Amelia’s Magazine | Northumbria University: Graduate Fashion Week 2012 Catwalk Review Part 1


Graduate collection by Emily Edge

It will be ten whole years in September since I started university at Northumbria University in Newcastle. Gulp. However old I may feel, I’m still incredibly attached to Northumbria and I’d never, ever say anything negative about their talent – not that there is ever anything negative to say (and I’m not just saying that, know what I’m saying). Yet again they didn’t fail to dazzle with their wondrous collections. I chatted with Chris Hodge, senior lecturer at Northumbria, who told me I was in for a surprise and that more than half of the collections this year represented menswear. When I asked why, he said there’d been a shift in interest towards menswear; maybe that it was a more career-viable option, and that teaching had focussed on cut, texture and material.

I took my seat and as I reviewed the show notes an over-enthusiastic student came jogging by me, tripping over my camera case and going arse-over-tit right in front of the photographer’s pit. It was both hysterical and extremely worrying – it was an ambulance-chasing CLAIMS4U-style nightmare and I buried my head into the handouts hoping that the girl was okay. She was.

Anyway, as I plot my asylum elsewhere, here’s a rundown of Northumbria’s best talent:

Emily Edge

Graduate collection by Emily Edge

Emily opened the show with her astonishing menswear collection and Chris’ comments immediately made sense. Rich yellow jackets were teamed with digital print tailored shirts, which also appeared on a blazer and trousers. With emphasis on the aesthetic properties of materials and sharp cuts, I wondered how anybody was going to match such a strong start. I’ve since learned that Emily’s been shortlisted for the Gala show (this evening) and I wouldn’t be surprised if she doesn’t scoop the award for menswear.


All photography by Matt Bramford

Oliver Moores

Oliver Moores followed with more exemplary tailoring. Exaggerated lengths, contrasting colours and luxurious materials made for a well produced collection.

Felicity Bradshaw

Felcity placed her emphasis on the silhouette, showing body conscious, sexy numbers alongside more shapely pieces. A cropped top with a light under it seemed a little out of place but provided interest, nonetheless.

Charlotte Sowerby

Charlotte’s collection drew inspiration from the angst-ridden youth sub-cultures of the past and, diversely, scrap yards. Creeping metal patterns were found at the base of shirts, and a rust-coloured coat stood out amongst her strong tailoring.

Rebecca Byers


Graduate collection by Rebecca Byers

Rebecca’s architectural collection of chunky knits and golden conceptual pieces was a delight. I have endured so many ‘fashion’ shows where the quality of the craftsmanship and the uniqueness of the designs don’t even come close to this.

Zoe Eastham


Graduate collection illustrated by Zoe Eastham

Zoe presented a sophisticated menswear collection, taking inspiration from aviation and, interestingly, folds created by origami. Cue aviator leathers, rich knitted sweaters and a light grey shirt with triangular darts running down the front that I’d rather like to get my hands on.

Kellie Fountain


Graduate collection by Kellie Fountain

Kellie also used aspects of aviation as inspiration, but with a whimsical, playful approach applied to womenswear. Bright, vintage-esque colours worked wonders on playful skirts and structured coats. Perspex aeroplanes added even more fun to this stand-out collection.

Chloe Horsfield

I adored Chloe’s take on 1990s hip-hop culture and her use of big and bold prints. Patchworks formed from pre-worn garments and vibrant knits had me clinging to my seat to avoid jumping onto the catwalk and stealing the lot.

Amelia Smith


Graduate collection by Amelia Smith

Amelia sought inspiration from the architecture in Moscow’s Red Square. Shapely frocks were decorated with intricate monochrome patterns and gold embellishments that mirrored each piece’s silhouette.

Categories ,Amelia Smith, ,catwalk, ,Charlotte Sowerby, ,Chloe Horsfield, ,Chris Hodge, ,Earls Court Two, ,Emily Edge, ,fashion, ,Felicity Bradshaw, ,Graduate Fashion Week 2012, ,Kellie Fountain, ,knitwear, ,Matt Bramford, ,menswear, ,Newcastle, ,Northumbria University, ,Oliver Moors, ,Rebecca Byers, ,review, ,Sunday, ,textiles, ,Womenswear, ,Zoe Eastham

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Amelia’s Magazine | Northumbria University: Graduate Fashion Week 2012 Catwalk Review Part 1


Graduate collection by Emily Edge

It will be ten whole years in September since I started university at Northumbria University in Newcastle. Gulp. However old I may feel, I’m still incredibly attached to Northumbria and I’d never, ever say anything negative about their talent – not that there is ever anything negative to say (and I’m not just saying that, know what I’m saying). Yet again they didn’t fail to dazzle with their wondrous collections. I chatted with Chris Hodge, senior lecturer at Northumbria, who told me I was in for a surprise and that more than half of the collections this year represented menswear. When I asked why, he said there’d been a shift in interest towards menswear; maybe that it was a more career-viable option, and that teaching had focussed on cut, texture and material.

I took my seat and as I reviewed the show notes an over-enthusiastic student came jogging by me, tripping over my camera case and going arse-over-tit right in front of the photographer’s pit. It was both hysterical and extremely worrying – it was an ambulance-chasing CLAIMS4U-style nightmare and I buried my head into the handouts hoping that the girl was okay. She was.

Anyway, as I plot my asylum elsewhere, here’s a rundown of Northumbria’s best talent:

Emily Edge

Graduate collection by Emily Edge

Emily opened the show with her astonishing menswear collection and Chris’ comments immediately made sense. Rich yellow jackets were teamed with digital print tailored shirts, which also appeared on a blazer and trousers. With emphasis on the aesthetic properties of materials and sharp cuts, I wondered how anybody was going to match such a strong start. I’ve since learned that Emily’s been shortlisted for the Gala show (this evening) and I wouldn’t be surprised if she doesn’t scoop the award for menswear.


All photography by Matt Bramford

Oliver Moores

Oliver Moores followed with more exemplary tailoring. Exaggerated lengths, contrasting colours and luxurious materials made for a well produced collection.

Felicity Bradshaw

Felcity placed her emphasis on the silhouette, showing body conscious, sexy numbers alongside more shapely pieces. A cropped top with a light under it seemed a little out of place but provided interest, nonetheless.

Charlotte Sowerby

Charlotte’s collection drew inspiration from the angst-ridden youth sub-cultures of the past and, diversely, scrap yards. Creeping metal patterns were found at the base of shirts, and a rust-coloured coat stood out amongst her strong tailoring.

Rebecca Byers


Graduate collection by Rebecca Byers

Rebecca’s architectural collection of chunky knits and golden conceptual pieces was a delight. I have endured so many ‘fashion’ shows where the quality of the craftsmanship and the uniqueness of the designs don’t even come close to this.

Zoe Eastham


Graduate collection illustrated by Zoe Eastham

Zoe presented a sophisticated menswear collection, taking inspiration from aviation and, interestingly, folds created by origami. Cue aviator leathers, rich knitted sweaters and a light grey shirt with triangular darts running down the front that I’d rather like to get my hands on.

Kellie Fountain


Graduate collection by Kellie Fountain

Kellie also used aspects of aviation as inspiration, but with a whimsical, playful approach applied to womenswear. Bright, vintage-esque colours worked wonders on playful skirts and structured coats. Perspex aeroplanes added even more fun to this stand-out collection.

Chloe Horsfield

I adored Chloe’s take on 1990s hip-hop culture and her use of big and bold prints. Patchworks formed from pre-worn garments and vibrant knits had me clinging to my seat to avoid jumping onto the catwalk and stealing the lot.

Amelia Smith


Graduate collection by Amelia Smith

Amelia sought inspiration from the architecture in Moscow’s Red Square. Shapely frocks were decorated with intricate monochrome patterns and gold embellishments that mirrored each piece’s silhouette.

Categories ,Amelia Smith, ,catwalk, ,Charlotte Sowerby, ,Chloe Horsfield, ,Chris Hodge, ,Earls Court Two, ,Emily Edge, ,fashion, ,Felicity Bradshaw, ,Graduate Fashion Week 2012, ,Kellie Fountain, ,knitwear, ,Matt Bramford, ,menswear, ,Newcastle, ,Northumbria University, ,Oliver Moors, ,Rebecca Byers, ,review, ,Sunday, ,textiles, ,Womenswear, ,Zoe Eastham

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Amelia’s Magazine | Graduate Fashion Week Interview: Northumbria’s Naomi New

Illustration by Dan Heffer

Around the monolithic event that is Graduate Fashion Week at Earl’s Court, unhealthy there exists what might be known as satellite events. This is no way refers to the quality of work that is on display only to the difference in size between shows. I was lucky enough to visit the millenary on show at Kensington and Chelsea College’s end of year show.

I’m not sure whether it’s the wedding’s I’ve been too recently or the constant press attention regarding the ladies hats at certain races (hello Ainscourt) but recently I’ve been paying more attention to headwear.

Illustration by Lauren

The quality of the work on display was unmistakable and a joy to photograph through the sculpture shapes. Each Milliner had created a story around their final product, treatment some of the topics covered envoked narcassim, link Alice in Wonderland to old myths and Legends.

Illustration by Krister Selin

Photographs by Sally Mumby-Croft

Illustration by Dan Heffer

Around the monolithic event that is Graduate Fashion Week at Earl’s Court, prescription there exists what might be known as satellite events. This is no way refers to the quality of work that is on display only to the difference in size between shows. I was lucky enough to visit the millenary on show at Kensington and Chelsea College’s end of year show.

I’m not sure whether it’s the wedding’s I’ve been too recently or the constant press attention regarding the ladies hats at certain races (hello Ainscourt) but recently I’ve been paying more attention to headwear.

Illustration by Lauren

The quality of the work on display was unmistakable and a joy to photograph through the sculpture shapes. Each Milliner had created a story around their final product, some of the topics covered envoked narcassim, Alice in Wonderland

to old myths and Legends.

Illustration by Krister Selin

Photographs by Sally Mumby-Croft

Naomi New was undoubtedly one of the highlights at Graduate Fashion Week 2010. Her incredible costumes dazzled the press and had me bouncing up and down on my seat at the Northumbria show and the Gala Show, medical for which Naomi was one of very few students selected.

I had a chance to have a chat with Naomi about her experience of Graduate Fashion Week, her advice for next year’s brood, and what the future has in store.

Why did you choose to study fashion?
I have always been fascinated with clothes, how they define who we are and communicate that to others. When I was young I used to dance and loved designing my own costumes, picking fabrics and even helping sewing on sequins; so from early on I have always known I was going to be a fashion designer.

Did you undertake any placements during your studies?
I did two internships. I spent one month with womenswear designer Aimee McWilliams, then went on to spend five months with a high street supply company, Pentex Ltd. This gave me a fantastic insight into working in fashion in two different areas.

What inspires you, both for this collection and generally?
I am a hands on designer who immerses themselves into the brief. I believe that inspiration is all around us and never leave home without a camera or a sketchpad. I like to visit as many exhibitions and museums as possible, visit archives to get a closer look at my subject and always feel inspired by theatre and film. The inspiration for my collection came from my life long love of horse riding and a visit to the royal armouries at the Tower of London where they were showing Henry VIII armour. As my research developed I looked at military wear and most importantly the post-apocalypse films Mad Max.
The concept behind the collection really came from the Mad Max Road Warrior film, where Max battles with both good and bad to survive in a world that had been abused; where survivors were left with nothing. I felt that the story wasn’t too dissimilar to what we are living now, with the recession. I wanted to make a collection to equip the modern day woman in her quest to be successful throughout her life.

Your collection was one of the most flamboyant and creative of any I saw at GFW. Did you consciously decide to avoid commercial viability, or was this not a factor?
I didn’t set out to make something crazy and out there, I just knew that that was what was going to happen – it’s just me and I am very happy you think my collection was one of the most creative at GFW. That’s a massive compliment.
When designing and making the collection I was very conscious of the fact that this was probably going to be the only chance I would have to do something totally me and totally the way I wanted it. I took a risk in doing so but I worked very hard to ensure the collection was theatrical and flamboyant while still beautiful with intricate and authentic details. I think the risk paid off, the collection is everything I dreamed of.

You made use of materials with high aesthetic appeal and avoided bright colours. Is there any reason for this?
The colour story of my collection was inspired by the Mad Max film I have mentioned – in the film two rival gangs fight, one dressed in white and the other black, so I decided to have halve the collection with these colours.
I wanted each look to make a statement, so I decided to have each look mainly one-block colour for the most graphic impact.
From my equestrian and armour influence I knew I wanted to use leather, suede, metal and neoprene, all fabrics that protect the body. But the Mad Max film inspired me to push the metal hardware content and look to further alternative materials such as ostrich, bone, chain, horse hair and human hair.

What did you like about Northumbria and Newcastle in general?
I chose to study at Northumbria for its amazing reputation and facilities. I couldn’t have asked for better tutors and technical staff. I’m also based close by in Sunderland and at the time of applying for universities I felt it would be foolish to move away when I live so close to a great university. Living at home also ment that I have been able to really focus on my studies.

How did it feel to be selected for the Gala show? Did you expect to win?
I never in a million years thought I would be chosen for the gala. I was delighted to show at GFW and that was enough for me, seeing my collection open the Northumbria show was amazing. In fact, as soon as the last look in my collection left the catwalk, I couldn’t stop crying! It was so overwhelming and what I had dreamed for.
When I found out about the gala I couldn’t believe it, it is such an honor that the judges liked my work and it was a privilege to show the gala judges my portfolio. The gala show itself was amazing and I got to meet some great people through it, too.

Does this open even more doors?
I think being in the top ten has opened more doors for me, I have had a lot of interest from stylists and photographers who want to use pieces after seeing them in the gala show, which is fantastic. A few looks are possibly going to China in the next couple of weeks for a promotion event for GFW, which is amazing too.


Photographs by Matt Bramford

You received a lot of attention from the press, who compared your collection to both Lady Gaga and Elvis‘ wardrobes. How does that feel?
I was over the moon with all of the press attention. My muse is Lady Gaga, so when I read the references to her I was delighted. I admire her strength and individuality and feel she is the prime example of a woman who has had to use dramatic fashion in the battle to be noticed and be successful. When working on the collection having Lady Gaga as my muse gave me confidence to keep pushing myself further and further, to create something people could see her wearing, it would be a dream to see them on her. The Elvis suggestions are a compliment too, I grew up with my dad always playing Elvis’ music and I have always regarded him as one of my personal fashion icons, so this must have shown through.

Which designers do you admire or look to for inspiration?
As you can see from my collection I like drama in fashion and have always admired Alexander McQueen’s showmanship and rebelliousness. I am also really inspired by the work of Iris Van Herpen; she uses a lot of leather in her collections with amazing detail so I worked hard to aspire to her standards when making my collection.

What advice would you give to students preparing their collections for GFW 2011?
I would tell them to go with their heart and work harder than you ever thought you could work. Always look for ways that you can improve and develop your work and ask for and listen to feedback from tutors and peers. It is the most amazing year you will ever have and all the hard work really does pay off – you will want to do it all over again.

What do you have planned for the coming months?
In the next couple of months I will be sending some pieces to China as I said and will also be showing some pieces from the collection at Pure London where they are organising a similar GFW show, which is really exciting. I want to continue making one off pieces that have a similar feel to my collection. Other than that I will be looking to relocate in London where I will be open to all opportunities that (hopefully) come my way!

Categories ,Aimee McWilliams, ,Alexander McQueen, ,Armour, ,China, ,dance, ,drama, ,Elvis, ,fashion, ,film, ,Gala Show, ,Graduate Fashion Week, ,Henry VIII, ,Iris Van Harpen, ,Lady Gaga, ,london, ,Mad Max, ,Matt Bramford, ,Naomi New, ,Newcastle, ,Northumbria, ,Pentex Ltd, ,Pure London, ,Sequins, ,theatre, ,Tower of London, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week Interview: Northumbria’s Stephanie Jayne Price


Barry Flanagan’s Nijinski Hare, treat illustrated by Naomi Law

I recently stepped out of London’s unusually baking sun to enjoy an afternoon visit to the Royal Academy Summer Exhibition. On reaching the courtyard, more about the whole place seemed to be in high spirits with Barry Flanagan’s bronze hares prancing around and the ordinarily stern permanent statue sporting a floral sash.


Photograph by Naomi Law

During the largest open exhibition in the UK, the labyrinthine rooms of Burlington House play host to a swarm of artists, from the unknown to the infamous, waiting to surprise visitors around every corner. Everyone is welcome to submit work to the exhibition each year, resulting in a diverse collection ranging from painting to architecture, and sculpture to film. The majority of the works on display are for sale, and although the prices predictably reach the astronomical, there are several pieces accessible to those with more modest purse strings if you take a closer look.

This year’s theme is Raw, which according to David Chipperfield, co-ordinator of the architecture room, signifies ‘vitality, risk taking and a necessary sense of adventure.’ Stephen Chambers, the main co-ordinator of this year’s show, states that raw art is ‘fresh, new, visceral and affirmative. Some of it is fairly scary too’.

Perhaps one of the most talked about pieces in the show is David Mach’s Silver Streak, a ferocious larger-than-life gorilla made entirely from wire coat hangers. These are surprisingly effective in creating a sense of weight and movement – he’s an imposing figure!


David Mach’s Silver Streak, illustrated by Paul Shinn

Mach appears again just behind the gorilla with Babel Towers, a huge and complex collage of an outlandish seaside town with the mountainous ‘tower’ ascending into the clouds.

On entering many of the rooms, your eye is dutifully drawn to plenty of bold and large-scale works. Somehow the flamboyance of these pieces drew my attention to the smaller or less immediately-noticeable pieces, and this is what I have largely chosen to focus on.

My childhood fascination with anything miniature (and consequent hours spent creating minute little things from Fimo) was happily indulged by the collection of architects’ models and drawings in the Lecture Room.

Visitors are treated to views of buildings in their ‘raw’ forms, as seen through the eyes of the architect. The methods of construction and presentation of these models is as fascinating as the designs themselves.

It will come as no surprise that I spent the longest time in the Small Weston Room, which is filled with over two hundred smaller paintings, some no larger than a postcard.

Several otherwise everyday scenes are beautified in oils: Francis Matthews’ The Coombe depicts a Dublin street corner whilst Josephine Greenman uses the familiar blue and white of a traditional dinner service to render miniscule domestic settings in Silence I & II.

Amazing craftsmanship can also be seen in Claire Moynihan’s Moth Balls, 2010; dozens of moths are intricately embroidered onto their own Alpaca wool felt ball.

In the Large Weston Room, David Borrington predicts the state of the high street in 2020 if a certain supermarket is allowed to continue its invasion of our neighbourhoods. Globull Internashll Tescgoows 2020 is a stark reminder of the need to find an alternative.


David Borrington’s Globull Internashll Tescgoows, courtesy of the artist’s website

Just around the corner Oran O’Reilly’s beautifully comic Rizla, after Hokusai shows the famous Great Wave surging from a pack of cigarette papers. Maybe not such an odd pairing considering the prevalence of Hokusai’s wave in poster form in student accommodation up and down the country (admittedly including my own not so long ago).

Also currently on display at the Royal Academy, and well worth seeing, is a collection of work by academicians who have passed away over the last year. I was particularly taken with Michael Kidner’s painstakingly drawn geometric forms in No Thing Nothing.

If you can’t make it to the Royal Academy, you can see work from A-level students selected for the online exhibition here.

All photographs courtesy of the Royal Academy, unless otherwise stated.

Barry Flanagan’s Nijinski Hare, price illustrated by Naomi Law

I recently stepped out of London’s unusually baking sun to enjoy an afternoon visit to the Royal Academy Summer Exhibition. On reaching the courtyard, find the whole place seemed to be in high spirits with Barry Flanagan’s bronze hares prancing around and the ordinarily stern permanent statue sporting a floral sash.


Photograph by Naomi Law

During the largest open exhibition in the UK, the labyrinthine rooms of Burlington House play host to a swarm of artists, from the unknown to the infamous, waiting to surprise visitors around every corner. Everyone is welcome to submit work to the exhibition each year, resulting in a diverse collection ranging from painting to architecture, and sculpture to film. The majority of the works on display are for sale, and although the prices predictably reach the astronomical, there are several pieces accessible to those with more modest purse strings if you take a closer look.

This year’s theme is Raw, which according to David Chipperfield, co-ordinator of the architecture room, signifies ‘vitality, risk taking and a necessary sense of adventure.’ Stephen Chambers, the main co-ordinator of this year’s show, states that raw art is ‘fresh, new, visceral and affirmative. Some of it is fairly scary too’.

Perhaps one of the most talked about pieces in the show is David Mach’s Silver Streak, a ferocious larger-than-life gorilla made entirely from wire coat hangers. These are surprisingly effective in creating a sense of weight and movement – he’s an imposing figure!


David Mach’s Silver Streak, illustrated by Paul Shinn

Mach appears again just behind the gorilla with Babel Towers, a huge and complex collage of an outlandish seaside town with the mountainous ‘tower’ ascending into the clouds.

On entering many of the rooms, your eye is dutifully drawn to plenty of bold and large-scale works. Somehow the flamboyance of these pieces drew my attention to the smaller or less immediately-noticeable pieces, and this is what I have largely chosen to focus on.

My childhood fascination with anything miniature (and consequent hours spent creating minute little things from Fimo) was happily indulged by the collection of architects’ models and drawings in the Lecture Room.

Visitors are treated to views of buildings in their ‘raw’ forms, as seen through the eyes of the architect. The methods of construction and presentation of these models is as fascinating as the designs themselves.

It will come as no surprise that I spent the longest time in the Small Weston Room, which is filled with over two hundred smaller paintings, some no larger than a postcard.

Several otherwise everyday scenes are beautified in oils: Francis Matthews’ The Coombe depicts a Dublin street corner whilst Josephine Greenman uses the familiar blue and white of a traditional dinner service to render miniscule domestic settings in Silence I & II.

Amazing craftsmanship can also be seen in Claire Moynihan’s Moth Balls, 2010; dozens of moths are intricately embroidered onto their own Alpaca wool felt ball.

In the Large Weston Room, David Borrington predicts the state of the high street in 2020 if a certain supermarket is allowed to continue its invasion of our neighbourhoods. Globull Internashll Tescgoows 2020 is a stark reminder of the need to find an alternative.


David Borrington’s Globull Internashll Tescgoows, courtesy of the artist’s website

Just around the corner Oran O’Reilly’s beautifully comic Rizla, after Hokusai shows the famous Great Wave surging from a pack of cigarette papers. Maybe not such an odd pairing considering the prevalence of Hokusai’s wave in poster form in student accommodation up and down the country (admittedly including my own not so long ago).

Also currently on display at the Royal Academy, and well worth seeing, is a collection of work by academicians who have passed away over the last year. I was particularly taken with Michael Kidner’s painstakingly drawn geometric forms in No Thing Nothing.

If you can’t make it to the Royal Academy, you can see work from A-level students selected for the online exhibition here.

All photographs courtesy of the Royal Academy, unless otherwise stated.

Stephanie Jayne Price‘s slick, buy futuristic collection at Northumbria University‘s Graduate Fashion Week show was a real winner – combining masculine tailoring with feminine quirks. I loved the lines that the creations formed, order and the sophistication of each of the pieces – so much so that I couldn’t wait to have a chat with Miss Price and find out what is was all about.

What are the benefits of showing at Graduate Fashion Week?
GFW is an excellent platform for young designers to exhibit work to the industry. It’s a great opportunity to see what the other schools have been up to and ultimately the future of British fashion. For the individual it provides a chance to show your collection to a much wider audience. After spending a year putting your heart and soul into your work, GFW offers a prestigious and professional setting to exhibit your work. It’s a real honour!


Photographs by Matt Bramford

?Northumbria students put on a show at the Baltic in Newcastle before heading for Earl’s Court – how did the two venues compare?
Oh the Baltic is a wonderful space! I have such a soft spot for it! It was our first fashion show, and it was the entire year; only 25 show at GFW, so it was a really nice way to see all the collections together. After seeing bits and bobs around the studio it is so exciting to see everything and everyone come together! We were really fortunate to have such a good location in Newcastle and it was done really well.
On the other hand, Graduate Fashion Week is on a far larger scale – the catwalk and the space is set up a lot differently.  The raised runway, the models, the lighting – they are more professional I guess. But, I don’t know really. I enjoyed both immensely!
?
What’s your fashion history?
My Grandma was a tailoress, she taught me to sew and it went from there. I always wanted to study fashion. I was in primary school drawing cartoons of my friends, in secondary school drawing ball gowns and making business cards for my future self! And from textiles in school, I became fascinated by it all!

?Did you get the chance to work alongside anybody in the industry during your studies?
I’ve been very lucky and done a few placements, and no doubt I’ll be doing a few more! After 1st year, I worked for a month at Philip Treacy. I’ve always had a passion for hats! To be able to meet Philip and work there was amazing! I loved it! Then during our placement year I spent three months working with [friends of Amelia’s Magazine] Emilio de la Morena. Then I worked for The Collection, a sampling and textile company, Tatty Devine and Gareth Pugh. Now, I’m really hoping to get involved with another studio before fashion week in September. I’m a bit of a geek for pattern cutting and toiling so I’d like to get stuck in to that!

What inspires you, both for this collection and generally?
Inspiration can come from just about anywhere, but for my own work I am very concept led. There is something very exciting about capturing a meaning, telling a story, and watching it direct ideas. Imagination is a wonderful thing. Generally, it can be when I’m out and about, reading, having a coffee, chatting up with friends… endless possibilities! I love visiting museums and exhibitions… My collection captures the idea of being trapped in a kaleidoscope, which stemmed from considering how we see, travelling light, and light reflecting… I ended up eventually, asking lots of people how they’d feel if they were trapped in a kaleidoscope! I’d initially been focused on building lights into the garments, and it happened for the Newcastle show – sadly there wasn’t time for the London show, but this fusion with technology is something I’d like to further.
?
Your collection mixes masculine tailoring with feminine quirks. Why did you choose the cuts/techniques that you worked with?
Until recently I never really thought about it, but you’re right! It is a bit masculine; you’ve captured it well! I’m not sure really, I think that’s my own personal taste, I’m a bit boyish in my own dress. All the geometric shapes stemmed from cutting, and distorting the body, as though being looked upon inside that kaleidoscopic world. There were lots of triangles too! Kaleidoscopes are triangular mirrors, so the cutting used triangular inserts to push and pull the cloth, and then you put it on a body and you get a whole new dimension!


 
The colour palette is very simple – why didn’t you use colour? (This is a question, not a criticism!)
This was inspired by the concept as well. Since it was based on light, I avoided black – black absorbs light. I wear a lot of black, so I wanted to stay clear of it for this concept. White was too clinical, too bright, so everything was toned down. I wanted it to be soft and unobtrusive and to be honest colour stresses me out a bit! I’m learning to deal with it haha!
 
What did you like about Northumbria and Newcastle? How’s the fashion scene in the Toon?
Well, when I was looking to choose a University, Northumbria was the last place on my mind. I was set on getting far away from home, until I reluctantly came to the open day for Northumbria 5 years ago, and from that day it felt like home. I sat in the old design school and was inspired. I thought, ‘I actually quite like this place… can I stay?!’
I don’t know, is there a scene?!? I haven’t really left the studio much this year to know! Haha!


?
Which fashion designers do you look to for inspiration?
Years ago I started reading about ‘conceptual’ designers, and I have a fascination with Viktor & Rolf. I’d really like to meet them. I think we’d have nice chats! Haha! I’d really like to work for them! I also have admiration for Hussein Chalayan and Rei Kawakubo. Heroes I guess! I’d like to work for both of these as well. I’m a bit of a dreamer!

Did your collection receive positive attention at GFW?
Well I’ve had some lovely blogs and feedback at GFW. On a different occasion I’d been able to present it to a small panel at the BFC and they gave me some really good advice and said some really lovely things.  I was flattered they liked my cutting, and I’ve had feedback from other names from industry with similar comments and interest.

?What do the next few months hold for Stephanie Jayne Price?
At the minute I’m looking into undertaking an MA at the University of Kingston. I met the course leader the other day and she is wonderful! I’m really hoping to continue with the integration of lights and technology fused with this style of cutting and silhouette I’ve developed over the year. Fingers crossed for that! Hopefully I’ll also get involved with some studios to get some more experience – doing some cutting for them, maybe some freelance work. There are a few things to consider really. The world is my oyster!

Categories ,Baltic, ,Earls Court, ,Emilio de la Morena, ,Gareth Pugh, ,Graduate Fashion Week, ,Grandma, ,Heroes, ,Hussein Chalayan, ,Kaleidoscope, ,Kingston, ,light, ,london, ,Newcastle, ,Northumbria, ,Phillip Treacy, ,Rei Kawakubo, ,Stephanie Jayne Price, ,Tatty Devine, ,The Collection, ,University, ,Viktor & Rolf

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Amelia’s Magazine | Graduate Fashion Week 2010: Northumbria

I always look forward to the Northumbria University BA fashion degree show for two reasons. One, price because it’s always effing good – the innovation, salve technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (baaaooowappp) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it…

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.

The key theme in this year’s show was digital prints, and it’s a testament to the late, great Alexander McQueen’s legacy that this is such a mainstay on graduate catwalks. Faye Chamberlain’s was the most striking of collections, owing to its wild neon prints reminiscent of MIA’s Kala album cover, and blingy embellishment. Short, short dresses with spikey hips challenged the traditional constraints of the female form.

Further print patrons included the work of Sophie Dee and Ludmila Maida. Sophie Dee presented a feminine, playful collection of vibrant prints, micro shorts and bubble skirts, accessorised with childlike objects such as candy floss and helium balloons, harping back to the glory days of the seaside. Ludmila Maida’s collection was a slightly more mature one, with elegant maxi dresses in neon, gathered into sections to create flattering asymmetrical shapes.

Gemma Williamson also hopped on the print train, with her slightly eery collection making use of religious iconography.


Illustration by Gemma Williamson from her graduate work

Menswear was, as always, well represented; one of the few menswear graduates to win the prestigious Gold Award in recent years was a Northumbria student. Sara Wilson set the standard with a mixture of soft tailoring and Japanese influence – loose fitting blazers were teamed with skinny trousers and shorts, while snood-like pieces of material attempted to cover the face, giving each outfit a martial-art feel.

Louise Dickinson’s inspired outfits seemed to draw influence from historical Britain and tradition in general. An oversized Barbour-style jacket here and a triangular-shaped cape printed with a vintage map there made for a intriguing and genuinely unique collection.

But it was Caroline Rowland’s eccentric tailoring that captured my imagination the most. A bit Sebastian Flyte, a bit Dries Van Noten, it was the perfect mix of traditional tailoring and quirky design flair. Ill-fitting gingham shirts (I presume on purpose) were teamed with tucked-in waistcoats and patterned bow ties, while cropped blazers looked great with high-waisted tailored trousers. You can never go wrong with a sock suspender either.

And now for a quick round of some of my favourite womesnwear collections. It’ll have to be a whistle-stop tour because I have 3 other shows to write up and I’m having my hair cut in an hour.

One of my absolute faves was Julie Perry, who combined body-concious all-in-ones with Meccano-style leather creations. These outfits had real sex appeal – not one for the supermarket but definitely for the fierce fashionista who isn’t afraid to show off. Julie’s pieces were architectural in shape and hinted at a little bit of kink.


Illustration by Julie Perry from her graduate work

Holly Farrar’s super sleek collection toyed with masculine tailoring and models had structured shoulders with outfits tapering downwards. Defined v-necklines gave the outfits an overall geometric look and were very sophisticated indeed.


Illustration by Holly Farrar from her graduate work

These gemoetric-slash-linear-slash-structured themes ran through many a collection, executed most effectively by Stephanie Price. Her futuristic collection married materials with aesthetic appeal with flattering shapes – mesh covered body-concious shift dresses had a dazzling effect, as did this dynamic jacket…


Illustrations by Stephanie Price, from her graduate work

Closing the show was Victoria Kirby, who had clearly been selected for her fresh innovation and coutourier-like craftsmanship. Elegant floor sweepers made from silk and velour had the appearance of two dresses in one, cut and merged down the middle. Exaggerating the shoulders and synching in at the waist created beautiful feminine shapes that flattered.


Illustration by Victoria Kirby, from her graduate work

All photography by Matt Bramford

Categories ,Barbour, ,Bow Ties, ,Caroline Rowland, ,Digital Prints, ,Dries Van Noten, ,Elvis, ,Faye Chamberlain, ,Gemma Williamson, ,Gold Award, ,Graduate Fashion Week 2010, ,Hilary Alexander, ,Holly Farrar, ,japanese, ,Julie Perry, ,Kala, ,Lady Gaga, ,Louise Dickinson, ,Ludmila Maida, ,McQueen, ,Meccano, ,menswear, ,MIA, ,Naomi New, ,Neon, ,Newcastle, ,Northumbria, ,print, ,Sara Wilson, ,Sebastian Flyte, ,Sophie Dee, ,Stephanie Price, ,Style Savage, ,Victoria Kirby, ,Womenswear

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Amelia’s Magazine | Beth Jeans Houghton and the Hooves of Destiny at Hoxton Square Bar and Kitchen: Live Review

Beth Jeans Houghton by Gemma Cotterell

Beth Jeans Houghton by Gemma Cotterell

Squeezing past the punters at the bar, I could see that the box-like auditorium of Hoxton Square Bar and Kitchen was already full in anticipation at the arrival of Beth Jeans Houghton. This was the last night of the tour supporting her new album, Yours Truly, Cellophane Nose, and, like her most recent appearance in the capital (Upstairs at the Garage), all tickets had long since gone.

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I’d first discovered Beth Jeans Houghton a couple of years ago, playing a set at the Windmill in Brixton. At the time, the young Newcastle singer was a hotly tipped one-to-watch on the nu-folk scene (though she would probably consider herself more un-folk) following the release of the Hot Toast Volume One EP, before she seemingly dropped off the radar. Houghton resurfaced last year, having signed to Mute, and could be spotted playing at the Camden Crawl and, later on, at the Lexington (sporting a tiger stripe onesie, as you do). Gone are the wigs that she used to wear at gigs, the acoustic guitar (she’s now electric, you see) and the battered suitcase that doubled as a bass drum, but that amazing voice is still unchanged.

Beth Jeans Houghton by Sandra Jawad

Beth Jeans Houghton by Sandra Jawad

Taking to the stage with her band, the Hooves of Destiny, there was bit of a jokey keyboard and drums Also Sprach Zarathustra moment before things got underway. The set was basically a run through of tracks from the album, with a few added goodies thrown in. Houghton was very much centre stage, with a sparkly blue dress, bouffant blonde hair and bright red lipstick, and her voice soared through songs like Dodecahedron and Liliputt. Some Afrobeat-style guitar introduced Atlas, which I’m fairly sure had a few subtly altered lyrics, and old favourite I Will Return, I Promise was given a sprightly makeover.

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Houghton was more than capably backed by the band, featuring the imposing Findlay MacAskill on violin and backing vocal duties, Dav Shiel and his galloping drums, Ed Blazey swapping between trumpet, a very posh banjo and guitar and bass player Rory Gibson’s frighteningly loud trousers. It was pretty clear that everyone was enjoying themselves, and a broken string and dodgy guitar strap did little to dampen the onstage banter. Houghton was in impish mood, telling the audience what MacAskill (a doctor) had been doing during the day (repairing some poor unfortunate’s nether regions) before conducting a survey of what people’s favourite words were (“discombobulation” seemed to score quite highly). There was also a prize for “funkiest dancer” up for grabs.

Beth Jeans Houghton by Claire Kearns

Beth Jeans Houghton by Claire Kearns

The set closed with Houghton and the Hooves joined by the support band, Goodnight Lenin, for a fully choreographed rendition of (would you believe) Madonna’s Like A Prayer, before being urged back on stage by the crowd for an encore and ripping through the joyously punky coda to the album finale, Carousel.

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With her much anticipated album finally released (and very well received), and now apparently based full time in Los Angeles, it looks like Beth Jeans Houghton and the Hooves of Destiny will be riding on to bigger and better things.

Categories ,afrobeat, ,beth jeans houghton, ,Brixton, ,Camden Crawl, ,folk, ,Goodnight Lenin, ,Hooves of Destiny, ,Hoxton Square Bar and Kitchen, ,Los Angeles, ,Madonna, ,Mute, ,Newcastle, ,The Garage, ,The Lexington, ,The Windmill

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Amelia’s Magazine | The Futureheads – Interview

Style: “lu flux hats 2″

Illustration by Jenny Robins

Lu Flux is one of the most interesting new British ethical fashion labels and one of the highlights in this year’s Estethica exhibition at London Fashion Week. Katia Bololia meets her in her studio at the industrial end of East London to talk about her latest collection, page ‘Dame and Knight’, ethical fashion and taking life less seriously.

Firstly, tell us a bit about yourself and your journey in the fashion world so far.
I graduated from the Edinburgh School of Art at 2006 and did my first collection for Glasgow Fashion Week, then went on to work with German fashion designer Bernhard Willhelm in Paris. I made the decision to move to London and at first I was doing commissions for other people, I hadn’t fully committed myself to fashion at the time until a friend of mine opened a gallery at Brick Lane and I put myself down for a show, so that put me into gear to make a collection for October 2008. That body of work I created eventually led me to the Vauxhaul Fashion Scout Show, which kicked off my career.

From then it escalated, leading to London Fashion Week’s Estethica Exhibition. Tell us about that experience.
It was really good, I hadn’t been to Estethica before and at first I didn’t know what to expect. There were all of the designers I’ve met before and it was nice because it felt like we were this strange ethical family, I’ve also met lots of people that I’ve heard about and wanted to meet personally. It was really lovely to be part of it and it was very exciting for me to be part of the LFW, I’ve never been in such a place before where I could meet people from all around the world.

What are the things that interest you in general?
Unfortunately, I don’t have a lot of time for myself but when I don’t do fashion I am very interested in art, galleries and culture mainly; music, films and everything. I like getting away to the countryside as well, escaping from it all.

When it comes to your label, do you have a fashion manifesto and if so what is it?
I read Vivienne’s Westwood manifesto recently and I suppose mine is very similar to hers, in the idea of buying something for longevity. I am also against disposable fashion. I think we should buy something because we love it and because it reflects our personality. I feel that all of my things transcend this message, to be loved for a long time.

There is a very interesting story when it comes to your fabrics, can you tell us where you source your fabrics from?
I used to source everything from charity and vintage shops, car boot sales and markets myself. Although I loved it, it is quite a difficult process as it takes up a lot of time and effort. I can’t commit myself to doing that anymore so I started working with a recycling company that is actually around the corner from my studio. These are fabrics coming from clothing banks from all around London, I may get fabric pieces, sheets or even clothes that I will take apart. The amount of waste that gets thrown every day is phenomenal and I am happy that I can make new, exciting pieces of it.

During that process, do you have difficulties sometimes finding the right thing for you? Or the opposite – finding a “small treasure” ?
Definitely, one piece of fabric can spark off a completely different design angle. I try not to have a specific design idea in my head, I prefer to see what I can get first and develop my designs from that; it helps the design process. If I can’t find something that I have in my mind, something else will come along and take its place. I also work with organic fabrics – the variety that’s out there is getting so much bigger these days and more accessible.

Speaking of organic, and its growth nowadays, I sometimes wonder if when companies take the eco route (whether it be fashion or food or whatever) they do so just because it has become fashionable. Although it all contributes to the greater good, do you feel that in some way ethical fashion has become commercial?
Green is definitely a buzz-word at the moment and everybody, be it in the fashion industry or not, tries to become as ethical as possible. I am not necessarily coming from that angle, even though I obviously care a lot about what I do and how it affects the environment, there is just too much waste and that affects everyone. But for me it’s more about the final garment than the ethical process; the fact that these pieces are unique, they’re more like art pieces.

In your collections we see an almost fairy-tale world. Where do you draw your inspiration from?
I have a personal collection of vintage photographs that I like to I look at. I love this time when photography was just starting and you get these moments frozen in time. Right now everyone uses photography all the time, capturing every moment, but back then you only see a fraction of their life and you have to imagine for yourself what their world might have been like. Obviously, I am also influenced by fairy-tales and their magical feeling; the escape from reality. Fashion is so intense, serious and glamorous and I want to take another spin on it, to keep it quite child-like and fun.

By seeing your collections past and present, one gets into a playful mood. Do you think that fashion is a protest these days, like it used to be in the past?
I think everyone’s got their point that they’re trying to make. My point is that you can have fun while making your point, it doesn’t all have to be serious. I want people to realize that they can have fun in whatever they’re doing and that humour can be injected in everything. Everything is so serious nowadays, fast-forward and busy.

For your last collection you’ve collaborated with London-based artist Alex Chinneck and traditional cordwainers Green Shoes. Tell us a little about that collaboration.
It was easy collaborating with Alex – he’s not only a wonderful sculptor but also my boyfriend! He had this paper cut-out of an explosion called Ka-boom and we both came up with the idea of translating it into a piece of clothing. It is a wonderful pictorial piece and it was also a real test for my patch-working abilities – it was really technical and much more complicated than I thought it would be, so it was really rewarding when it was finished. Then with Green Shoes, it all started when I bought a pair for Alex’s birthday and I decided to customise them for him, so it all unfolded with what I did and we decided to have them in the collection and a bag as well. They are all made of vegetarian leather and tanned with vegetable dye, so they’re as ethical as a shoe can be. Also, the cut-outs I used are off-cuts from the leftovers from Green Shoes to reduce waste once again.


Illustration by Jenny Robins

Finally, an urban fashion legend says that Tom Ford offered Stella McCartney the role of design director at Gucci. When McCartney said no fur or leather, and Ford couldn’t oblige, she turned down the role. What would you do in a similar dilemma, in a fantastic scenario where you are offered a dream job but you have to compromise your principles in ethical fashion?
Actually, I’m doing my dream job already! I don’t want to buy fabric off the roll, I have to think within these parameters and I like the barriers that I have put to myself, otherwise it is not ethical. This way I push myself to do something a little bit extra, it’s not as easy because all these fabrics are not given to me on a plate. When you are more resourceful and you push yourself creatively then the final result is much more rewarding. I don’t want to preach to people, but I want to plant an idea. If people like it they might be inspired and follow my example. Fingers crossed!


Lu Flux photographed by Holly Falconer


Illustration by Jenny Robins

Lu Flux is one of the most interesting new British ethical fashion labels and one of the highlights in this year’s Estethica exhibition at London Fashion Week. Katia Bololia meets her in her studio at the industrial end of East London to talk about her latest collection, viagra ‘Dame and Knight’, ed ethical fashion and taking life less seriously.

Firstly, find tell us a bit about yourself and your journey in the fashion world so far.
I graduated from the Edinburgh School of Art at 2006 and did my first collection for Glasgow Fashion Week, then went on to work with German fashion designer Bernhard Willhelm in Paris. I made the decision to move to London and at first I was doing commissions for other people, I hadn’t fully committed myself to fashion at the time until a friend of mine opened a gallery at Brick Lane and I put myself down for a show, so that put me into gear to make a collection for October 2008. That body of work I created eventually led me to the Vauxhaul Fashion Scout Show, which kicked off my career.

From then it escalated, leading to London Fashion Week’s Estethica Exhibition. Tell us about that experience.
It was really good, I hadn’t been to Estethica before and at first I didn’t know what to expect. There were all of the designers I’ve met before and it was nice because it felt like we were this strange ethical family, I’ve also met lots of people that I’ve heard about and wanted to meet personally. It was really lovely to be part of it and it was very exciting for me to be part of the LFW, I’ve never been in such a place before where I could meet people from all around the world.

What are the things that interest you in general?
Unfortunately, I don’t have a lot of time for myself but when I don’t do fashion I am very interested in art, galleries and culture mainly; music, films and everything. I like getting away to the countryside as well, escaping from it all.

When it comes to your label, do you have a fashion manifesto and if so what is it?
I read Vivienne’s Westwood manifesto recently and I suppose mine is very similar to hers, in the idea of buying something for longevity. I am also against disposable fashion. I think we should buy something because we love it and because it reflects our personality. I feel that all of my things transcend this message, to be loved for a long time.

There is a very interesting story when it comes to your fabrics, can you tell us where you source your fabrics from?
I used to source everything from charity and vintage shops, car boot sales and markets myself. Although I loved it, it is quite a difficult process as it takes up a lot of time and effort. I can’t commit myself to doing that anymore so I started working with a recycling company that is actually around the corner from my studio. These are fabrics coming from clothing banks from all around London, I may get fabric pieces, sheets or even clothes that I will take apart. The amount of waste that gets thrown every day is phenomenal and I am happy that I can make new, exciting pieces of it.

During that process, do you have difficulties sometimes finding the right thing for you? Or the opposite – finding a “small treasure” ?
Definitely, one piece of fabric can spark off a completely different design angle. I try not to have a specific design idea in my head, I prefer to see what I can get first and develop my designs from that; it helps the design process. If I can’t find something that I have in my mind, something else will come along and take its place. I also work with organic fabrics – the variety that’s out there is getting so much bigger these days and more accessible.

Speaking of organic, and its growth nowadays, I sometimes wonder if when companies take the eco route (whether it be fashion or food or whatever) they do so just because it has become fashionable. Although it all contributes to the greater good, do you feel that in some way ethical fashion has become commercial?
Green is definitely a buzz-word at the moment and everybody, be it in the fashion industry or not, tries to become as ethical as possible. I am not necessarily coming from that angle, even though I obviously care a lot about what I do and how it affects the environment, there is just too much waste and that affects everyone. But for me it’s more about the final garment than the ethical process; the fact that these pieces are unique, they’re more like art pieces.

In your collections we see an almost fairy-tale world. Where do you draw your inspiration from?
I have a personal collection of vintage photographs that I like to I look at. I love this time when photography was just starting and you get these moments frozen in time. Right now everyone uses photography all the time, capturing every moment, but back then you only see a fraction of their life and you have to imagine for yourself what their world might have been like. Obviously, I am also influenced by fairy-tales and their magical feeling; the escape from reality. Fashion is so intense, serious and glamorous and I want to take another spin on it, to keep it quite child-like and fun.

By seeing your collections past and present, one gets into a playful mood. Do you think that fashion is a protest these days, like it used to be in the past?
I think everyone’s got their point that they’re trying to make. My point is that you can have fun while making your point, it doesn’t all have to be serious. I want people to realize that they can have fun in whatever they’re doing and that humour can be injected in everything. Everything is so serious nowadays, fast-forward and busy.

For your last collection you’ve collaborated with London-based artist Alex Chinneck and traditional cordwainers Green Shoes. Tell us a little about that collaboration.
It was easy collaborating with Alex – he’s not only a wonderful sculptor but also my boyfriend! He had this paper cut-out of an explosion called Ka-boom and we both came up with the idea of translating it into a piece of clothing. It is a wonderful pictorial piece and it was also a real test for my patch-working abilities – it was really technical and much more complicated than I thought it would be, so it was really rewarding when it was finished. Then with Green Shoes, it all started when I bought a pair for Alex’s birthday and I decided to customise them for him, so it all unfolded with what I did and we decided to have them in the collection and a bag as well. They are all made of vegetarian leather and tanned with vegetable dye, so they’re as ethical as a shoe can be. Also, the cut-outs I used are off-cuts from the leftovers from Green Shoes to reduce waste once again.


Illustration by Jenny Robins

Finally, an urban fashion legend says that Tom Ford offered Stella McCartney the role of design director at Gucci. When McCartney said no fur or leather, and Ford couldn’t oblige, she turned down the role. What would you do in a similar dilemma, in a fantastic scenario where you are offered a dream job but you have to compromise your principles in ethical fashion?
Actually, I’m doing my dream job already! I don’t want to buy fabric off the roll, I have to think within these parameters and I like the barriers that I have put to myself, otherwise it is not ethical. This way I push myself to do something a little bit extra, it’s not as easy because all these fabrics are not given to me on a plate. When you are more resourceful and you push yourself creatively then the final result is much more rewarding. I don’t want to preach to people, but I want to plant an idea. If people like it they might be inspired and follow my example. Fingers crossed!


Lu Flux photographed by Holly Falconer


Illustration by Jenny Robins

Lu Flux is one of the most interesting new British ethical fashion labels and one of the highlights in this year’s Estethica exhibition at London Fashion Week. Katia Bololia meets her in her studio at the industrial end of East London to talk about her latest collection, ed ‘Dame and Knight’, sildenafil ethical fashion and taking life less seriously.

Firstly, tell us a bit about yourself and your journey in the fashion world so far.
I graduated from the Edinburgh School of Art at 2006 and did my first collection for Glasgow Fashion Week, then went on to work with German fashion designer Bernhard Willhelm in Paris. I made the decision to move to London and at first I was doing commissions for other people, I hadn’t fully committed myself to fashion at the time until a friend of mine opened a gallery at Brick Lane and I put myself down for a show, so that put me into gear to make a collection for October 2008. That body of work I created eventually led me to the Vauxhaul Fashion Scout Show, which kicked off my career.

From then it escalated, leading to London Fashion Week’s Estethica Exhibition. Tell us about that experience.
It was really good, I hadn’t been to Estethica before and at first I didn’t know what to expect. There were all of the designers I’ve met before and it was nice because it felt like we were this strange ethical family, I’ve also met lots of people that I’ve heard about and wanted to meet personally. It was really lovely to be part of it and it was very exciting for me to be part of the LFW, I’ve never been in such a place before where I could meet people from all around the world.

What are the things that interest you in general?
Unfortunately, I don’t have a lot of time for myself but when I don’t do fashion I am very interested in art, galleries and culture mainly; music, films and everything. I like getting away to the countryside as well, escaping from it all.

When it comes to your label, do you have a fashion manifesto and if so what is it?
I read Vivienne’s Westwood manifesto recently and I suppose mine is very similar to hers, in the idea of buying something for longevity. I am also against disposable fashion. I think we should buy something because we love it and because it reflects our personality. I feel that all of my things transcend this message, to be loved for a long time.

There is a very interesting story when it comes to your fabrics, can you tell us where you source your fabrics from?
I used to source everything from charity and vintage shops, car boot sales and markets myself. Although I loved it, it is quite a difficult process as it takes up a lot of time and effort. I can’t commit myself to doing that anymore so I started working with a recycling company that is actually around the corner from my studio. These are fabrics coming from clothing banks from all around London, I may get fabric pieces, sheets or even clothes that I will take apart. The amount of waste that gets thrown every day is phenomenal and I am happy that I can make new, exciting pieces of it.

During that process, do you have difficulties sometimes finding the right thing for you? Or the opposite – finding a “small treasure” ?
Definitely, one piece of fabric can spark off a completely different design angle. I try not to have a specific design idea in my head, I prefer to see what I can get first and develop my designs from that; it helps the design process. If I can’t find something that I have in my mind, something else will come along and take its place. I also work with organic fabrics – the variety that’s out there is getting so much bigger these days and more accessible.

Speaking of organic, and its growth nowadays, I sometimes wonder if when companies take the eco route (whether it be fashion or food or whatever) they do so just because it has become fashionable. Although it all contributes to the greater good, do you feel that in some way ethical fashion has become commercial?
Green is definitely a buzz-word at the moment and everybody, be it in the fashion industry or not, tries to become as ethical as possible. I am not necessarily coming from that angle, even though I obviously care a lot about what I do and how it affects the environment, there is just too much waste and that affects everyone. But for me it’s more about the final garment than the ethical process; the fact that these pieces are unique, they’re more like art pieces.

In your collections we see an almost fairy-tale world. Where do you draw your inspiration from?
I have a personal collection of vintage photographs that I like to I look at. I love this time when photography was just starting and you get these moments frozen in time. Right now everyone uses photography all the time, capturing every moment, but back then you only see a fraction of their life and you have to imagine for yourself what their world might have been like. Obviously, I am also influenced by fairy-tales and their magical feeling; the escape from reality. Fashion is so intense, serious and glamorous and I want to take another spin on it, to keep it quite child-like and fun.

By seeing your collections past and present, one gets into a playful mood. Do you think that fashion is a protest these days, like it used to be in the past?
I think everyone’s got their point that they’re trying to make. My point is that you can have fun while making your point, it doesn’t all have to be serious. I want people to realize that they can have fun in whatever they’re doing and that humour can be injected in everything. Everything is so serious nowadays, fast-forward and busy.

For your last collection you’ve collaborated with London-based artist Alex Chinneck and traditional cordwainers Green Shoes. Tell us a little about that collaboration.
It was easy collaborating with Alex – he’s not only a wonderful sculptor but also my boyfriend! He had this paper cut-out of an explosion called Ka-boom and we both came up with the idea of translating it into a piece of clothing. It is a wonderful pictorial piece and it was also a real test for my patch-working abilities – it was really technical and much more complicated than I thought it would be, so it was really rewarding when it was finished. Then with Green Shoes, it all started when I bought a pair for Alex’s birthday and I decided to customise them for him, so it all unfolded with what I did and we decided to have them in the collection and a bag as well. They are all made of vegetarian leather and tanned with vegetable dye, so they’re as ethical as a shoe can be. Also, the cut-outs I used are off-cuts from the leftovers from Green Shoes to reduce waste once again.


Illustration by Jenny Robins

Finally, an urban fashion legend says that Tom Ford offered Stella McCartney the role of design director at Gucci. When McCartney said no fur or leather, and Ford couldn’t oblige, she turned down the role. What would you do in a similar dilemma, in a fantastic scenario where you are offered a dream job but you have to compromise your principles in ethical fashion?
Actually, I’m doing my dream job already! I don’t want to buy fabric off the roll, I have to think within these parameters and I like the barriers that I have put to myself, otherwise it is not ethical. This way I push myself to do something a little bit extra, it’s not as easy because all these fabrics are not given to me on a plate. When you are more resourceful and you push yourself creatively then the final result is much more rewarding. I don’t want to preach to people, but I want to plant an idea. If people like it they might be inspired and follow my example. Fingers crossed!


Lu Flux photographed by Holly Falconer

On the eve of the release of their fourth album, no rx The Chaos, I sat down with lead singer Barry and guitarist Ross from the Futureheads to talk about their creative process, how it really felt to get dropped from their label, and their political leanings.

What were you thinking, recording this album? What was it you were trying to do?

Barry: It was very much a song at a time, and giving our full attention to each song without really thinking too much about the album as a whole until we’d given each of the songs enough time to know that they worked.

How long did you spend recording them all?

Barry: It was quite a fractured process, really, because we did it in three different sessions. The first session was in Sunderland with a mate of ours, Dave Brewis from Field Music, the second was with Dave Glover who produced the entirety of our second album – that’s This Is Not The World – and then we did a final session that we produced ourselves up in Newcastle in a tiny little studio called First Avenue. It was very much three different environments, three different atmospheres. It’s quite a well-rounded album I think.

It still sounds very cohesive, despite the different sessions.

Barry: We weren’t that worried about it not working as a record because we’d put so much effort into the songs that it could only add to the quality of the album, but when it came to actually mixing the album together we kind of realised that this is actually a preferable way to record. If you’ve got your guitar amp in the same room on every song, and it’s the same amp in every song, then that’s the level – guitars are guitars, they’re not going to sound that much different, but moving around gave it an extra level of personality and character.
Ross: And I think it truly only became the album, The Chaos, about 2/3 of the way through, when you start thinking about the artwork and the order of the tracklisting, what songs are going to make, what songs best sum up where we’re at. In the early stages you’re just going through it one song at a time, and that process really influences the rest of the songs that come after it, you know? When you’ve worked up four or five songs and recorded them, if you do it over a long period of time you’re going to end up influenced by that batch of songs, because even though we didn’t it all at the same studio or whatever, our head space was the same all the way through.

The title then – I noticed it’s a fast album. It goes quick, it’s not that it’s short but…

Barry: It’s pacy.

Yeah, it’s pacy, there’s so much happening and then it’s over. Is that where the name comes from, in a way? The Chaos?

Barry: Well, the song, ‘The Chaos’, is a song that does kind of represent the overall cohesion of the album. It captured so much for us, I think, the nature in which it was recorded, the times that we’re living in, the actual state of our culture is pure chaos, it’s the natural state of the universe, pure chaos. I was watching this amazing documentary on the BBC that was called The Secret Life of Chaos which was about chaos theory, and we’re trying to write songs about how we’re all fully capable of dealing with this chaos because we’ve all got to this point just fine. So no matter what you think might happen in the world, volcanic eruptions, earthquakes, or whatever, we’re here to deal with it, to deal with the experience. Not to shut it off, but to take it as it comes, to be a part of it. The main thing that the album is for is individuality and building confidence in yourself. I don’t want to sound like some self-help guy but, you know, music has this amazing ability to uplift people, without philosophy or whatever, and it’s all about the experience just coming through the airwaves into your brain and stimulates you. That’s what we’ve always done to ourselves, that’s what we’re all about as a band.
Ross: That element has always been really important with the Futureheads, and probably none more so than on this record, is to engage with people, on record, especially live, we want to engage with the crowd and each other. On this record the message is perhaps more direct than it’s ever been, and it’s about getting people to engage, to spark some kind of debate, some kind of positivity and not have such a passive experience, not to just settle for the dull things.

To what extent does that all come into play with the album cover? Where does that come from?

Barry: Well, that’s basically the chaos symbol, which was invented by a sci-fi writer in the 1950s. It’s a circle with eight arrows coming out of it. A very interesting symbol, because the arrows draw you in to that central point but the arrows create a dynamic to spit you out, and we’ve basically bastardised that symbol and made it into our own.
Ross: It sort of evokes the Nul Records logo too.
Barry: Aye, and with the artwork we all kind of chipped in little ideas.
Ross: Aye, it was great, we all put down our little designs and blueprints, like a school project. Interactive as it goes, like, because a lot of the time a lot of bands will have the management get a graphic designer in, they’ll choose from a range of designs and that’s it, that’s the cover, end of story. But I think that the way that we’re doing everything, to carry on, especially considering the problems we’ve had in the past and all, you really have to find a love for everything. It’s not just like writing a song and performing it, that’s it in its pure form but there’s a lot more involved. I think we get a thrill out of being closely involved with that stuff, and that we’re doing it on our own label entitles us to that now.

How is it running your own label? Has it been liberating?

Barry: Absolutely. Righteous. Righteous liberation.
Ross: That’s the thing, at the start of every new album it’s a very standard thing for a band to do is to get new press shots done or whatever, and in the past when we were with a major label there would always be this one guy who’d come along with these big books of portfolios…
Barry: Oh god.
Ross: …bearing in mind that all of us are very interested in the creative world, and we all are aware of photographers and artists in our own right, and he’d bring these things along and say, “how about such and such,” and it would be such a corporate process.

Very patronising?

Ross: Aye, it is very patronising. You’re not really part of the decision-making process, you’re only there as a gesture almost, having this sit-down. So this time, in keeping with the record being made in the north-east, close to home, we got a good friend of ours, Ian West, to do the photographs. We’ve tried to keep it as close to us as we can, really, and that level of control and those sorts of decisions are, relatively speaking, minutiae, but on the big picture are really massive. For a band to be able to exert that kind of authority is really rare, and I think that’s just one of the things that we enjoy doing, the fact that it’s a lot more free. How quickly we can go from having a decision or an idea to getting it done, there was just so much beaureaucracy at the major label.

Who were you with?

Barry: Warners, technically it was a subsidiary called 679 Recordings, but really, still a major. Nice people, don’t get me wrong, I’m not criticising the individuals, it’s just not smart enough for us, it’s a bit stupid.

I was reading that you guys were having some troubles back after you got dropped, that you were considering breaking up…

Barry: I don’t think that’s true, really.

I’m just going off Wikipedia here…

Barry: Wikipedia! I’m going to re-write that, because we’re not a ‘revival band’, fucking ‘revival band’! That’s bollocks, as if we’ve been a covers band for a decade. Piss off!
Ross: Oh man, now he’s raging.
Barry: I’m going to re-write the full Wikipedia for everybody.
Ross: Gonna have to be quick there, on the old computer like. It can be done.
Barry: This is the truth, right – the day that we got dropped, our manager called me and said, “I’ve got some good news – you’ve been dropped.” Yes! Cries of ecstasy. The best thing that could have happened. They were perfectly legally entitled to keep us on their shelf and say, “you get back to the studio,” and get songwriters in… There would’ve been blood, it would’ve been dangerous, to stay on Warners.
Ross: And another great thing about it was that they didn’t take another 18 months, two years, whatever – the second album had come out in May and by October, November they’d dropped us. And in a way it’s good on them to not mess us about.
Barry: They let us free, they let us out of the cage. They liberated us.
Ross: It happens to a lot of bands, I think, but for some reason we decided to talk about it a lot more. Like, for example, I was listening to Zane Lowe, he was interviewing a big lad from Outkast, and he’d just been dropped, signed again with Def Jam. They were talking about it but the way that it was dealt with, there weren’t many negative connotations. I think that maybe, the way that people now perceive that relationship is very different to when it happened to us, or the fact that we were so open about it almost attracted some kind of sympathy or drop in status.

Yeah, well what I’ve read about it almost seemed to suggest that you guys were really not happy about it, that you wouldn’t come back from it.

Barry: No, we never gave off the impression, intentionally… I think it’s fair enough to assume that if someone is rejected in that way that they’ll be, in some way, heartbroken, and we were of course all disillusioned with the music business but never with ourselves, never with our band. And now we have our own music industry, our own music business, that only we experience. It’s called Nul Records, and us and our managers are in complete control of that world. We control where we go in the world, what we spend on videos, and budgets and everything else, it’s empowering. We made the video for ‘Heartbeat Song’…

What’s that like?

Barry: Check it out, it’s funny, it’s like three different game shows in one. It’s all based on 70s game shows, it’s a really smart video.
Ross: There’s a standup, Ray Green, who’s the host and he’s very funny. He takes the focus off the video from the band, we’re kind of contestants.

So with your own record label, have you got yourself your own studio? It sounds like you’ve almost got your own kind of factory set up where you can work on your own terms.

Barry: We haven’t got our own studio, no.
Ross: But back in the north-east we’ve got 8music which is a creative space that we kind of share with Field Music, where we did record some of the album there.
Barry: Yeah, which was kind of revelation for us. We set up the 8music collective about seven or eight years ago now, and we contributed rent to a community building, and our fantasy was always to set up a studio there and release records from there, in a collective form, making ridiculous amounts of music. And then the Futureheads took off and we kind of disappeared from Sunderland for over year, really, just touring and stuff. Meanwhile, the brothers from Field Music kind of did actually set it up as a studio for them and when we came back they’d already started making music there, and it was very fortuitous for us to ask if they’d like to do a session together and they’d say absolutely, of course.
Ross: In a way, we probably could’ve made the entire album in that room, in that environment, if Dave hadn’t got so busy trying to record the latest Field Music album [called Field Music (Measure)].
Barry: Which is a double!
Ross: Yeah, imagine trying to fit in between sessions for a double album. And we’ve almost taken that space for granted but I think it’s really quite a special thing, that we can get the records out there from relatively small premises.

It sounds very punk, very DIY.

Barry: Absolutely.
Ross: It feels like we’re in charge of our destiny to a massive extent, way more than most bands in many ways because we haven’t got those corporate pressures or anyone interfering with the music or the creative decision making. It’s an intimate thing but it seems to be working for us.

So you’ve got this system worked out where you seem to be very comfortable, but I have to ask – how much chaos is there in that system?

Barry: Hah, just right. Balanced chaos. That’s the thing with chaos because there’s chaos in chaos. It’s just chaos how we perceive it, because there’s something else far more powerful controlling it and we experience, as an observer, as a crazy random world.

A last thing now, because everyone’s going on about it – did you watch the first TV debate?

Barry: No, we were… what were we doing last night?
Ross: We played a gig at King’s College. We tried to keep up with it online but, by all accounts, Nick Clegg came out of it well.

Are you guys politically engaged at all?

Barry: I think we all are, in our own little ways. We’ll all be voting this year, it’s turning into a very interesting time, but I read too many conspiracy theories… the Illuminati and Freemasons…

Shape-shifting lizards?

Barry: Heh, I don’t subscribe to that particular fucking crazy theory, but there’s definitely a cabal of highly powerful billionaires who are calling a lot of the shots, and there is that element of slightly sinister shit going on, but it’s a distraction from the real reality of it which is that we’ve got a big election coming up. What’s that saying… “Shat on by Labour, shoved up by Tories”? As Uncle Monty in Withnail & I would say. How about you?

I’ve got no idea yet. The thing is, I live in one of the safest Tory seats in the country, it’s been Conservative for the past two centuries.

Ross: Ah, well, conversely a lot of the districts that we live in, in the north-east, are very much Labour, and what with us wanting people to engage, this album, the timing might not be great with it coming out after the election but it would be that thing of wanting people to mobilise themselves and have their say. It’s like they say, you can only moan if you vote.
Barry: Hah! [puts on RP accent] Mind you, you can only moan if you vote. I voted and I can moan as much as I like!

Heh, well, don’t blame me, I voted for Kodos. So the album’s coming out on the 26th of April, and the next single is going to be…

Barry: A mystery. Not sure yet.

And touring plans?

Barry: Yeah, got a big tour coming up to promote the album starting on the day the album is released, up in Norwich. Then we have a little break and we’re off to America, which will be good as we haven’t done a tour there in three or four years. The album comes out over there on the 1st of June, the first day of the tour, so it’s pretty well organised. And we’re doing a few festivals, Leeds and Reading main stage which will be amazing, a few years since we’ve done that. Wicker Man Festival, Kendal Calling, there’s a lot of really good smaller indie rock festivals establishing themselves, you know, 5000 max kind of things.

Like Truck Festival?

Barry: That’s really good, it’s got a lovely atmosphere, like a tiny Glastonbury. Festivals are great things, you know, they’ve been happening a very long time and they’re usually celebrating something, like the summer solstice. Glastonbury’s always been on the solstice, so there’s this element of getting together as a community and passing the time in a very positive and proactive way. And that kind of joy that people are experiencing is just great, and you’re essentially like a hoover, you know [makes sucking noise], trying to suck all the joy up and fire it back at them, and that’s the beauty of festival. I love them.

Are they your favourite gigs, then?

Barry: Oh, I love them. Absolutely love them. So exciting. No preparation. You’re in front of your largest crowds with your smallest amount of equipment, shortest time to prepare. You’ve got to get them, otherwise they’ll just float away, or else they’ll just go watch someone DJ, or go on the rides, you’ve got to hold them, it’s a really interesting experience.

Categories ,8Music, ,BBC, ,field music, ,First Avenue, ,Heartbeat Song, ,ian steadman, ,Ian West, ,Newcastle, ,North East, ,Nul Records, ,Ray Green, ,Sunderland, ,The Chaos, ,the futureheads, ,The Secret Life of Chaos, ,This Is Not The World

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Amelia’s Magazine | Live Music Review: The Unthanks; The Arnolfini, Bristol – March 21st

unthanks Rob Fuzzard
Illustration by Rob Fuzzard

They are wearing dresses that look like fresh versions of the past. And their hair is worn long and embracing of its natural waves and kinks. Rachel is pregnant and vibrant. The Unthanks are wholesome and true. True to their families, dosage friends, dear home and folk music. Their Northern roots infiltrate everything from the lilt of the pronunciation of lyrics; ‘luvley’, to the songs they choose to sing. My image is of them as land girls, wearing cream wooly jumpers, dresses and wellington boots. In the evening they sit around the fire of a single glazed, rambling cottage, singing from right within. Where the truth lies.

And indeed, growing up in their Northumberland home, the Unthank family would partake in group singing. Their father George, is part of a folk group called The Keelers that specialised in sea shanties of the north-east, their mother is a member of local choirs, and they always attended festivals and folk clubs. Rachel, the older of the two sisters, who looks like peace personified said: “This is amazing, a privilege and an honour, to be up here singing like this. Of course. But there something about singing with lots of people, that’s just… good for the soul.”

Unthanks

Rachel’s speaking voice is high, full of character, vibrancy and northern accent. Her eyes close as she sings and sways, stroking her baby bump to the instrumental breaks. She loves music and singing for its remedial, loving, relaxing, spiritual and bringing together prowess. As does Becky, her sister. Recently engaged we are told, she is funny, lower toned in voice and smoother. More of the honey to Rachel’s jam. Homemade and paired with the band (butter and bread… this metaphor accidentally went further than anticipated), they are your next level folk. Playing the piano, violin, fiddle, viola, cello, double bass, drums, guitar and ukulele, they are all stunning, and together make for a polished and encompassing sound. The beauty and love of the music they’re all creating, their sole focus. Not lumberjack shirts and shiny belt buckles.

The girls themselves don’t hold an ounce of arrogance, and are both entirely likeable, modest and genuine in their performance and stage presence. The confidence that’s so rosy, and tangible seems to be from deep within, from a stable and unmoving place.

unthanks

But they could be all over themselves. With a Mercury Award Nomination in 2008, being named as one of Best Albums of The Decade in Uncut and The Observer for The Bairns (out on EMI), as well as BBC Folk Awards and many others. Why didn’t I know of them before? Or my evening’s accomplice. As the evening went on, I found myself increasingly mesmerised and indadvertedly swaying in a progressive daze.

They sing of drunks, pubs, Newcastle Brown Ale, men, sweat, bosoms, daily life and poverty – STORIES of England of the North, the land, the people, the past. With the strings behind them, they sing everything tenderly, slowly and with an enormous wedge of sadness. But it’s hard to feel sadness with them, it’s more that they disarm you and fill you with beautiful sounds and truths. Things aren’t and never have been idyllic for everyone, forever.

Between tracks they chat leisurely about where they found their songs, and banter with the piano player, and husband of Rachel, Adrian McNally. Rachel talks of the need we have now for music that strikes chord and brings people together. Such as the North East mining songs, full of trouble, strife and heartbreak. There is a comradery in folk music, and a wholesome edge that is inescapable. It’s English summers, rolling hills and blustery mountain tops. It’s reality and being unafraid of it. It’s the soundtrack to what we discover when we experience something that flicks the deep, dark switch. One weekend, after trundling out of our home and switching the telly off, a walk by the ocean, some awful news, a baby’s birth, right then and there we see and feel light and free. We vow to repeat our actions again asap; “we should do that again darling.”, or never take things for granted, because we’ve realised what life is about. They know, The Unthanks. They get it.

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One song featured the two girls singing unaccompanied, Rachel giving ‘advice’ to Becky on marriage. “You’d better be a maid all the days of your life, Better me a maid as a poor man’s wife.” They laughed about it, and smiled broadly to each other and then out to the audience. Another track; The Gallowgate Lad, is about a girl crying alone in Newcastle. Someone asks her; ‘What’s wrong?’ A mistake, as it can be. The piano dancing notes, paired with the story telling Becky, alone on stage, is a tremendous mix, full of drama, reviving the angst of past encounters. A number of other songs also featured the use of mighty clog dancing by Becky. Whilst Rachel sat on a chair for a mini rest, Becky tapped and stomped on stage. This was delightful and served to enhance my own desire to own clogs. Excellent skill! They also treated us to a song from the soundtrack of archive footage of Newcastle, they had performed at the Tyneside Cinema recently. They sang of the docks, the ale and the banter in their hauntingly joined voices.

Becky and Rachel put on a superb show, and yet it didn’t even feel like a *SHOW*, it felt as if we were in their living room, by the fire, with knitted cream jumpers and hot toddies, all singing together. It was warming to the heart and soul. Incidentally The Unthanks run weekends of singing in Northumberland, so perhaps check them out if you want some of your own sing song jubilation. For now check out this video. You can buy all their albums now; The Bairns and Here’s The Tender Coming are both out on EMI, and Last, on Rabble Rouser.

Categories ,Adrian McNally, ,album, ,arnolfini, ,Avon, ,bristol, ,EMI, ,folk, ,Harmonies, ,Helen Martin, ,live, ,Mines, ,Newcastle, ,Newcastle Brown Ale, ,Northumberland, ,Rabble Rouser, ,Rob Fuzzard, ,Singing, ,The Unthanks

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