Angels of Anarchy exhibition had I not seen the sign! Seeing interaction between a prestigious art gallery like Manchester’s and GCSE art students topped the exhibition off perfectly.

All in all this was a good exhibition which ran from the 26th of December 2009 to the 10th of January 2010. Penny Slinger describes her work as ‘a protest against females being seen as mere objects at a male’s disposal’. This exhibition sets out to break the notion that Surrealism is a male dominated movement and it does so successfully. Without the likes of Frida Kahlo, Claude Cahun, Edith Rimmington, Meret Oppenheim and the rest of the female Surrealist featured in the exhibition I doubt very much that women in art would be where they are today. They helped the female cause for decades to come and paved the way for equality in Art. They proved that chicks can do what guys do… and dare I say in some cases even better? If you were one of the lucky few who visited the show then you surely came away enlightened, informed and inspired by those surrealist amazons…just like I did.

Visit www.manchesterartgalleries.org/angelsofanarchy for more information.
Thumb

Categories ,André Breton, ,André Masson, ,art, ,art review, ,Claude Cahun, ,Edith Rimmington, ,Eva Svankmajerova, ,film, ,Francesca Woodman, ,Frida Khalo, ,illustration, ,Kay Sage, ,Lee Miller, ,Leonora Carrington, ,Lola Alvarez Bravo, ,manchester, ,Manchester art gallery, ,Max Ernst, ,Meret Oppenheim, ,museum, ,museums, ,painting, ,Penny Slinger, ,photography, ,Salvador Dali, ,scultpture, ,surrealism, ,surrealist

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Amelia’s Magazine | An Interview with Edward Vince

Monday saw the fourth day dawn on London Fashion Week and delightfully my first day of intriguing ethical fashion presentations. First up on No. 1 Greek Street was the delightful Lu Flux, there visit web followed in the afternoon by – congratulations! – the Ethical Fashion Forum’s Innovation Award winner Ada Zanditon. –

In the run up to London Fashion Week, more about Katie Antoniou interviewed Ada Zanditon about the trials, malady tribulations and positive rewards of producing innovative ethical fashion. Often the problem lies in the assumption that ethical fashion is boring and unfashionable – that most heinous of sins! – a situation being speedily rectified with the continuing presence of Estethica’s exhibition and support of young designers exploring the possibility of sustainable fashion at London Fashion Week Exhibition.

Starting at 2pm, Ada Zanditon’s presentation – which in the grand scheme of things was more of catwalk – displayed the designer’s incredible 3D textiles used to embellish the collection of pretty dresses. Utilising her presence at On|Off, Ada showcased the delectability of clothes made through using up-cycled materials. The outcome of which had the group of ladies behind me swooning.

Christopher Raeburn and Lu Flux, (whose review will be appearing later on today…) are but two of Ada Zanditon’s trailblazing contemporaries in the field of ethical fashion. All three designers are successfully proving there need be no distinction between ‘fashion’ and ‘ethical fashion.’

Surely it is time for all designers to take the ethics of their production lines into consideration: namely where the fabrics originate and who is physically making the clothes for commercial consumption.

When answering Amelia’s Magazine’s final question , Zanditon touched upon the difficult reality of encouraging people to achieve not only sustainable fashion, but sustainable lives; “I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change.”

A common fault in humanities mentality is our failure to project successfully beyond today, nurtured as we are on natural resources being infinite. It is incredibly hard to convince worldwide populations’ materials are and will become finite, whilst items still appear in their thousands on shop floors. Perhaps it will take empty shelves to convince us of the perils of fast fashion.

Intriguingly Ada Zanditon uses geometric cutting to produce zero waste. Tell us how you do it Ada!

Monday saw the fourth day dawn on London Fashion Week and delightfully my first day of intriguing ethical fashion presentations. First up on No. 1 Greek Street was the delightful Lu Flux, visit this followed in the afternoon by – congratulations! – the Ethical Fashion Forum’s Innovation Award winner Ada Zanditon. –

In the run up to London Fashion Week, decease Katie Antoniou interviewed Ada Zanditon about the trials, for sale tribulations and positive rewards of producing innovative ethical fashion. Often the problem lies in the assumption that ethical fashion is boring and unfashionable – that most heinous of sins! – a situation being speedily rectified with the continuing presence of Estethica’s exhibition and support of young designers exploring the possibility of sustainable fashion at London Fashion Week Exhibition.

Starting at 2pm, Ada Zanditon’s presentation – which in the grand scheme of things was more of catwalk – displayed the designer’s incredible 3D textiles used to embellish the collection of pretty dresses. Utilising her presence at On|Off, Ada showcased the delectability of clothes made through using up-cycled materials. The outcome of which had the group of ladies behind me swooning.

Christopher Raeburn and Lu Flux, (whose review will be appearing later on today…) are but two of Ada Zanditon’s trailblazing contemporaries in the field of ethical fashion. All three designers are successfully proving there need be no distinction between ‘fashion’ and ‘ethical fashion.’

Surely it is time for all designers to take the ethics of their production lines into consideration: namely where the fabrics originate and who is physically making the clothes for commercial consumption.

When answering Amelia’s Magazine’s final question , Zanditon touched upon the difficult reality of encouraging people to achieve not only sustainable fashion, but sustainable lives; “I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change.”

A common fault in humanities mentality is our failure to project successfully beyond today, nurtured as we are on natural resources being infinite. It is incredibly hard to convince worldwide populations’ materials are and will become finite, whilst items still appear in their thousands on shop floors. Perhaps it will take empty shelves to convince us of the perils of fast fashion.

Intriguingly Ada Zanditon uses geometric cutting to produce zero waste. Tell us how you do it Ada!

Illustration by Kellie Black

The Headonsim exhibition is hidden in the Embankment Galleries on the lower ground floor of Somerset house, doctor behind the BFC tent. I’ve been down there twice, store once on Thursday and once yesterday – and both times it seemed very under attended. Actually, side effects all the exhibitions around the scrum of the registration area seem very quiet but they are all well worth a look, even if it is just to take a closer look at some of the collections as I did upstairs for Louise Amstrup.

Curated by milliner extraordinaire Stephen Jones, the Headonism exhibition is all about the hats and is the only section of London Fashion Week to do so. There are only five exhibitors: J Smith, Little Shilpa, Noel Stewart, Piers Atkinson and Soren Bach, but the difference between the stands is remarkable. The xxxxx has no one manning it, nor does Little Shilpa – merely a book to leave details in and the only exhibitor to have put any real effort into their display is Piers Atkinson but more on him later. The importance of showcasing your wares appropriately at London Fashion Week is shockingly something that many have left to the last minute. Read Katie Antoniou’s post on all the exhibitions to find out who did it well.

We were lucky enough to interview two of the exhibitors prior to the show, the first was J Smith Esquire. His exhibit is immediately to your right as you enter the exhibition, displaying his most recent foray into the high street market with a Mister Smith display of flat pack hats in colourful cut out leather. He told us about the collection: ‘Mister Smith is designed to be robust, accessible, affordable millinery with high design values, so everyone can have a J Smith Esquire hat’.

Photograph by Florence Massey

Illustration of J Smith Esquire by Kellie Black

Mixing together the ready-to-wear and couture, J Smiths talent shines with his main collections. Illuminated promises to be VERY eclectic, ‘(it’s) inspired by vintage Italian fashion papers to create a modern-day Edwardian couture, and yes, expect a very colourful collection!’

Illustration of Little Shilpa by Yelena Bryksenkova

Little Shilpa’s stand is on each side as you exit the exhibition space, and displays an array of great headpieces, necklaces and hats. Her work is crazy, but in a good way. His designs are definitely not for the wallflowers among us, something crystalised by his naming Bjork as the dream candidate for one of his creations!

With an Indian heritage it is unsurprising to hear that the inspiration for his Headonism show picks up on this , ‘the pieces were inspired from Bombay and London, there was an obvious juxtaposition of the 2 cities …all the pieces were specially created for Headonism as it was my first formal showing in London hence a sort of introduction to my inspirations ‘.

Little Shilpa totally agreed with Piers Atkinson’s comment that millinery finally becomes more about having fun rather than the obligatory weddings and funerals, ‘working out of India it has always been about fun and design’. Long may that continue!

Talking of Piers Atkinson and the move away from wedding/funeral hats his stand is fantastic. More of an exploded flower stall mixed with Hollywood clichés and mini people, I spent a-g-e-s peering at every single one of his creations. With lots of green felt, and miniature people Atkinson definitely taps into the fun side of millinery and his collection is so good: silly, energetic and vibrant. Spilling with colours and quirks, the Hollywood sign features heavily, as do clashing flowers and little gold spikes. If you want a break from the oh so serious fashion upstairs at BFC, pop down to Atkinson’s stand for a giggle.

Illustration by Kellie Black

Monday saw the fourth day dawn on London Fashion Week and delightfully my first day of intriguing ethical fashion presentations. First up on No. 1 Greek Street was the delightful Lu Flux, adiposity followed in the afternoon by – congratulations! – the Ethical Fashion Forum’s Innovation Award winner Ada Zanditon. –

In the run up to London Fashion Week, click Katie Antoniou interviewed Ada Zanditon about the trials, pill tribulations and positive rewards of producing innovative ethical fashion. Often the problem lies in the assumption that ethical fashion is boring and unfashionable – that most heinous of sins! – a situation being speedily rectified with the continuing presence of Estethica’s exhibition and support of young designers exploring the possibility of sustainable fashion at London Fashion Week Exhibition.

Starting at 2pm, Ada Zanditon’s presentation – which in the grand scheme of things was more of catwalk – displayed the designer’s incredible 3D textiles used to embellish the collection of pretty dresses. Utilising her presence at On|Off, Ada showcased the delectability of clothes made through using up-cycled materials. The outcome of which had the group of ladies behind me swooning.

Christopher Raeburn and Lu Flux, (whose review will be appearing later on today…) are but two of Ada Zanditon’s trailblazing contemporaries in the field of ethical fashion. All three designers are successfully proving there need be no distinction between ‘fashion’ and ‘ethical fashion.’

Surely it is time for all designers to take the ethics of their production lines into consideration: namely where the fabrics originate and who is physically making the clothes for commercial consumption.

When answering Amelia’s Magazine’s final question , Zanditon touched upon the difficult reality of encouraging people to achieve not only sustainable fashion, but sustainable lives; “I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change.”

A common fault in humanities mentality is our failure to project successfully beyond today, nurtured as we are on natural resources being infinite. It is incredibly hard to convince worldwide populations’ materials are and will become finite, whilst items still appear in their thousands on shop floors. Perhaps it will take empty shelves to convince us of the perils of fast fashion.

Intriguingly Ada Zanditon uses geometric cutting to produce zero waste. Tell us how you do it Ada!

Monday saw the fourth day dawn on London Fashion Week and delightfully my first day of intriguing ethical fashion presentations. First up on No. 1 Greek Street was the delightful Lu Flux, page followed in the afternoon by – congratulations! – the Ethical Fashion Forum’s Innovation Award winner Ada Zanditon. –

In the run up to London Fashion Week, Katie Antoniou interviewed Ada Zanditon about the trials, tribulations and positive rewards of producing innovative ethical fashion. Often the problem lies in the assumption that ethical fashion is boring and unfashionable – that most heinous of sins! – a situation being speedily rectified with the continuing presence of Estethica’s exhibition and support of young designers exploring the possibility of sustainable fashion at London Fashion Week Exhibition.

Starting at 2pm, Ada Zanditon’s presentation – which in the grand scheme of things was more of catwalk – displayed the designer’s incredible 3D textiles used to embellish the collection of pretty dresses. Utilising her presence at On|Off, Ada showcased the delectability of clothes made through using up-cycled materials. The outcome of which had the group of ladies behind me swooning.

Christopher Raeburn and Lu Flux, (whose review will be appearing later on today…) are but two of Ada Zanditon’s trailblazing contemporaries in the field of ethical fashion. All three designers are successfully proving there need be no distinction between ‘fashion’ and ‘ethical fashion.’

Surely it is time for all designers to take the ethics of their production lines into consideration: namely where the fabrics originate and who is physically making the clothes for commercial consumption.

When answering Amelia’s Magazine’s final question , Zanditon touched upon the difficult reality of encouraging people to achieve not only sustainable fashion, but sustainable lives; “I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change.”

A common fault in humanities mentality is our failure to project successfully beyond today, nurtured as we are on natural resources being infinite. It is incredibly hard to convince worldwide populations’ materials are and will become finite, whilst items still appear in their thousands on shop floors. Perhaps it will take empty shelves to convince us of the perils of fast fashion.

Intriguingly Ada Zanditon uses geometric cutting to produce zero waste. Tell us how you do it Ada!

Illustrations by Paolo Caravello

Monday saw the fourth day dawn on London Fashion Week and delightfully my first day of intriguing ethical fashion presentations. First up on No. 1 Greek Street was the delightful Lu Flux, drug followed in the afternoon by – congratulations! – the Ethical Fashion Forum’s Innovation Award winner Ada Zanditon. –

In the run up to London Fashion Week, stuff Katie Antoniou interviewed Ada Zanditon about the trials, tribulations and positive rewards of producing innovative ethical fashion. Often the problem lies in the assumption that ethical fashion is boring and unfashionable – that most heinous of sins! – a situation being speedily rectified with the continuing presence of Estethica’s exhibition and support of young designers exploring the possibility of sustainable fashion at London Fashion Week Exhibition.

Illustrations by Paolo Caravello

Starting at 2pm, Ada Zanditon’s presentation – which in the grand scheme of things was more of catwalk – displayed the designer’s incredible 3D textiles used to embellish the collection of pretty dresses. Utilising her presence at On|Off, Ada showcased the delectability of clothes made through using up-cycled materials. The outcome of which had the group of ladies behind me swooning.

Christopher Raeburn and Lu Flux, (whose review will be appearing later on today…) are but two of Ada Zanditon’s trailblazing contemporaries in the field of ethical fashion. All three designers are successfully proving there need be no distinction between ‘fashion’ and ‘ethical fashion.’

Surely it is time for all designers to take the ethics of their production lines into consideration: namely where the fabrics originate and who is physically making the clothes for commercial consumption.

Illustrations by Paolo Caravello

When answering Amelia’s Magazine’s final question , Zanditon touched upon the difficult reality of encouraging people to achieve not only sustainable fashion, but sustainable lives; “I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change.”

A common fault in humanities mentality is our failure to project successfully beyond today, nurtured as we are on natural resources being infinite. It is incredibly hard to convince worldwide populations’ materials are and will become finite, whilst items still appear in their thousands on shop floors. Perhaps it will take empty shelves to convince us of the perils of fast fashion.

Intriguingly Ada Zanditon uses geometric cutting to produce zero waste. Tell us how you do it Ada!

Illustrations by Paolo Caravello

Monday saw the fourth day dawn on London Fashion Week and delightfully my first day of intriguing ethical fashion presentations. First up on No. 1 Greek Street was the delightful Lu Flux, visit followed in the afternoon by – congratulations! – the Ethical Fashion Forum’s Innovation Award winner Ada Zanditon. –

All photographs by Sally Mumby-Croft

In the run up to London Fashion Week, order Katie Antoniou interviewed Ada Zanditon about the trials, tribulations and positive rewards of producing innovative ethical fashion. Often the problem lies in the assumption that ethical fashion is boring and unfashionable – that most heinous of sins! – a situation being speedily rectified with the continuing presence of Estethica’s exhibition and support of young designers exploring the possibility of sustainable fashion at London Fashion Week Exhibition.

Illustrations by Paolo Caravello

Starting at 2pm, Ada Zanditon’s presentation – which in the grand scheme of things was more of catwalk – displayed the designer’s incredible 3D textiles used to embellish the collection of pretty dresses. Utilising her presence at On|Off, Ada showcased the delectability of clothes made through using up-cycled materials. The outcome of which had the group of ladies behind me swooning.

Christopher Raeburn and Lu Flux, (whose review will be appearing later on today…) are but two of Ada Zanditon’s trailblazing contemporaries in the field of ethical fashion. All three designers are successfully proving there need be no distinction between ‘fashion’ and ‘ethical fashion.’

Surely it is time for all designers to take the ethics of their production lines into consideration: namely where the fabrics originate and who is physically making the clothes for commercial consumption.

Illustrations by Paolo Caravello

When answering Amelia’s Magazine’s final question , Zanditon touched upon the difficult reality of encouraging people to achieve not only sustainable fashion, but sustainable lives; “I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change.”

A common fault in humanities mentality is our failure to project successfully beyond today, nurtured as we are on natural resources being infinite. It is incredibly hard to convince worldwide populations’ materials are and will become finite, whilst items still appear in their thousands on shop floors. Perhaps it will take empty shelves to convince us of the perils of fast fashion.

Intriguingly Ada Zanditon uses geometric cutting to produce zero waste. Tell us how you do it Ada!

Illustration by Kellie Black

The Headonsim exhibition is hidden in the Embankment Galleries on the lower ground floor of Somerset house, order behind the BFC tent. I’ve been down there twice, order once on Thursday and once yesterday – and both times it seemed very under attended. Actually, all the exhibitions around the scrum of the registration area seem very quiet but they are all well worth a look, even if it is just to take a closer look at some of the collections as I did upstairs for Louise Amstrup.

Curated by milliner extraordinaire Stephen Jones, the Headonism exhibition is all about the hats and is the only section of London Fashion Week to do so. There are only five exhibitors: J Smith, Little Shilpa, Noel Stewart, Piers Atkinson and Soren Bach, but the difference between the stands is remarkable. The xxxxx has no one manning it, nor does Little Shilpa – merely a book to leave details in and the only exhibitor to have put any real effort into their display is Piers Atkinson but more on him later. The importance of showcasing your wares appropriately at London Fashion Week is shockingly something that many have left to the last minute. Read Katie Antoniou’s post on all the exhibitions to find out who did it well.

Illustration of J Smith Esquire by Kellie Black

We were lucky enough to interview two of the exhibitors prior to the show, the first was J Smith Esquire. His exhibit is immediately to your right as you enter the exhibition, displaying his most recent foray into the high street market with a Mister Smith display of flat pack hats in colourful cut out leather. He told us about the collection: ‘Mister Smith is designed to be robust, accessible, affordable millinery with high design values, so everyone can have a J Smith Esquire hat’.

Photograph by Florence Massey

Mixing together the ready-to-wear and couture, J Smiths talent shines with his main collections. Illuminated promises to be VERY eclectic, ‘(it’s) inspired by vintage Italian fashion papers to create a modern-day Edwardian couture, and yes, expect a very colourful collection!’

Illustration of Little Shilpa by Yelena Bryksenkova

Little Shilpa’s stand is on each side as you exit the exhibition space, and displays an array of great headpieces, necklaces and hats. Her work is crazy, but in a good way. His designs are definitely not for the wallflowers among us, something crystalised by his naming Bjork as the dream candidate for one of his creations!

With an Indian heritage it is unsurprising to hear that the inspiration for his Headonism show picks up on this , ‘the pieces were inspired from Bombay and London, there was an obvious juxtaposition of the 2 cities …all the pieces were specially created for Headonism as it was my first formal showing in London hence a sort of introduction to my inspirations ‘.

Little Shilpa totally agreed with Piers Atkinson’s comment that millinery finally becomes more about having fun rather than the obligatory weddings and funerals, ‘working out of India it has always been about fun and design’. Long may that continue!

Talking of Piers Atkinson and the move away from wedding/funeral hats his stand is fantastic. More of an exploded flower stall mixed with Hollywood clichés and mini people, I spent a-g-e-s peering at every single one of his creations. With lots of green felt, and miniature people Atkinson definitely taps into the fun side of millinery and his collection is so good: silly, energetic and vibrant. Spilling with colours and quirks, the Hollywood sign features heavily, as do clashing flowers and little gold spikes. If you want a break from the oh so serious fashion upstairs at BFC, pop down to Atkinson’s stand for a giggle.

Illustration by Kellie Black

Photograph of Piers Atkinson by Florence Massey

Illustration of Piers Atkinson Kellie Black

The Headonsim exhibition is hidden in the Embankment Galleries on the lower ground floor of Somerset house, sildenafil behind the BFC tent. I’ve been down there twice, buy once on Thursday and once yesterday – and both times it seemed very under attended. Actually, all the exhibitions around the scrum of the registration area seem very quiet but they are all well worth a look, even if it is just to take a closer look at some of the collections as I did upstairs for Louise Amstrup.

Curated by milliner extraordinaire Stephen Jones, the Headonism exhibition is all about the hats and is the only section of London Fashion Week to do so. There are only five exhibitors: J Smith, Little Shilpa, Noel Stewart, Piers Atkinson and Soren Bach, but the difference between the stands is remarkable. The xxxxx has no one manning it, nor does Little Shilpa – merely a book to leave details in and the only exhibitor to have put any real effort into their display is Piers Atkinson but more on him later. The importance of showcasing your wares appropriately at London Fashion Week is shockingly something that many have left to the last minute. Read Katie Antoniou’s post on all the exhibitions to find out who did it well.

Illustration of J Smith Esquire by Kellie Black

We were lucky enough to interview two of the exhibitors prior to the show, the first was J Smith Esquire. His exhibit is immediately to your right as you enter the exhibition, displaying his most recent foray into the high street market with a Mister Smith display of flat pack hats in colourful cut out leather. He told us about the collection: ‘Mister Smith is designed to be robust, accessible, affordable millinery with high design values, so everyone can have a J Smith Esquire hat’.

Photograph from Mister Smith collection by Florence Massey

Mixing together the ready-to-wear and couture, J Smiths talent shines with his main collections, the most recent entitled ‘Illuminated’ is sure to be as highly impressive as his previous efforts. The new collection promises to be VERY eclectic, ‘(it’s) inspired by vintage Italian fashion papers to create a modern-day Edwardian couture, and yes, expect a very colourful collection!’

Illustration of Little Shilpa by Yelena Bryksenkova

Little Shilpa’s stand is on each side as you exit the exhibition space, and displays an array of great headpieces, necklaces and hats. His work is crazy, but in a good way. The designs are definitely not for the wallflowers among us, something crystalised by his naming Bjork as a dream customer!

With an Indian heritage it is unsurprising to hear that the inspiration for his Headonism show picks up on this , ‘the pieces were inspired from Bombay and London, there was an obvious juxtaposition of the 2 cities …all the pieces were specially created for Headonism as it was my first formal showing in London hence a sort of introduction to my inspirations’.

Photograph of J Shilpa by Florence Massey

Little Shilpa agrees with Piers Atkinson’s very true comment that millinery has finally become more about having fun rather than the obligatory weddings and funerals, ‘working out of India it has always been about fun and design’. Long may that continue!

Talking of Piers Atkinson and the move away from wedding/funeral hats his stand is fantastic. More of an exploded flower stall mixed with Hollywood clichés and mini people, I spent a-g-e-s peering at every single one of his creations. With lots of green felt, and miniature people Atkinson definitely taps into the fun side of millinery and his collection is so good: silly, energetic and vibrant. Spilling with colours and quirks, the Hollywood sign features heavily, as do clashing flowers and little gold spikes. If you want a break from the oh so serious fashion upstairs at BFC, pop down to Atkinson’s stand for a giggle.

Illustration of Piers Atkinson by Kellie Black

Photograph of Piers Atkinson by Florence Massey

At a mere 20 years of age, health Louisiana native and child of a Muscle Shoals session musician, Dylan LeBlanc is wise beyond his years. His debut album, Paupers Fields, came out in August on Rough Trade Records, and has all the hallmarks of becoming a classic addition to the rich Americana and country music tradition of his home state. Growing up between Shreveport, Louisiana and Muscle Shoals, Alabama, LeBlanc has battled a fair few demons in his short life, culminating in a stint in rehab in his late teens. Amelia’s Magazine met up with the soft- spoken southerner to discuss music, booze and the weather.

So your album, Paupers Field, has been out for a month now and has been getting some impressive reviews both sides of the Atlantic. Do you feel good about the record?
It feels good. I try not to read a lot of them. I don’t want to see.

You have been compared to the likes of Neil Young and Ryan Adams – how does that feel as an artist to be compared to such greats?
I guess it’s just a media reference point, you know. That’s how they reference things, but I personally don’t think that I’m a Neil Young…there’s only one Neil Young.

The storytelling in your songs could be comparable to that of Young…
Yeah, I definitely like Neil Young…maybe I do sound a bit like Ryan Adams…I just think that everybody has their own originality and I wish people would try to find that instead of trying to find other things to write about…but those people don’t write songs and they don’t make music, so they don’t understand.

Growing up with the musical heritage that you have had, with your dad being one of the Muscle Shoals session musicians and a songwriter in his own right, plus growing up in a part of the states that has such a rich history of country and Americana music, did you feel that you had an added pressure to live up to a certain level of expectation?
No, I think that you have to stay true to yourself, that’s the most important thing. Just do what you like to do, no matter what…no matter what people think or say or do because everybody is going to try to knock you down a notch or two, you know. It happens and you have to take that as much as the nice things that people have to say.

What sort of advice did your dad give you, as a musician?
When I was real young I spent most of my time with my grandmother [in Shreveport] while he was doing his thing in Muscle Shoals…he would just tell me to write [music] all the time. My Grandmother had all kinds of good records and she listened to really good music, as opposed to my father who was just trying to get hits on the radio, which is understandable, but he likes really good music too.

What sort of music was your grandmother into?
Neil Young. She liked good music. She liked John Prine a lot. My grandfather used to sing and he had an old classical Gibson that he used to play and she would to make him learn songs in a songbook, and he would play it to her in the kitchen while she was cooking.

What music did you discover yourself when you were growing up?
I love Led Zeppelin, they’re one of my favourite artists ever. I think that they are amazing songwriters. The Doors too. I used to listen to a lot of old classic rock.

Did you ever feel like rebelling against your family’s musical tradition and getting heavily into techno or metal, for example?
I played straight up rock and roll for a long time and I played in cover bands and stuff like that. I loved anything but country music but then I always had a secret love for old country music like Hank Williams, Kitty Wells and stuff like that. If you listen to those old records they are just as much art as The Beatles, you know what I mean? If you listen to Waylon Jennings or old Kitty Wells records, the way that they’re laid out plus they’re all cut live…there’s such a wonderful reverb on the vocals, you know…it’s old.

Is that how you recorded Paupers Field?
Yeah, most of it. The basic tracks are all live – the pedal steel, and stuff. I did re-sing two songs that weren’t live where I went back and re sang them later but we weren’t sure if I was going to be able to do that because it was cut live and there was a lot of bleed into the microphones from other instruments. That’s why we had to mix this record the way we did. We had to really fix the bleeding of sounds and spots and stuff.

Do you enjoy the recording process? (Paupers Field is self produced)
I love it. I like producing. I like making beautiful music, you know? Something to listen to. I have a wild imagination and I daydream a lot. Often my manager gets upset with me because he’ll try and talk to me about things and I’m in a other world and didn’t catch anything he just said.

That comes across in your lyrics too – there is a storytelling element there…
I remember being real young and in school and I had a really bad case of attention deficit disorder…but I just try to focus on writing a song and finally I’ll get it…it comes from spending a lot of time by myself, you know, and learning about the type of person I am and the type of artist I wanted to be. What I really loved is forgetting everything that other people wanted me to do and just doing what I wanted to do, which was to make music like I am making right now.

So you’re happy with how the album has turned out….
Yeah, I’m really happy with it – I think that it’s who I am as a person and that’s the most honest thing I have ever done. I’ve been a very dishonest person throughout my life and done some terrible things.

One thing that is so compelling about the record is that is it very confessional lyrically. You seem to have an emotional maturity beyond your years…

I think I have put myself through a lot of things to mature myself. I put myself through hell. I mean, I do it everyday. I drink too much.

Do you think that’s a prerequisite to writing good rock and roll or country music?

I don’t think it helps one lick. I think I just enjoy it.

Do you find it’s easier to write songs when you’re sad or troubled?
I figure that that’s when people are most honest because it’s the things they can’t say to people outright, but they can say it in a song. Because nobody really cares about how you feel, you know? People just go about their day and say ‘I’m sorry, I feel bad for you’ or whatever.

The people you write about in your songs, are they real people?
No, not really. I grew up in a weird situation so I would find these ways to escape. It sounds real schizophrenic and I feel ashamed even talking about it, but it was my way of escaping and I knew that I could always go to a different place [in his mind], close my eyes and breathe again, you know what I mean? And that’s a lot of how I go about songwriting. When things get really bad, I leave – I always run…get in my car and just drive.

Are you happier on your own? Do you find solace in solitude?
At first it was really hard. I felt like an old man but now I’m used to it. I get used to being on my own and doing my own thing. It feels bad sometimes – I think I have anger issues. It’s sometimes so hard for me to be around people sometimes because I feel bad for being there. I wonder if they’re mad or angry at me and I worry too much about those things. I worry about hurting other people – I don’t want to do that but I’m so terribly good at it. I just want to be kind. I want to be a good man.

Paupers Field feels like a very personal record…
Now I’m starting to think that it’s a little too personal. It might have been a little too personal to put out to the general public. I didn’t think it was going to get this much attention. What was yours is now everyone’s. That’s the bad part…there is nothing you can say anymore, you know, because you had the guts to put it out there…so there’s really not much you can defend yourself with after that ,when people want to say things about it.

So you’re playing a few live dates in the UK…
I played the End Of The Road Festival which really turned out well. I was really nervous, I almost panicked before I went out on stage because there was nobody out there before the show and I was, like, ‘Thank God’ but when I walked out there, the whole freaking crowd was, I dunno…there were so many people. I’ve never played to that may people in my whole life.

How did you feel when you came off stage?
It was a good thing, I was buzzing. I felt like I handled myself really well, I was really proud of myself.

So you enjoy playing live?
I love it. It’s one of my favourite things to do, especially when it’s really good. Particularly with our band, everyone’s a great musician but I like it to be really rough around the edges and then get it real tight again, so there are different nights, you know? We can have a totally insanely awesome night and then have one of those nights where it’s like ‘urrgh, we shouldn’t have even gone out there.’ [With the current band] we’ve been doing this for about 4 months but I’ve been playing with John, my drummer, since I was 15.

You’re also playing the 100 Club, one of the most historical venues in London…
Yeah, the Stones played there and Muddy Waters. I’m really excited – I hope the vibe is really good in there. I’m really excited to be here [in London]. It is the most beautiful place I believe I have ever been in my life. I love it here. I like the weather.

Really?? You can take it with you if you like…

I would if I could. It’s better than the 140 degree weather in Alabama. Its pretty hot.

What are you like on tour – are you all rock and roll excess or do you like to take it easy?
Well, the first night here in London I got really drunk. The people here are so kind and so sweet. In America I would have had my ass knocked out in five minutes – I would have been in a fight. Here people just thought ‘oh he’s just having a good time’ and you’re allowed, which I enjoyed. I totally made an ass out of myself – I was dancing and stuff, and I never do that. I think the alcohol content is higher over here…it was a great buzz – I’d been searching for that buzz for a really long time and when I finally found it I lost my mind. The energy was so good and we were all excited…I still am excited.

Do you write when you’re on tour?
I write short stories a lot, more than songs, believe it or not.

Do those stories sometimes turn into songs?
Yeah. I keep this huge [pile of] paper I take everywhere and I write aimlessly all the time. I love the southern Gothic writers, like Faulkner and Tennessee Williams, and I always wanted to be able to do that. I like to do it because it’s fun, but I’m no good at it…

What inspires you to write the most?
It’s almost a thing I get right in my heart. Like, if you looked at a woman or you looked at your mother who you haven’t seen in years that you missed a lot – that’s how it feels for me. It’s so satisfying and gratifying…just an uplifting thing to do. It just makes me feel like I’m useful and I don’t feel useful a lot of the time.

Paupers Field is a record that will connect with a lot of people and mean a lot to them, so that’s pretty useful…
I would love that, I would. I really hope people enjoy it.

Paupers Field is out now on Rough Trade Records.

Illustration of Piers Atkinson Kellie Black

The Headonism exhibition is hidden in the Embankment Galleries on the lower ground floor of Somerset house, sildenafil behind the BFC tent. I’ve been down there twice, page once on Thursday and once yesterday – and both times it seemed very under attended. Actually, page all the exhibitions around the scrum of the registration area seem very quiet but they are all well worth a look, even if it is just to take a closer look at some of the collections as I did upstairs for Louise Amstrup.

Curated by milliner extraordinaire Stephen Jones, the Headonism exhibition is all about the hats and is the only section of London Fashion Week to do so. There are only five exhibitors: J Smith, Little Shilpa, Noel Stewart, Piers Atkinson and Soren Bach, but the difference between the stands is remarkable. Disappointingly, the Soren Bach stand has no one manning it, nor does Little Shilpa – merely a book to leave details in.

The only exhibitor to have put any real effort into their display is Piers Atkinson…but more on him later. The importance of showcasing your wares appropriately at London Fashion Week is shockingly something that many have left to the last minute. Read Katie Antoniou’s post on all the exhibitions to find out who did it well.

Illustration of J Smith Esquire by Kellie Black

We were lucky enough to interview two of the exhibitors prior to the show, the first was J Smith Esquire. His exhibit is immediately to your right as you enter the exhibition, displaying his most recent foray into the high street market with a Mister Smith display of flat pack hats in colourful cut out leather. He told us about the collection: ‘Mister Smith is designed to be robust, accessible, affordable millinery with high design values, so everyone can have a J Smith Esquire hat’.

Photograph from Mister Smith collection by Florence Massey

Mixing together the ready-to-wear and couture, J Smiths talent shines with his main collections, the most recent entitled ‘Illuminated’ is sure to be as highly impressive as his previous efforts. The new collection promises to be VERY eclectic, ‘(it’s) inspired by vintage Italian fashion papers to create a modern-day Edwardian couture, and yes, expect a very colourful collection!’

Illustration of Little Shilpa by Yelena Bryksenkova

Little Shilpa’s stand is on each side as you exit the exhibition space, and displays an array of great headpieces, necklaces and hats. His work is crazy, but in a good way. The designs are definitely not for the wallflowers among us, something crystalised by his naming Bjork as a dream customer!

With an Indian heritage it is unsurprising to hear that the inspiration for his Headonism show picks up on this , ‘the pieces were inspired from Bombay and London, there was an obvious juxtaposition of the 2 cities …all the pieces were specially created for Headonism as it was my first formal showing in London hence a sort of introduction to my inspirations’.

Photograph of J Shilpa by Florence Massey

Little Shilpa agrees with Piers Atkinson’s very true comment that millinery has finally become more about having fun rather than the obligatory weddings and funerals, ‘working out of India it has always been about fun and design’. Long may that continue!

Talking of Piers Atkinson and the move away from wedding/funeral hats his stand is fantastic. More of an exploded flower stall mixed with Hollywood clichés and mini people, I spent a-g-e-s peering at every single one of his creations. With lots of green felt, and miniature people Atkinson definitely taps into the fun side of millinery and his collection is so good: silly, energetic and vibrant. Spilling with colours and quirks, the Hollywood sign features heavily, as do clashing flowers and little gold spikes. If you want a break from the oh so serious fashion upstairs at BFC, pop down to Atkinson’s stand for a giggle.

Illustration of Piers Atkinson by Kellie Black

Photograph of Piers Atkinson by Florence Massey

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In our second feature on PayneShurvell’s wonderful series of four day exhibitions titled 4×4, Every collaboration is the result of a sin. Amelia’s Magazine talks to Edward Vince, curator of the third installment; How Am I Not Myself about his Product Design practice, involvement with the collective KithKin, the work of Matthew Robinson and the inspiration behind staging an archival display within the walls of PayneShurvell.

Oh! And if you missed our first review of Daisy Delaney’s Dreams of Desire, you can read it here.

PayneShurvell’s private view for How I Am Not Myself is on Wednesday 22nd September at 6pm.

What first drew you towards the two mediums of design and curation?

Before going to Central Saint Martin’s I studied an art foundation course, and as the year developed I found myself at a crossroad, it was either fine art or design, and then after getting onto the Product Design course at CSM, it was an opportunity too good to turn down, so my background and inspirations have always been split between art and design and so my work always has been as a result. The curation element came from the exhibitions and events I was involved in after graduation.

What is the practice of the collective KithKin and what is your involvement?

KithKin is a collective started by a group of friends who graduated from Product Design at the same time. We exhibited our work at the LDF in 2007 in a bid to get more exposure for our degree work and to create something tangible after the relative anti-climax of graduation. We showed 16 different pieces of design, some our own and some the work of other people we admired. The show was a great success and we went on to produce exhibitions and events internationally in Tokyo, Birmingham and Milan, returning to London and Milan for 2 consecutive years. We also completed work for The Future Laboratory, Covent Garden, WGSN and a 7 week window display for Selfridges. The aim of KithKin was to involve and inspire.

Photograph from KithKin’s SomeRightsReserved, A download only shop for design in Milan in April 2008.

Which artists (if you did) were you referencing during your time on the course and do any continue to inspire your practice?

The Bauhaus was one of my earliest inspirations. Alexander Calder’s work, particularly his ‘mobiles’, first helped me to see the transition between a sketch and a 3 dimensional sculpture. Alan Fletcher is a designer whose work has such integrity and conviction that it still remains fresh and exciting decades later. I am also hugely inspired by the honest and humble message of the Arte Povera movement. Jeff Koons, John Baldessari and Wolfgang Tillmans are also artists that will always inspire my practice.

What is your relationship to the space between art and design? What do you consider this space to be?

I think there is a gap between art and design, but then in the same breath, where do you draw the line? Especially with the whole notion of the ready made, but I do think commercial design has lost its purity, no longer being about functionality and longevity but being brand driven and transient. I wish to create objects that are free from this, and for me I see this as being an art object, one of purity and simplicity. The only definite comparison I can draw is that they are both intended for consumption, albeit in varying forms.

How did you discover the work of Matthew Robinson?

Matthew is a good friend I first met in our first year of university, he studied at Chelsea while I was at CSM and then went onto the Slade. I have always enjoyed his work and am pleased to be able to involve him and to show our work together.

What was the decision process behind the idea to install a pop up museum within the gallery space? Why did you choose this display method?

The pop up museum isn’t happening in such a literal sense anymore. I am instead referencing museum collections and display through my work and the curation of the space.

How will the archival material be displayed during the exhibition at PayneShurvell?

It will be displayed in a very minimal and understated manner with subtle references to museums and galleries.

Does the display reference a particular type of museum? For instance the displays at The British Museum?I have always been inspired by museums of all sorts, finding them rather abstract spaces displaying outmoded, obscure and often unrecognisable objects in a very foreign and unfamiliar context. I also like to consider what could be a museum exhibit of the future, consciously creating ready-made artifacts by commissioning craftsmen to make my ideas. This then creates an immediate line of historical reference giving the objects a certain authority and permanence.

What is included in your archive? And what purpose does it serve?

I have a collection of castor wheels that I purchased from a british manufacturer that makes them and nothing else, not even the chairs to put them on. I saw them at a trade show on display, they do a set of 24 Karat gold plated ones they designed specifically for the Arabic market. They are incredibly tactile and desirable objects and removed from their intended function become inanimate and entirely sculptural. The purpose is to draw attention to design of the everyday and the beauty in the mundane. Also understanding that every object has been designed, so it has a background and a story to tell, much like an ancient artifact you would find in a museum.

Will the archive continue to be added to, once the exhibition at PayneShurvell finishes?

The archive will continue, I am a collector of designed objects be them intentionally artistic or not, I see little difference, there is still a creator, an author and a consumer. It all depends on the context of their display.
I think the essence of an archive is that it is always ongoing, it will never be satisfied. Speak to a stamp collector or a train spotter or even a child with a sticker album, they won’t be satisfied until it is complete, and that conclusion is never guaranteed.

Do you have plans to reinstall the museum in a new space? Would the chosen display method change in relation to a new location?

Would love to take this exhibition, or its concept, to other galleries, cities or countries. One of the big things about my work is that the objects I have commissioned are very much about where they are made and who made them, giving them geographical and historical ties, this interests me as a travelling exhibition but also the potential to create the same ideas using different craftsmen in different cultures, using different materials and techniques so creating a whole new story and aesthetic. Location and context is very important in my work.

Does the location of PayneShurvell or the relationship between yourself and the gallery impact on the work you’ve included within the space?

It is the first exhibition I have curated in an art gallery context so for me it was an opportunity to raise my game, produce work and display it in a very professional and sophisticated manner.

What interested you about constructing an archive?

I think it’s a vain attempt at trying to understand and to some extent gain control of the world in which we live.

Where does the title of the show come from?

There is a wonderful film you may have seen called I Heart Huckabees. It is about existentialism and inner identity. It is very obscure and quite light hearted. It is a quote from this film and in my exhibition refers to objects, not people.

What’s next for Edward Vince?

This is the first show I have curated on my own and was also an opportunity to make work again. I wish to work on more exhibitions in the near future either as a curator or contributing artist. I am also setting up a design studio called VINCE & SON that will re-establish an old family business founded in 1863. It specialised in horse drawn carriage building and painting, and the new studio will focus on design for the arts and culture sector.

Categories ,4×4, ,Anti-design Festival, ,Archive, ,bauhaus, ,Edward Vince, ,KithKin, ,LDF, ,Matthew Robinson, ,museum, ,PayneShurvell, ,pop up museum

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