Oh God, viagra 60mgcost is it really that time again? Do I really have to stay up, night after night, sending all those emails? Worrying about outfits? Processing 12,000 photographs? Yep, London Fashion Week is just around the corner, and yesterday Vauxhall Fashion Scout announced their line up for their extra special Ones to Watch show.
Tze Goh graduated with a BA from Parsons in New York before completing an MA at Central Saint Martins. Tze’s collections to date have had that strong, minimal aesthetic with emphasis on shape and sculpture.
They’re definitely futuristic, and each garment appears to have been moulded from an unknown material rather than sewn from jersey. Pieces emphasise the shapes of his models – exaggerated shoulders and discrete twists in fabric make for modern, appealing clothes. Hopefully he’ll stick to his minimalist principles during his outing this coming season.
Kirsty Ward is brilliant. She’s one of the most unique designers I’ve seen in ages, and it’s no surprise that she’s, yep – you guessed it – Central Saint Martin’s alumni and went on to work with Alberta Ferretti in Italy. Amelia reviewed her collection last season , a vertiable wonder of sculptural jewellery and clothing that echoes the contours of the body.
I loved her work with David Longshaw (creating jewellery that he teamed with his collection) during his debut on the very same Ones to Watch stage a year ago This season promises another fashion-forward outing.
Anja Mlakar is – you guessed it – another Central Saint Martins graduate. I’m feeling fatigued typing those three words already and the shows haven’t even started. Anyway, Her debut collection harboured much interest and having only graduated last year, Anja is set to cement herself in fashion this coming season.
Her S/S 2011 collection was a welcome ray of sunshine, with bursts of pastel yellows and pinks. Her aesthetic features structural forms and body-concious frocks, and her style straddles the fine line between flattering and futuristic. The most diverse collection, it will be intereting to see if Anja develops a particular element or mixes it up again.
Sara, a Royal College of Art graduate (at last!) takes a different approach to fashion and is heavily influenced by 2D forms like black and white photographs. She’s been nominated for awards here and there.
Her previous collections contain a mix of knits and deconstructed pieces, and I’m not exaggerating when I say this girl digs black. As it’s the A/W 2011 we’re looking forward to, I wouldn’t be surprised if we see more of fashion’s favourite colour on Sara’s outing, but then what do I know?
Illustration by Gabriel Ayala
Oh God, story is it really that time again? Do I really have to stay up, night after night, sending all those emails? Worrying about outfits? Processing 12,000 photographs? Yep, London Fashion Week is just around the corner, and yesterday Vauxhall Fashion Scout announced their line up for their extra special Ones to Watch show.
Tze Goh graduated with a BA from Parsons in New York before completing an MA at Central Saint Martins. Tze’s collections to date have had that strong, minimal aesthetic with emphasis on shape and sculpture.
They’re definitely futuristic, and each garment appears to have been moulded from an unknown material rather than sewn from jersey. Pieces emphasise the shapes of his models – exaggerated shoulders and discrete twists in fabric make for modern, appealing clothes. Hopefully he’ll stick to his minimalist principles during his outing this coming season.
Kirsty Ward is brilliant. She’s one of the most unique designers I’ve seen in ages, and it’s no surprise that she’s, yep – you guessed it – Central Saint Martin’s alumni and went on to work with Alberta Ferretti in Italy. Amelia reviewed her collection last season , a vertiable wonder of sculptural jewellery and clothing that echoes the contours of the body.
I loved her work with David Longshaw (creating jewellery that he teamed with his collection) during his debut on the very same Ones to Watch stage a year ago This season promises another fashion-forward outing.
Anja Mlakar is – you guessed it – another Central Saint Martins graduate. I’m feeling fatigued typing those three words already and the shows haven’t even started. Anyway, Her debut collection harboured much interest and having only graduated last year, Anja is set to cement herself in fashion this coming season.
Her S/S 2011 collection was a welcome ray of sunshine, with bursts of pastel yellows and pinks. Her aesthetic features structural forms and body-concious frocks, and her style straddles the fine line between flattering and futuristic. The most diverse collection, it will be intereting to see if Anja develops a particular element or mixes it up again.
Sara, a Royal College of Art graduate (at last!) takes a different approach to fashion and is heavily influenced by 2D forms like black and white photographs. She’s been nominated for awards here and there.
Her previous collections contain a mix of knits and deconstructed pieces, and I’m not exaggerating when I say this girl digs black. As it’s the A/W 2011 we’re looking forward to, I wouldn’t be surprised if we see more of fashion’s favourite colour on Sara’s outing, but then what do I know?
How has a love of arts and handicrafts been passed down to you?
Amongst my ancestors there is a menswear tailor, diagnosis a well-known Swedish painter, for sale and my three aunts who worked with textiles. My father keeps a family tradition alive as a blacksmith and my mother is an artisan working with leather and photography. Since finding my passion within drawing, website like this textile and environment it feels natural to follow my heart. I wish more people were able to work with what they feel is important.
What prompted you to start working with organic fabrics?
I became allergic to some fabrics when I begun to sew full-time, and getting sick made me wonder about the health of the people and the soil in the places where those fabrics were being grown, woven and dyed, as well as what happens to the water in which we wash these toxic clothes at home. I grew up close to nature, and experiencing first hand the fallout from poisonous chemicals made me want to search for pure materials to create ethical clothing.
Where do you source your organic materials from?
I find the background of materials fascinating. It’s so important to understand where fabrics come from; to be able to tell a customer the story, from seed to finished garment. I work with organic wool, linen, cotton, hemp and peace silk. The linen is grown and woven in Germany and Austria, where it is certified the whole way through production. For detailed artistic work such as felting I like to work with local materials such as handspun angora rabbit yarn and native sheep wool; materials where I have the opportunity to know the source personally. One of my dreams would be to ensure the local production of materials that we can produce in this part of the world, such as wool, hemp and linen fabrics…
Read the rest of this interview and see more illustrations of Anja Hynynen’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here. The illustrator Andrea Peterson also designed the front cover of ACOFI
Written by Amelia Gregory on Thursday January 13th, 2011 11:13 am
Monday 12th Jan
Starting today: The Voice and Nothing More is a week-long festival at the Slade Research Centre that explores the voice as both medium and subject matter in contemporary arts practices. Established artists and emerging talent will work with leading vocal performers in an exploration of the voice outside language. On Wednesday the festival culminates in a presentation of objects, pilulegeneric performances, order and installations that are open to the public. There will also be performances on Thursday and Friday from 6 pm.
Wednesday 14th Jan
Now in it’s 21st year, recipe the London Art Fair begins at the Design Centre in Islington. A hundred galleries are selected to show work from the last few hundred years. This immense exhibition will encompass sculpture, photography, prints, video and installation art. It ends on the 18th of January.
There is a talk this evening at the ICA entitled Can Art make us Happy? where artists Zoë Walker and Michael Pinsky explore the notions of art as a social cure-all in times of economic and social gloom.
A new solo show from Josephine Flynn begins today at Limoncello on Hoxton Square. The Mexican was bought off a patient who was in hospital with mental health problems. When the patient talked about The Mexican she described how the process of making him had helped her – ‘healing through making’ was how she put it.
Thursday 15th Jan
Feierabend is a collaborative installation between artists Francis Upritchard, Martino Gamper, and Karl Fritsche, bringing together a shared aesthetic in their distinctive approaches to jewellery, furniture design, and sculpture. The exhibition plays with the boundaries of art and real life – looking like a workshop abandoned at the end of a day’s work, or a sitting room left in abstracted dissary, it’s only inhabitants a set of sculpted figures who seem lost in their own meditations. Gimpel Fils opens a new photographic exhbition from Peter Lanyon and Emily-Jo Sargent, 100 Pictures of Coney Island.
The Asphalt World is a new solo show at Studio Voltaire from Simon Bedwell. Drip paintings are made from advertising posters in an ironic twist or corporate seduction.
Feierabend
Friday 16th
There are two exhibitions starting today at Wilkinson on Vyner Street. In Upper Gallery a, Episode III, Enjoy Poverty, is the second in a series of three films by Renzo Martens in which he raises issues surrounding contemporary image making, challenging ideas about the role of film makers and viewers in the construction of documentaries. In the Lower Gallery, there will be the fourth exhibiton from German artist, Silke Schatz. Through the conjunction of video, sculpture, drawing and found objects, Schahtz composes a personal portrait of the city of Agsburg.
Saturday 17th Jan
We featured David Cotterrell in issue ten, where in the picturesque surroundings of Tatton Park, he explained how his visit to Afghanistan, where he was invited by the Wellcome Trust, would be likely to have a lasting effect on his future work. Aesthetic Distance is David Cotterrell’s third solo exhibition with Danielle Arnaud, and focuses on the experiences and inevitable aftermath of a flight he took in November 2007 in a RAF C17, from Brize Norton to Kandahar. He was the sole passenger in a plane loaded with half a million rounds of palletised munitions and medical supplies to join Operation Herrick 7, a strange irony not lost on the artist.
To whomsoever concerned by the biggest threat faced by humanity today-that of climate change,
You are cordially invited to Dinner at Domestic Departures. Join us for an evening of peaceful civil(ised) disobedience ahead of the government’s decision over a third runway at Heathrow. Inspired by the actions of the suffragettes, we will be calling for DEEDS NOT WORDS. The government acknowledges the huge problems we face from Climate Change but they continue with business as usual. This jolly evening is intended to produce much-needed positive change and we do hope that you would join us.
Time: 7pm (when the string quartet plays their first note).
Dress Code: Edwardian Suffragette: high collars, long skirts, fitted jackets, puffed sleeves, think Mary Poppins. Sashes will be provided. * Although advisable, it is not compulsory to arrive in Edwardian dress, the most important thing is that you your friends and family join us for dinner. To add the element of surprise, it is suggested that you arrive in a large coat to conceal your costume until the stroke of 7.
Bring: Jam tarts, scones, cucumber sandwiches, hard-boiled eggs, tea cakes. Picnic blankets and table cloths. Tea and elderflower cordial. No alcohol please.
Entertainment: String quartet, art tricks from ArtPort, polite conversation.
We look forward to seeing you,
The Misbehaved Ladies from Climate Rush x
Tuesday 13th January, 6pm
Art, Activism and the legacy of Chico Mendes RSA
8 John Adam Street
London
WC2N 6EZ
Tonight will explore the ways in which the arts can help shift society’s attitudes in the face of unprecedented climate change. Elenira Mendes, daughter of environmental activist Chico Mendes, will talk alongside panelists Jonathan Dove (award-winning composer), Greenpeace’s senior climate adviser, Charlie Kronick and fasion designer and activist Dame Vivienne Westwood.
Wednesday 14th January
Wednesdays Do Matter InSpiral Lounge, 250 Camden High Street NW1 8QS
A night of music, comedy, poetry and film (and really good vegan smoothies!) in aid of global justice campaigners, the World Development Movement. Remind yourselves why everyday matters, even Wednesdays.
Winner of this year’s Grand Jury prize at Sundance and announced as a finalist in 2009 Accademy Awards for Best Documentary. This is one New Orleans’ resident’s depiction of the catastrophic tragedy of Hurricaine Katrina. Shot with a (shakily) handheld camera, Kimberely Roberts’ footage starts from the weekend before the hurricaine and covers a period of a year. Michael Moore collaborators Tia Lessin and Carl Deal edit and append the tapes with their own film of the post-Katrina clean-up effort.An astounding portrayal of resilience and bravery.
Showing at the ICA 12th-15th January
Turning The Season
at The Wapping Project
Wapping Hydraulic Power Station
Wapping Wall
London
E1W 3SG
Recent crisp bright skies have been a welcome respite from the usual drab January weather. But who knows what tomorrow may bring. Turning the Season explores the social and cultural phenomenon of the British Season. It would be fair to say that the increasingly visible effects of Climate Change have further fuelled our national fascination with the weather.
Expect 100 bird houses, a roof-top lily pond and a photo story showing the break-up of a relationship against the backdrop of seasonal events shot by fashion photographer Thomas Zanon-Larcher.
Although aimed at swarms of roaring key stage 3 schoolchildren as an educational piece on the issue of deforestation, this production from Palace People’s Projects is a true delight. Set in a traditional village in the Amazon that is eventually swayed by the ghost of Chico Mendes to not fall under the developers’ bulldozers. But not until some devastation has been wreaked first. A socio-political depiction of destruction of the Amazon with a mythical slant. All set to the music and dancing of Forro. An inventive stage (a mammoth man-made tree rather resembling an electrical pole, and pools of water seperating the audience) and brilliantly gaudy costumes by Gringo Cardia.
Seriously energetic post-punk, sequinned and LOUD live act Dead Kids headline. No matter what you think of them on record, they’re sure to grab you live. Continuing the infant name-theme, as well as the intense post-punk sounds are support O Children.
With the ever-winning combo of Japanese girl singing drummer (also to be found as frontwoman for London band Pre) and jangular guitars, this is your best bet for a trendy sceney night out in London.
Tuesday 13th January
Banjo or Freakout single launch party, White Heat @ Madame JoJos, London
Part of the new-wave of ultra-hip, genre-smashing music sweeping the artier corners of the globe at the moment. Should be a celebratory atmosphere as it is his single launch party.
Intimate solo acoustic performance of debut album First Love in full, ahead of its release in February.
Push, Astoria 2, London
A massive farewell party for the Astoria 2 which will be finally demolished on Friday. Catch Cajun Dance Party live as well as DJ sets from Mystery Jets, Lightspeed Champion, Good Shoes and Neon Gold among many others and mourn the demise of the sticky-floored dingy music venue in central London.
Friday 16th January
Cats in Paris, Brassica, Braindead Improv Ensemble, The Woe Betides, George Tavern, London
Massively hyped, bonkers 70s-ish glam-electro from Manchester.
Catch this 9 piece mini-orchestra, complete with mariachi brass, duelling drummers and girl-boy vocals, for their Ennio Morricone-style soundscapes.
I Love Boxie: a web-based business in London that tailors a t-shirt especially for you based on the story you tell them. The most astute of the fashion-conscious clan know that style should reflect your spirit and not merely robotic trends. In light of this; don’t wear your heart on your sleeve– instead wear it on a t-shirt; a Boxie t-shirt.
Here, cure founder of Boxie, troche Moxie shares her views on what fashion is truly about, how her brand works and what she hopes to achieve through her t-shirts:
Tell us the story of I Love Boxie.?
Each t-shirt tells a piece of the way – a place we have been, a person we have seen. We have many lines that fit many situations and could tell a piece of your story too. If not, we offer t-spoke. You call us, tell us a story and we turn it into a line on a t-shirt. We believe everyone in the world should have an unbranded, authentic tee that sings a line of where they have been and what they have seen. We are the opposite of any company who just put a logo on a t-shirt.
?Where does the inspiration for your t-shirts come from?
?From the people who write and call in everyday with their stories. The stories are wild, heartfelt, quiet, poignant and are better than anything we could make up.
What’s the idea behind the “half a conversation” concept?
If you think about branding for the last 30 years it’s been about distillation, reducing everything to a line eg: ‘just do it’ or ‘impossible is nothing’.
Our lines are about provoking expansion. It’s just the first line of the story, or the chapter heading. We want people to come up to someone wearing a Boxie tee – and go ‘wow, what the hell happened to you??’
?
Why do you make it purposefully hard for people to purchase your t-shirts, without contacting you directly first??
The tees are written about stupid, funny, weird, deep moments in people’s lives. All of them from the heart. They feel like they need more exchange than a credit card transaction. T-spoke especially. This is a creative collaboration that begins with the customer telling us their story. It is a strange and wonderful one off encounter between them and us. The t-shirt is their battle scar of that personal story.
Is all your business Internet based? ?
As far as being web based goes, our tees are obviously a form of self expression and there is no greater arena for that than the web. This taps into what a tee originally was – a piece of underwear, something that wasn’t supposed to be seen but kept close to the chest and hidden like a secret.
These days, the web is a place where secrets can step out of the shade, where people can talk about things they wouldn’t usually talk about in real life. Most times, you can learn more about someone from reading their status report than talking to them for an hour in reality, because the web has taught us the language of openness and sharing.
Boxie exists in the ether as part of that fluency. More importantly those web values – openness, sharing, community – are overflowing back into real life now. So, yes, soon we’ll be on the streets in some form, although the tees will never ever be in a retail space, hanging limply on a rack.
Your favourite Boxie T-Shirt to date??
So High and Solo
Any advice for the penniless fashionista?
Everything great creatively comes from being up against it and with no cash. You can’t ever see it when you’re in it but, as far as imagination goes, you are in an infinitely better position than someone with a million dollars. Do something great with this time. And then call us to get the t-shirt. ?
Advice for those wanting to purchase something Boxie??
Write to us directly at moxie@iloveboxie.com
New York is spawning many a catchy-tuned electro based band at the moment – meet The Discoghosts, more about firstly they have a brilliant name, look secondly, approved they do what they say on the tin, this is a disco fest. Their ethos is nicely summed up in their lyrics, “We love ladies and they love us, cos we’re cool and disco plus.”
Otherwise known as M-Boy and Tracky, they meant their album title – BAD – literally it seems, rather than a tribute to the King of 80′s pop, as they are apparently, “trying to break the taboos of “good” music, while playing with clichés of club sound like repetition, climax, stupidity, autofilter, and sound fetishism.” I see.
This album could be the OST to many an 80′s movie – it’s true, it may be the decade that taste forgot but it produced some pretty good tunes – there are obvious Ghostbusters references ie: track 2 being called Ghostbusters Busters and there’s also hints of the Beverley Hills Cop riffs in there, along with and slinky soul beats, electro voices, rubbish rapping and a guy that sounds suspiciously like the chef from South Park…
That’s not to say they’re stuck in the past, their mellower synthetic beats, such as Jellyfish, track 9, have a Hot Chip vibe and that’s not a bad thing at all.
If their aim was to produce an awful album – they failed, maybe it’s just that I have a soft spot/great love for the 80′s but I very much enjoyed this, catchy, listenable songs that don’t take themselves seriously. My favourite line, from Straight but Gayish (sung by a high electro voice), “your boyfriend’s hetro but he looks homo.”
And they dress like this to perform:
How could you not love them?
It was legitimate for us to feel nervous. With indiscreet bullying from BAA and no knowledge as to how the police were planning to receive us, sick we tucked our dresses beneath our over-coats and shuffled through the throngs of intimidating fluorescent jackets at Heathrow Departures, illness passports at the ready and an impromptu conversation about flight times – very subtle. I wish I could have seen the briefing, look out for pretty girls in dresses and large jackets.
Once in, all subtleties were abandoned, a charming sight when the order of the day was Edwardian dress and dinner, an evening of very civil (ised) disobedience. Instruments, top hats, high collars and puffy sleeves – all were revealed as the clock struck seven, the string quartet took to its first note and picnic blankets were unfurled for the beginning of the Climate Rush organized party, Dinner at Domestic Departures.
Music played, food passed cordially from plate to plate, and sashes were handed out. It was not long before currents rippled through the crowd into cheers, claps, and chants, “Deeds Not Words”, “Trains not Planes” and, “No Third Runway”, with a contingency singing to the tune of 90′s classic There’s no Limit. The complete transformation of Zone C was helped along by Artport, a collective of artists working in collaboration with Cilimate Rush to redefine the space as we know it. Green all-in-one clad waiters weaved through the crowd with a planet for a cake and planes for spoons, whilst a parachute game bounced a blow-up earth from edge to edge.
In amidst this electric and elevating atmosphere, it was a spectacular delivery of a serious message. Climate Change is a very real threat and many people feel let down by the powers that be to address this threat.
We don’t want a third runway and call for cheaper train fares and better transport hubs instead of domestic short-haul flights. It is of course just part of a bigger picture: the greater threat of Climate Change of which aviation expansion is just a part, and the wider feelings of concern and dissatisfaction amongst citizens for whom civil disobedience is also, just a part.
Describing herself as an ex-Camden townie, link the self-taught illustrator, Zarina Liew, has thrown her arms up at the big smoke and a career in marketing; and has chosen instead the serenity of the Cambridgeshire countryside, pencils, watercolours, and strange lonely creatures ridden by lust and self-ruin.
Her Hunter Series, eight inked paintings which exhibited at the Shoreditch Shuffle Festival, started life as a 24-page graphic novel. It tells the story of a gramaphone and a lonely creature, who forms an unlikely friendship with three musicians. She is driven by a need for company and music, they are captured by her beauty and seduced by her authority. The musicians fall into her charm and into her gramophone where they are trapped and eventually perish, singing songs of solidarity and love.
Over a virtual cup if Green Tea, we ask Liew a bit more about her curious creatures of emotional turmoil, her illustrative inspiration and whether or not she misses Camden.
Tell us about the Hunter Series.
I wanted The Hunter Series to be an extension of the original story both visually and metaphorically – a story within a story. You get a sense of the narrative from the different pieces, but as a whole, you see the Hunter for who she is – a hungry, lonely and melancholic being. It’s an illustration of lust and self-ruin; both the musicians and the Hunter are acting on impulse, blind to their terrible fates. Even though she is the one to end the men’s lives, the Hunter does not get what she wants. With no one to listen or play with, she’s alone again.
Where do you draw information for your characters from?
I draw most of my information from observing the people around me. I never assume that what you see in someone is what you get – everyone has a hidden interior of ambition and desire. Music plays a large part as well. I found the musicians for The Hunter listening to an unsigned band playing at the Dublin Castle in Camden – the Parallel Animals. After falling in love with them – and the front man! – I offered to sketch them during rehearsals and help out at their gigs. Seeing how hard local bands work at this music business, and how ruthless the whole industry is, gave me a sense of direction in depicting the musician’s fate in my artwork.
The emotional context of the characters is strong; the nature of lust and self-ruin… is this an expression of your own emotional turmoil?
I suppose yes – in a sense that all of my work is an expression of myself, my feelings and thoughts. I wouldn’t say that I am strongly affected by the nature of lust and self-ruin though, let’s just say that I am extremely aware of it in myself, and all too conscious of letting myself go, or losing control of who I am. As I mentioned earlier we all have a hidden interior of ambition and desire – acting on lust however (whatever the desire – money, sex, fame) can only lead to self-ruin. Sometimes I wonder if I’m making the right choices, I question why I did certain things and what is behind my motivations. It’s a constant cycle of self-reflection.
And finally, Camden vs Cambridge countryside… who wins?
This is a real toughie. Can I be wayward and say that weekdays are for Camden and weekends are for Cambridge?
During the week I get a lot of inspiration from the Camden kids, lovely hidden-away galleries and sweaty underpriced indie nights. By the weekend though it’s full of puffy tourists and very long queues for nothing.
That’s when I retreat to the gentle Cambridge countryside. It’s perfect for lethargic country strolls and relaxing afternoon teas; this is also where I get a lot of my inspiration down onto paper and start to paint. All the week’s bustle leaves my mind ready to draw in peace and quiet!
You can see more of her work here, or catch her at the Alternative Press Fair on Sunday 1st February where she will be featuring the Hunter Storybook alongside other homemade creations, and apparently, lots of Green Tea.
.
Why is it no-one tells you that when you leave uni, approved your life will have a huge vacuum and those 3 years you spent studying illustration suddenly seem wasted when all the available jobs are in call centres? What to do? Give up the creative dream? Not if you’re Brighton girl Anna Wenger. She decided that if there was no jobs out there, adiposity she’d start her own business, viagra dosage and Sacred Stitches was born. Her idea of stitching classic tattoo designs onto clothes and homewares has really taken off in recent months, and she’s kindly chatted to us about it:
How did your business come about?
I needed to give my family and friends Christmas presents but without spending much money, so made everyone cushions. I got a lot of attention from these cushions and created more and more and now embroider onto everything I can lay my hands on!
Who are your favourite designers?
I love Angelique Houtkamp, her work mixes classic tattoo imagery with Hollywood romance and her eye for style is very inspirational.
Others include Inka Tattooist James Robinson, Alex Binnie, Jon Burgerman, Tara McPherson and Crush Design Studio.
How would you describe your personal style?
A very modern graphic twist on an old school tattoo style. I like to think that with my designs everyone can appreciate the art form of tattoos without having to get one.
Do you wear your own designs?
Oh yes, and so does my boyfriend, his friends, my flatmates. My flat is completely covered in sacred stitches cushions!
Who or what inspires you? (i know the obvious answer here is tattoos –
but if there’s anything else!)
I live with a tattooist who influences my work; magazines and art exhibitions are good for getting new ideas. My boyfriend and friends are covered in tattoos and will come home with a new piece of art on their skin, so its hard not to be inspired when your surrounded by moving artwork.
Have you got any tattoos?
No, the design is still in progress.
Do you have a favourite tattoo design / what’s the best you’ve seen so
far?
My favourite so far is by Judd Ripley of an amazingly haunting pirate ship. (pictured below)
Do you still love Brighton/can you see yourself living anywhere else?
I am originally from Brighton and moved back here after University, as it’s a creative city. I do love Brighton as it’s a very receptive place for my designs because people here like to buy from small businesses.
Can I have a t-shirt please?
Yes, what size are you, xxl?!?
How very dare you. A medium at the very most!
Thanks for your time Anna. Talent and ambition, the best combination.
Contact Anna about getting hold of your own personalised tattoo(ed piece of clothing) here.
Written by Jennifer McNulty on Wednesday January 14th, 2009 12:02 pm
J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, treatment but the works of art presented were so much more than that.
Stunning creations combining leopard print, more about names, symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.
As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.
A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, abortion but the works of art presented were so much more than that.
Photography throughout courtesy of Camilla Sampson
Stunning creations combining leopard print, view names, buy symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.
As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.
A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
We’re telling you, treatment this Pam Hogg review nearly didn’t happen. The tickets were hierarchically graded in insidiously gradual decline from two gold stars, information pills one gold star, silver, bronze, green, red and right down to a paltry black dot, and then nothing at all. And THEN there were even those without the very tickets themselves– a sort of complex modern-day feudal system testament to the patience of the On/Off staff dealing with a practically feral audience desperate to catch a glimpse of Peaches Geldof, or at least what you could see of her beneath those Rapunzel hair extensions of hers.
We got in eventually, though, and squeezed in at the back next to a cosy concrete pillar and spotted Nick Cave, Pearl Lowe and Nick Knight hidden amongst the throng of transvestites and somebody dressed as a giant inflatable woman in a Union Jack dress, presumably sweaty as hell. Featuring a front row resembling the entire cast of a Terry Gilliam movie gone to Ascot, the venue was rammed to maximum capacity by a crowd in such close quarters that it wouldn’t have been surprising if we’d all begun absorbing into one another via osmosis.
With a typically spirited collection, Hogg proved that romance in fact was not dead, even if it looked like it had been hacked at with a pair of scissors by Catwoman: here was a vision of sumptuous naughtiness with furry collared tulle capes, girly sequins and white bows combined with platform heels, bondage straps, sheer panels plunging right below the midriff – and neat little fluffy merkins (yep). Catsuits came in gold and silver metallics paired with mean-looking hooker boots, which evolved into chic cocktail dresses that you could comfortably man a spaceship in, a dual purpose of course characteristic of Hogg’s designs that has made her the favourite of wacky dressers across the land. We particularly liked the iridescent black trenchcoats, and goggled at the pants constructed entirely from ribbon.
The raucous applause that followed might have been led by celebrities letting the rest of us know what jolly good mates they are with Hogg, but purely as a brand, Hogg’s energetic vision – in an industry increasingly bereft of leaders – is pretty valuable to fashion lovers everywhere. Even if we could only see half the catwalk.
Sustainable Fashion, viagra 60mg what does that mean? This was the question posed by Vanessa Friedman at the beginning of London Fashion Week’s Estethica guide. I approached LFW with a fair amount of scepticism. Despite wearing my UK Press Pass with the secret pride reserved for a total LFW novice like moi, more aboutbien sûr, and being in total awe of how much work our fashion ed Rachael, all the writers, photographers and illustrators had put into it all, I was hesitant.
Is fashion that great? One part of me thinks it’s essential to be constantly re-inventing and changing things, challenging what we take as a given and celebrating new creativity. And that fashion is another form of individual and social expression and even a tool for rebellion against restrictive archaic norms. But another part thinks that the fashion industry is responsible for an attitude that waste is OK as long as it provides a fleeting moment of self-centred happiness, and that we need to be constantly re-inventing the way we look. That fashion stands for endless buying, and the sanctioning of a kind of mass egomania. Alternatively, it means the production of things that are so well made they will last forever, but which are destined for an elite few whose monthly wages allow for it. So should this kind of thinking now be greened and made sustainable? Hmm…it doesn’t really appeal. And, while it admittedly takes a very narrow view of fashion, I loved Tanya Gold’s blunt, honest piece on ‘Why I Hate Fashion’ in The Guardian a few weeks ago. It does raise the question though: what does fashion, let alone sustainable fashion, even mean?
The concept of eco-fashion has always grated a bit, probably because my purse-strings don’t stretch so far (and of course never will do if I try to pursue writing as a career), but also because, at the upmarket end, it smacks of elitism and the opportunity to not only redeem yourself, but to then preach to others about how fantastic it makes you feel. Oh great, we can still carry on buying loads of expensive crap, because now it’s ‘organic’. Dear 90% of the planet, don’t worry! We will save you with our brand new ethical consumer habits! One fabulous certified organic fair-trade handbag at a time. It’s a typical voting with our credit cards kind of scenario, and it leaves those that can’t or don’t want to buy into the consumer ‘revolution’ (i.e. the vast majority of human beings on the planet) somewhat disenfranchised.
Once upon a time I used to make and wear almost all my own clothes. Charity shops on the high street near my school were my Topshop. My thinking was, I can spend a fiver and get lots of unexpected random things from the clearance rail of a charity shop, have some fun cutting it up and sewing it back together, and wear it with pride even if it’s falling apart, or spend £30 (which represented a whole day’s work in my Saturday job) in Topshop on something made in a sweatshop and that there are 20 identical versions of on the rail. A battered old Singer sewing machine helped me to produce most of my 6th form wardrobe, and, admittedly, a trail of fashion disasters whose only purpose became household rags.
I loved sitting at my sewing machine, attacking things with scissors, making bags out of skirts, skirts out of dresses, dresses out of huge shirts, going to the bargain haberdashery stalls at markets and hunting out what I needed that week. None of my creations were planned or measured, so it was hardly difficult! My sister and I put on a crazy fashion show at school which consisted of t-shirts with massive holes, paint splodges, mini skirts made of tracksuit bottoms, dresses made of old saris, ripped tights, and asked our friends, our catwalk models, to just dance to The Hives album we decided would be the full volume soundtrack to our show.
Our music teacher loved it, but I think the rest of the Senior Management Team would have preferred something a little more conservative. Only recently have I discovered that what I was doing could technically have been called upcycling, and that an increasing amount of designers are turning to it, with much greater skill and expertise than I had when I was 16, clearly. There were a few designers using upcycling that I really liked in the Estethica rooms. Notably Goodone who collaborate with Heba Women’s Project, and Lu Flux. Kudos also to Izzy Lane with their beautiful wares and their strong animal welfare message (they use wool from sheep that have been saved from slaughter), extending our concept of equality beyond the human realm.
Britain generates 1 million tonnes of textile landfill every year. Textile recycling companies like LMB in London and I and J Cohen in Manchester collect between 170 and 200 tonnes of unwanted clothes and materials each week! Humans have been ‘upcycling’ since the beginning of time, making do with what’s there and improving it if need be. But it’s only recently that we have the opportunity and need to deal with quite such vast mountains of junk. So having it officially adopted as a fashion movement is a no-brainer, really. Companies will soon be jumping on the bandwagon left right and centre trying to prove that they have included a scrap of reclaimed materials in their collections.
This is why it is important, in my opinion, to remember that this should be an opportunity to move away from normal fashion consumption. One of the reasons I like upcycling is that it means we can be involved in the evolution and life cycle of an object rather than just being consumers of it. The designer also gains a much broader significance. This should definitely be an opportunity to get more people interested and able to partake in the production of clothes, rather than purely their ‘consumption.’
Upcycling, on a small scale, isn’t an expensive venture. Hopefully more people will be inspired to stop looking at products as a finished thing that can be bought, used, then thrown away, whether by DIYing and attending workshops, or supporting designers for whom upcycling and recycling is a central issue. Upcycled fashion is ecologically and socially conscious without being righteous or moralistic. It challenges our perception of waste and shows how it can be transformed into something beautiful and useful. It is a way to reclaim ‘fashion’, rethink our notion of eco-fashion, and bring ecology into yet more creative hands, rather than leaving it as an issue to debate over while scientists, politicians and lobbyists bicker it out to infinity. We don’t have to go far to find these ecological textiles, they are in recycling centres, charity shops, and our wardrobes and cost next to nothing. And second hand sewing machines aren’t hard to find either. For now though, I leave fashion writing well and truly to the pros.
Written by Zofia Walczak on Thursday February 25th, 2010 1:27 pm
J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, treatment but the works of art presented were so much more than that.
Stunning creations combining leopard print, more about names, symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.
As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.
A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, abortion but the works of art presented were so much more than that.
Photography throughout courtesy of Camilla Sampson
Stunning creations combining leopard print, view names, buy symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.
As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.
A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
We’re telling you, treatment this Pam Hogg review nearly didn’t happen. The tickets were hierarchically graded in insidiously gradual decline from two gold stars, information pills one gold star, silver, bronze, green, red and right down to a paltry black dot, and then nothing at all. And THEN there were even those without the very tickets themselves– a sort of complex modern-day feudal system testament to the patience of the On/Off staff dealing with a practically feral audience desperate to catch a glimpse of Peaches Geldof, or at least what you could see of her beneath those Rapunzel hair extensions of hers.
We got in eventually, though, and squeezed in at the back next to a cosy concrete pillar and spotted Nick Cave, Pearl Lowe and Nick Knight hidden amongst the throng of transvestites and somebody dressed as a giant inflatable woman in a Union Jack dress, presumably sweaty as hell. Featuring a front row resembling the entire cast of a Terry Gilliam movie gone to Ascot, the venue was rammed to maximum capacity by a crowd in such close quarters that it wouldn’t have been surprising if we’d all begun absorbing into one another via osmosis.
With a typically spirited collection, Hogg proved that romance in fact was not dead, even if it looked like it had been hacked at with a pair of scissors by Catwoman: here was a vision of sumptuous naughtiness with furry collared tulle capes, girly sequins and white bows combined with platform heels, bondage straps, sheer panels plunging right below the midriff – and neat little fluffy merkins (yep). Catsuits came in gold and silver metallics paired with mean-looking hooker boots, which evolved into chic cocktail dresses that you could comfortably man a spaceship in, a dual purpose of course characteristic of Hogg’s designs that has made her the favourite of wacky dressers across the land. We particularly liked the iridescent black trenchcoats, and goggled at the pants constructed entirely from ribbon.
The raucous applause that followed might have been led by celebrities letting the rest of us know what jolly good mates they are with Hogg, but purely as a brand, Hogg’s energetic vision – in an industry increasingly bereft of leaders – is pretty valuable to fashion lovers everywhere. Even if we could only see half the catwalk.
Sustainable Fashion, viagra 60mg what does that mean? This was the question posed by Vanessa Friedman at the beginning of London Fashion Week’s Estethica guide. I approached LFW with a fair amount of scepticism. Despite wearing my UK Press Pass with the secret pride reserved for a total LFW novice like moi, more aboutbien sûr, and being in total awe of how much work our fashion ed Rachael, all the writers, photographers and illustrators had put into it all, I was hesitant.
Is fashion that great? One part of me thinks it’s essential to be constantly re-inventing and changing things, challenging what we take as a given and celebrating new creativity. And that fashion is another form of individual and social expression and even a tool for rebellion against restrictive archaic norms. But another part thinks that the fashion industry is responsible for an attitude that waste is OK as long as it provides a fleeting moment of self-centred happiness, and that we need to be constantly re-inventing the way we look. That fashion stands for endless buying, and the sanctioning of a kind of mass egomania. Alternatively, it means the production of things that are so well made they will last forever, but which are destined for an elite few whose monthly wages allow for it. So should this kind of thinking now be greened and made sustainable? Hmm…it doesn’t really appeal. And, while it admittedly takes a very narrow view of fashion, I loved Tanya Gold’s blunt, honest piece on ‘Why I Hate Fashion’ in The Guardian a few weeks ago. It does raise the question though: what does fashion, let alone sustainable fashion, even mean?
The concept of eco-fashion has always grated a bit, probably because my purse-strings don’t stretch so far (and of course never will do if I try to pursue writing as a career), but also because, at the upmarket end, it smacks of elitism and the opportunity to not only redeem yourself, but to then preach to others about how fantastic it makes you feel. Oh great, we can still carry on buying loads of expensive crap, because now it’s ‘organic’. Dear 90% of the planet, don’t worry! We will save you with our brand new ethical consumer habits! One fabulous certified organic fair-trade handbag at a time. It’s a typical voting with our credit cards kind of scenario, and it leaves those that can’t or don’t want to buy into the consumer ‘revolution’ (i.e. the vast majority of human beings on the planet) somewhat disenfranchised.
Once upon a time I used to make and wear almost all my own clothes. Charity shops on the high street near my school were my Topshop. My thinking was, I can spend a fiver and get lots of unexpected random things from the clearance rail of a charity shop, have some fun cutting it up and sewing it back together, and wear it with pride even if it’s falling apart, or spend £30 (which represented a whole day’s work in my Saturday job) in Topshop on something made in a sweatshop and that there are 20 identical versions of on the rail. A battered old Singer sewing machine helped me to produce most of my 6th form wardrobe, and, admittedly, a trail of fashion disasters whose only purpose became household rags.
I loved sitting at my sewing machine, attacking things with scissors, making bags out of skirts, skirts out of dresses, dresses out of huge shirts, going to the bargain haberdashery stalls at markets and hunting out what I needed that week. None of my creations were planned or measured, so it was hardly difficult! My sister and I put on a crazy fashion show at school which consisted of t-shirts with massive holes, paint splodges, mini skirts made of tracksuit bottoms, dresses made of old saris, ripped tights, and asked our friends, our catwalk models, to just dance to The Hives album we decided would be the full volume soundtrack to our show.
Our music teacher loved it, but I think the rest of the Senior Management Team would have preferred something a little more conservative. Only recently have I discovered that what I was doing could technically have been called upcycling, and that an increasing amount of designers are turning to it, with much greater skill and expertise than I had when I was 16, clearly. There were a few designers using upcycling that I really liked in the Estethica rooms. Notably Goodone who collaborate with Heba Women’s Project, and Lu Flux. Kudos also to Izzy Lane with their beautiful wares and their strong animal welfare message (they use wool from sheep that have been saved from slaughter), extending our concept of equality beyond the human realm.
Britain generates 1 million tonnes of textile landfill every year. Textile recycling companies like LMB in London and I and J Cohen in Manchester collect between 170 and 200 tonnes of unwanted clothes and materials each week! Humans have been ‘upcycling’ since the beginning of time, making do with what’s there and improving it if need be. But it’s only recently that we have the opportunity and need to deal with quite such vast mountains of junk. So having it officially adopted as a fashion movement is a no-brainer, really. Companies will soon be jumping on the bandwagon left right and centre trying to prove that they have included a scrap of reclaimed materials in their collections.
This is why it is important, in my opinion, to remember that this should be an opportunity to move away from normal fashion consumption. One of the reasons I like upcycling is that it means we can be involved in the evolution and life cycle of an object rather than just being consumers of it. The designer also gains a much broader significance. This should definitely be an opportunity to get more people interested and able to partake in the production of clothes, rather than purely their ‘consumption.’
Upcycling, on a small scale, isn’t an expensive venture. Hopefully more people will be inspired to stop looking at products as a finished thing that can be bought, used, then thrown away, whether by DIYing and attending workshops, or supporting designers for whom upcycling and recycling is a central issue. Upcycled fashion is ecologically and socially conscious without being righteous or moralistic. It challenges our perception of waste and shows how it can be transformed into something beautiful and useful. It is a way to reclaim ‘fashion’, rethink our notion of eco-fashion, and bring ecology into yet more creative hands, rather than leaving it as an issue to debate over while scientists, politicians and lobbyists bicker it out to infinity. We don’t have to go far to find these ecological textiles, they are in recycling centres, charity shops, and our wardrobes and cost next to nothing. And second hand sewing machines aren’t hard to find either. For now though, I leave fashion writing well and truly to the pros.
Written by Zofia Walczak on Thursday February 25th, 2010 1:27 pm
Designers Remix by Charlotte Eskildsen. Illustration by Faye West.
Designers Remix is a somewhat ridiculous name for the signature brand from Danish designer Charlotte Eskildsen. The press release states that she took as her point of reference the Palais Royal de Paris, visit this siteseek where architecture by the minimalist Daniel Buren exists alongside traditional buildings and opulent decor. This point was exemplified in the presentation in the Portico Rooms as Somerset House, which featured minimalist clothing worn by models stood against a plain white ground, versus beehived models in curvaceous boned ruffles who posed against painted backgrounds that alluded to the traditional Palais.
Designers Remix by Charlotte Eskildsen. Illustration by Katherine Tromans.
Having only just read the press release it now all suddenly becomes clear. At the show it just came across as two very different collections. Of course, the one which the photographers loved most is not hard to guess. Two models cuddled up against an orange and grey photo-real scene was by far the best presentation idea I’ve seen in some time, and ensured some great images for press – photographers thrusting each other out of the way to get the best faux lesbian picture. Sadly the minimalist crew were not nearly as inspiring… and I felt sorry for the under loved models in their poker straight hair and clean black tailoring.
Designers Remix A/W 2011. Photography by Amelia Gregory.
Designers Remix by Charlotte Eskildsen. Illustration by Faye West.
Designers Remix is a somewhat ridiculous name for the signature brand from Danish designer Charlotte Eskildsen. The press release states that she took as her point of reference the Palais Royal de Paris, salve where architecture by the minimalist Daniel Buren exists alongside traditional buildings and opulent decor. This point was exemplified in the presentation in the Portico Rooms as Somerset House, buy which featured minimalist clothing worn by models stood against a plain white ground, viagra buy versus beehived models in curvaceous boned ruffles who posed against painted backgrounds that alluded to the traditional Palais.
Designers Remix by Charlotte Eskildsen. Illustration by Katherine Tromans.
Having only just read the press release it now all suddenly becomes clear. At the show it just came across as two very different collections. Of course, the one which the photographers loved most is not hard to guess. Two models cuddled up against an orange and grey photo-real scene was by far the best presentation idea I’ve seen in some time, and ensured some great images for press – photographers thrusting each other out of the way to get the best faux lesbian picture. Sadly the minimalist crew were not nearly as inspiring… and I felt sorry for the under loved models in their poker straight hair and clean black tailoring.
Designers Remix A/W 2011. Photography by Amelia Gregory.
Fashion in the Age of Austerity, order organised by the Papered Parlour, combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, amongst some rare, antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops.
I was most excited by the panel debate with the Guardian’s Ethical Living columnist Lucy Siegle, Think Act Vote founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disappoint; we raced around lots of interestting, controversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things.
One of the key messages I took from the event was that if you want to shop ethically you can’t be afraid of complexity. Lucy Siegle explained that it isn’t as simple as goodies and baddies in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairtrade, tree protecting, wildlife saving or fabrics that use only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything.
Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of.
Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hmm.
A workshop in action: students learning to make a wallet out of a Tetra Pak with the Otesha Project
There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs.
My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.
There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourites.
I loved the intricate illustrations on the goods at the Zosienka and Rosie stall.
This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House.
Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.
I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.
This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.
I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised: loud music began to play half way through. (Note to Papered Parlour: Great event but I think the Make Believe area was too close to the stage!) Fellow contributor Katie Antoniou was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.
The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny. There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called It’s Your Write! and it’s on Thursday 7th April 2011. Expect to find a celebration of the self published.
Designers Remix by Charlotte Eskildsen. Illustration by Faye West.
Designers Remix is a somewhat ridiculous name for the signature brand from Danish designer Charlotte Eskildsen. The press release states that she took as her point of reference the Palais Royal de Paris, visit this siteseek where architecture by the minimalist Daniel Buren exists alongside traditional buildings and opulent decor. This point was exemplified in the presentation in the Portico Rooms as Somerset House, which featured minimalist clothing worn by models stood against a plain white ground, versus beehived models in curvaceous boned ruffles who posed against painted backgrounds that alluded to the traditional Palais.
Designers Remix by Charlotte Eskildsen. Illustration by Katherine Tromans.
Having only just read the press release it now all suddenly becomes clear. At the show it just came across as two very different collections. Of course, the one which the photographers loved most is not hard to guess. Two models cuddled up against an orange and grey photo-real scene was by far the best presentation idea I’ve seen in some time, and ensured some great images for press – photographers thrusting each other out of the way to get the best faux lesbian picture. Sadly the minimalist crew were not nearly as inspiring… and I felt sorry for the under loved models in their poker straight hair and clean black tailoring.
Designers Remix A/W 2011. Photography by Amelia Gregory.
Designers Remix by Charlotte Eskildsen. Illustration by Faye West.
Designers Remix is a somewhat ridiculous name for the signature brand from Danish designer Charlotte Eskildsen. The press release states that she took as her point of reference the Palais Royal de Paris, salve where architecture by the minimalist Daniel Buren exists alongside traditional buildings and opulent decor. This point was exemplified in the presentation in the Portico Rooms as Somerset House, buy which featured minimalist clothing worn by models stood against a plain white ground, viagra buy versus beehived models in curvaceous boned ruffles who posed against painted backgrounds that alluded to the traditional Palais.
Designers Remix by Charlotte Eskildsen. Illustration by Katherine Tromans.
Having only just read the press release it now all suddenly becomes clear. At the show it just came across as two very different collections. Of course, the one which the photographers loved most is not hard to guess. Two models cuddled up against an orange and grey photo-real scene was by far the best presentation idea I’ve seen in some time, and ensured some great images for press – photographers thrusting each other out of the way to get the best faux lesbian picture. Sadly the minimalist crew were not nearly as inspiring… and I felt sorry for the under loved models in their poker straight hair and clean black tailoring.
Designers Remix A/W 2011. Photography by Amelia Gregory.
Fashion in the Age of Austerity, order organised by the Papered Parlour, combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, amongst some rare, antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops.
I was most excited by the panel debate with the Guardian’s Ethical Living columnist Lucy Siegle, Think Act Vote founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disappoint; we raced around lots of interestting, controversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things.
One of the key messages I took from the event was that if you want to shop ethically you can’t be afraid of complexity. Lucy Siegle explained that it isn’t as simple as goodies and baddies in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairtrade, tree protecting, wildlife saving or fabrics that use only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything.
Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of.
Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hmm.
A workshop in action: students learning to make a wallet out of a Tetra Pak with the Otesha Project
There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs.
My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.
There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourites.
I loved the intricate illustrations on the goods at the Zosienka and Rosie stall.
This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House.
Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.
I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.
This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.
I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised: loud music began to play half way through. (Note to Papered Parlour: Great event but I think the Make Believe area was too close to the stage!) Fellow contributor Katie Antoniou was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.
The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny. There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called It’s Your Write! and it’s on Thursday 7th April 2011. Expect to find a celebration of the self published.
Willow Organic Gold Frankincense and Myrrh candle by Daria Hlazatova.
I don’t know what it is about candles that gets me so excited. I think it has a lot to do with the fact that I love beautiful smells. My house may be a mess but I quite often spritz my office with a sweetly scented room spray or light a candle to imbue a relaxing mood. I think that this is the nub of what is so brilliant about candles, viagra especially the really high quality ones that contain high quantities of essential oils – they are the simplest way to create a delightfully relaxing and cosy feeling within a space.
And of course Christmas is all about candles. Since I lived in Sweden as a little girl my family has had a tradition of lighting advent candles during the month of December – and whilst I don’t spend much time at my parent’s home anymore, rx I always look forward to candlelit dinners when I return for Christmas. Candles impart a certain cosiness which the Danish call “hygge” – and during these bitterly cold dark winter months is most sorely appreciated.
This year my favourite discovery is the Willow Organic Gold Frankincense and Myrrh candle. It comes beautifully presented in a beribboned fold out box and utilises the naturally healing and calming effects of precious oils that have been synonymous with Christmas since biblical times.
From the wonderful scents to the gold leaf that floats glittering in the top of the wax, it doesn’t get more christmassy than this. The Willow Organic shop in Kings Road, Chelsea is open until the 23rd December, so there’s still time to grab a fabulous Christmas candle before the big day.
Earlier this year I discovered the French Cire Trudon brand, which has been in operation in various guises since 1643. Alongside very high quality candles presented in beautiful glass pots with heraldic shields, they also produce stunning room sprays in statement bottles and a boxed set containing a room spray, candle and illustrated fairy tale – the idea being to encourage children to enjoy evocative scents from a very young age. Not for the hard up these boxed sets don’t come cheap, but I love the idea and the illustrated booklets are a delight.
Recently discovered: the Albam independent menswear clothing store in Spitalfields stocks three yummy varieties of candle, my favourite being the figgy one. When I went in they were also testing out a new scent called Library, which was suitably masculine. Unfortunately I don’t think you can buy these online but it’s definitely worth taking a trip down to this great little store. I have since discovered that these candles are made by ecological candle makers True Grace. You can find a whole host of flavours online for a very reasonable price here.
Spitalfields Candle Co and Tocca candles by Ellie Sutton.
There is also the Spitalfields Candle Co. which uses sustainably sourced soya wax in all candles. It was hard to choose my favourite from such a yummy range only briefly sniffed in the Inspitalfields gift store, but I think it has to be Lemon Verbena – I just love that clean bright scent.
Tocca are a high end scent company that stock in Liberty – I particularly like the sound of the Bianca candle which contains Green Tea and Lemon. Each year the Parisian brand Diptyque creates a special Christmas range, in beautifully decorated coloured glass jars. The Orange Epicee sounds yummy, as does the Canelle.
Lastly but no means least Jo Malone offers incredibly classy scents, all tastefully presented in cream boxes with crisp branding. The limited edition Pine & Eucalyptus Collection sounds glorious, and how about a giant candle with not one but four wicks to make a major statement?
Right, I’m off to get on with my present wrapping by the scent of my Willow Organic candle. Have a glorious Christmas everyone.
Written by Amelia Gregory on Wednesday December 22nd, 2010 2:51 pm
The creme de la creme of East London’s artists and designers come together for Art Against Knives: a 2 day event and exhibition to raise awareness of knife crime in the community and to raise money for the medical treatment of Oliver Hemsley the 20 year-old Central St Martins student, shopbuy who was left paralysed after being stabbed multiple times on Boundry Street.
Art Against Knives promises to be inspiring both artistically and socially.
Evening of live illustration, animation screenings, raffle brought to you by art whizz kid Rose Blake and the rest of the This Is It Collective to raise money for their degree show at Kingston. There will be DJs as well as live music from Sheeps and Arthur Delaney. General fun will be provided in abundance.
Fleur Oakes- The Glass Pingle “In My Garden I am Quenne”
showing now
A simply beautiful piece mixing embroidery and corsetry by Fleur Oakes illuminates the front window of knitters’ paradise Prick Your Finger. Review and interview with Fleur to follow this week in the mean time check out the knitting projects here.
“In My Garden I am Queene”, Prick Your Finger, open Monday – Saturday, 260 Globe Road, London.
Beneath the pavement… The beach
Sexton (London) & Dominique Lacloche (Paris)
The exhibition consists of new work by the two artists work.
Swine flu art masks- an exhibition of plague masks
Exquisite masks made due to the media hysteria regarding Swine flu, These masks are hand stitched and made as delicate collectable art object.
Hepsibah Gallery, 112 Brackenbury Road, London W6 0BD
30th Apr – 6th May 2009
Constellation
Clay Perry
The exhibiton showcases the photographers images of the 60′s avant-garde art scene.
England & Co, 216, Westbourne Grove, Notting Hill, W11 2RH
Tuesday, 5 May from 11:00 – 18:00
Free entry
Etchings (Portraits)
Glenn Brown
A new collection of etchings from the artist.
Karsten Schubert, 5-8 Lower John Street,London W1F 9DR
Ends on the 8th May 2009, Monday to Friday 10am – 6pm
An exhibition of works by Paul Bennett and Ellie Good
Paul Bennett: expressionist paintings using oil and graphite on canvas. Ellie Good: In this series of oil paintings and portraits exploring light.
Lauderdale House, Highgate Hill, London N6 5HG
28th Apr – 10th May 2009, Tue – Fri 11-4pm, Sat 1.30-5pm Free entry
Art Against Knives
4th-5th May 2009
The creme de la creme of East London’s artists and designers come together for Art Against Knives: a 2 day event including exhibition to raise awareness of knife crime in the community and to raise money for the medical treatment of Oliver Hemsley the 20 year-old Central St Martins student, approved who was left paralysed after being stabbed multiple times on Boundry Street.
Art Against Knives promises to be both inspiring both artistically and socially.
Textured textile temptation at the Hayward’s retrospective of French feminist artist Annette Messager.
Annette Messager, until 24th May 2009, The Hayward, Southbank Centre, London
Art in Mind
ends 11th May 2009
Eclectic collaborative show at the lovely Brick Lane Gallery featuring 13 contemporary artists.
Art in Mind, until next Monday, The Bricklane Gallery, 196 Brick Lane, London.
The Red Room Platform Presents: Women’s Edition
6-9pm, 10th May 2009
Pan-generational artists, activists and thinkers validate the position of feminism in modern society through provocation, performance and debate.
Berlin- born Isa Genzken brings her colourful sculptures to the newly refurbished, East London favourite- Whitechapel Gallery
Isa Genzken: Open Sesame! Whitechapel Gallery, 77-82 Whitechapel High Street, London
Art Against Knives
4th-5th May 2009
The creme de la creme of East London’s artists and designers come together for Art Against Knives: a 2 day event including exhibition to raise awareness of knife crime in the community and to raise money for the medical treatment of Oliver Hemsley the 20 year-old Central St Martins student, ampoule who was left paralysed after being stabbed multiple times on Boundry Street.
Art Against Knives promises to be both inspiring both artistically and socially.
Textured textile temptation at the Hayward’s retrospective of French feminist artist Annette Messager.
Annette Messager, until 24th May 2009, The Hayward, Southbank Centre, London
Art in Mind
ends 11th May 2009
Eclectic collaborative show at the lovely Brick Lane Gallery featuring 13 contemporary artists.
Art in Mind, until next Monday, The Bricklane Gallery, 196 Brick Lane, London.
The Red Room Platform Presents: Women’s Edition
6-9pm, 10th May 2009
Pan-generational artists, activists and thinkers validate the position of feminism in modern society through provocation, performance and debate.
Berlin- born Isa Genzken brings her colourful sculptures to the newly refurbished, East London favourite- Whitechapel Gallery
Isa Genzken: Open Sesame! Whitechapel Gallery, 77-82 Whitechapel High Street, London
The spirit is there, check but where are the green fingers? When I was little I used to love watching my mum tending to the garden. I remember the pride and excitement she would feel when her flowers were in full bloom. As I got older, information pills I imagined that the desire to start growing plants, flowers and veg would manifest itself….. but it never really bloomed. It doesn’t help that my ‘garden’ is a small concrete balcony in East End London, and I had always imagined that gardening was essentially a bit of a chore. Then I realized that I was approaching this issue completely the wrong way. Gardening is not just about allotments, trips to garden centres on a Sunday afternoon, and Radio 4 playing in the backround (not that there is anything wrong with these things), its about having fun – creating produce; eating it, drinking it – you won’t disagree when you see the recipe for Grow Your Own Mojito – fundamentally, it is about achieving that sense of intense satisfaction when you realize… “I made that!”. With this newfound understanding, I could see that my lack of gardening space excuse was pretty flimsy. When you grasp that the world is your oyster, you can also see that it is your flowerbed as well.
With this in mind, the imaginative people behind “Growing Stuff – An Alternative Guide To Gardening” have put together a how – to guide to everything horticultural. With sections on guerilla gardening, growing carrots in Wellington boots, and the aforementioned guide to making your own mojito’s; this is not your typical gardening book. There are contributions by ‘punk’ gardeners, ‘worm farming junkies’, teenagers and artists, which makes ‘Growing Stuff’ as accessible as you could hope for. Absolutely every person, no matter their level of gardening skills – or lack of – will be able to grow stuff after reading this book.
I spoke with two contributors to Growing Stuff recently about their involvement with the book, as well as their other activities. Emily Hill and Will Gould are also artists who create ‘living sculptures’ that aim to walk a line between the man-made and the wild.
Hey Emily, I like the suggestions that you and Will have done in Growing
Stuff. There is definitely an element of fun and whimsy to your
gardening ideas; like Cartoon Cress, and Carrot Wellies. Is this the
style in that you two both work? And do you feel that this is the best way to
initiate would be gardeners?
Emily: Life’s too short, get out there and get your hands dirty, just give it a go! Of course it should be fun, and if it isn’t, it’s time to take a minute to think about what’s out of balance in your life; gardening’s a great leveller, and can really help you work things out. There’s nothing like a home-grown cherry tomato bursting in your mouth to cheer you up!
Will: There are plenty of books out there which describe how to grow plants but they are not necessarily accessible to people who don’t see themselves as gardeners. By making the growing a bit more fun and whimsical we hope to de-mystify the growing of stuff. Plants want to grow and if you give them half a chance they will, so we feel it is better to have fun and be creative while trying to grow something. After all even if you fail to grow anything, you’ve had some fun.
What other easy-peasy suggestions might you have for gardening
novices- especially ones in an urban sprawl?
Will: Just try buying a packet of salad seeds-lettuce and coriander are dead easy, plant them on top of some moist compost in a pot and put them on your windowsill. It’s hard to go wrong.
Emily: Tease out a passion, try growing something bright purple, or something that smells nice, or both! You don’t have to do much, just buy a plant and water it! I started with French Lavender on my balcony.
Do you think that growing stuff is becoming more of a young persons
game now?
Will: It’s about time, why miss out on all those glorious years of growing.
Emily: It’s definitely something that has caught our generation’s imagination, maybe its something to do with our collective childhood memories. I remember picking raspberries with my granddad; it was like finding little ruby coloured droplets of edible treasure at the bottom of the garden!
How did you and Will get into gardening, and how did you end up
collaborating with this book?
Will: I grew up in a small house with a big garden, so it kind of came naturally. The book came from a request for artists who work with living things to submit ideas.
Emily: We both grew up in the country, all neglected and wild! For me, artistry came naturally, getting into gardening came later, when I found a bit of outdoor space to cultivate. We saw an advert on the Arts Council’s website and just went for it!
I have read that you two create ‘Living Structures’ – can you tell me a
little about this? What future projects are you working on?
Emily: We started off by making a portable composting toilet for our allotment with old bits of shed and two huge cartwheels; we made a cubicle that looked like a Victorian beach hut and planted a garden on the roof and gave it two window boxes full of flowers. We wanted to recycle ourselves, so we mixed our own wee with rainwater collected from the roof, and created a system to pump the mixture around the plants to feed them, anything left over drained into a reed bed at the back of the structure. It was quite charming really, and very popular…have a look, its called ‘The Jakes’ and was submitted for Margate Rocks last Spring (www.margaterocks.com).
Will: We are both interested in structures, which have a life of their own. For us, this involves growing plants, which either make up the structure, or contribute to the working of a functional building.
We are currently working on outdoor environmental projects in schools and incorporate the growing of stuff wherever possible and it is always possible!
Artist AJ Fosik’s sculpted characters look like your high school mascot that went AWOL and ended up at a full moon party in Thailand. Or perhaps the stuffed and mounted head of some big game he vanquished in a spirit dream and was able to sneak back under the border patrol of consciousness (quite a feat really I hear they’re rather tight). His technicolor wooden sculptures certainly carry the sense of having seen the otherside and with their hypnotic fluorescent eyes they seem all too than eager to take you there as well.
According to his myspace page AJ Fossik is 66 years old. Sure, unhealthy maybe on his second time round on the carousel of life. perhaps wise beyond his years, what is for certain is that this Philadelphia born artist is onto something. Currently exhibiting printed works at Giant Robot Gallery in NY, it is his psychedelic sculptures which have really roared onto the scene. Made of hundreds of small, individually cut and hand painted wood, his animal effigies and their symbolism strike a chord with the collective consciousness, especially in the US. Aside from being the California state animal, a campsite mischief, cartoon character and omnipresent sports team icon, the bear is one of the largest and most regal North American animals, a reminder of the vastness and awesome natural beauty experienced by the earliest pioneers.
A country whose experience at the moment consists of what is referred to as a “bear market”, one in which stockholders, all in the same blind panicked, decide to sell! sell! sell!, driving the value of stocks deep into the ground (sounds familiar). Not that far off really from the wooly winter hibernator’s image of reclusion and introspection. To Native American shamans the bear represents qualities of steadfastness and patience making excellent teachers. In dreams, bears represent a healing cycle, where the dreamer has retreated into himself in order to regenerate and to create something new and valuable in his life.
For this particular breed of artist the road out was not a conventional one. After years as a teenage urban nomad on the streets of Philadelphia, a city often at odds with itself, Fosick eventually drifted to NY where he obtained a degree in illustration from New York’s Parson’s and a 2007 solo show in the city’s Jonathan Levine Gallery. The name he goes by he adopted from an Australian “verb to describe the act of people sifting through mine washings or waste piles to look for any gold that might have been missed; sorting through the garbage to find gold.” However, like many things in our global soup it apparently seeped into another language where it means something different altogether. “From what I can gather,” he says with a good natured appreciation of irony, “the spelling I use means ‘to shit oneself’ in Hungarian.”
A peek into the global origins of this furry ursine idol is just as intriguing. In Hindu mythology the bear’s name “riksha”
(also in Sanskrit, Celtic, Greek and Latin believe it or not) derive from the word for star, which in turn comes from the word light, shine, illuminate. Ahhhha.
The term for Great Bear, “sapta riksha”, is also the symbolic dwelling of the Seven Rishis, whose name is related to “vision” and are called the Seven Luminaries. It was through them that the wisdom of the past was transmitted to the present. A rich past for the unassuming bear.
AJ Fosick is an artist who, one could argue, has an abnormal fixation with carving his own path through the great unknown. No wonder then that he refers to his pieces as “existential fetishes”. And hey, who couldn’t use one of those? And perhaps the missing little league mascots and unemployed stockbrokers of the world have joined Albert Camus on a beach somewhere in South East Asia and are doing some soul searching. In my dreams.
The spirit is there, look but where are the green fingers? When I was little I used to love watching my mum tending to the garden. I remember the pride and excitement she would feel when her flowers were in full bloom. As I got older, ask I imagined that the desire to start growing plants, physician flowers and veg would manifest itself….. but it never really bloomed. It doesn’t help that my ‘garden’ is a small concrete balcony in East End London, and I had always imagined that gardening was essentially a bit of a chore. Then I realized that I was approaching this issue completely the wrong way. Gardening is not just about allotments, trips to garden centres on a Sunday afternoon, and Radio 4 playing in the backround (not that there is anything wrong with these things), its about having fun – creating produce; eating it, drinking it – you won’t disagree when you see the recipe for Grow Your Own Mojito – fundamentally, it is about achieving that sense of intense satisfaction when you realize… “I made that!”. With this newfound understanding, I could see that my lack of gardening space excuse was pretty flimsy. When you grasp that the world is your oyster, you can also see that it is your flowerbed as well.
With this in mind, the imaginative people behind “Growing Stuff – An Alternative Guide To Gardening” have put together a how – to guide to everything horticultural. With sections on guerilla gardening, growing carrots in Wellington boots, and the aforementioned guide to making your own mojito’s; this is not your typical gardening book. There are contributions by ‘punk’ gardeners, ‘worm farming junkies’, teenagers and artists, which makes ‘Growing Stuff’ as accessible as you could hope for. Absolutely every person, no matter their level of gardening skills – or lack of – will be able to grow stuff after reading this book.
I spoke with two contributors to Growing Stuff recently about their involvement with the book, as well as their other activities. Emily Hill and Will Gould are also artists who create ‘living sculptures’ that aim to walk a line between the man-made and the wild.
Hey Emily, I like the suggestions that you and Will have done in Growing
Stuff. There is definitely an element of fun and whimsy to your
gardening ideas; like Cartoon Cress, and Carrot Wellies. Is this the
style in that you two both work? And do you feel that this is the best way to
initiate would be gardeners?
Emily: Life’s too short, get out there and get your hands dirty, just give it a go! Of course it should be fun, and if it isn’t, it’s time to take a minute to think about what’s out of balance in your life; gardening’s a great leveller, and can really help you work things out. There’s nothing like a home-grown cherry tomato bursting in your mouth to cheer you up!
Will: There are plenty of books out there which describe how to grow plants but they are not necessarily accessible to people who don’t see themselves as gardeners. By making the growing a bit more fun and whimsical we hope to de-mystify the growing of stuff. Plants want to grow and if you give them half a chance they will, so we feel it is better to have fun and be creative while trying to grow something. After all even if you fail to grow anything, you’ve had some fun.
What other easy-peasy suggestions might you have for gardening
novices- especially ones in an urban sprawl?
Will: Just try buying a packet of salad seeds-lettuce and coriander are dead easy, plant them on top of some moist compost in a pot and put them on your windowsill. It’s hard to go wrong.
Emily: Tease out a passion, try growing something bright purple, or something that smells nice, or both! You don’t have to do much, just buy a plant and water it! I started with French Lavender on my balcony.
Do you think that growing stuff is becoming more of a young persons
game now?
Will: It’s about time, why miss out on all those glorious years of growing.
Emily: It’s definitely something that has caught our generation’s imagination, maybe its something to do with our collective childhood memories. I remember picking raspberries with my granddad; it was like finding little ruby coloured droplets of edible treasure at the bottom of the garden!
How did you and Will get into gardening, and how did you end up
collaborating with this book?
Will: I grew up in a small house with a big garden, so it kind of came naturally. The book came from a request for artists who work with living things to submit ideas.
Emily: We both grew up in the country, all neglected and wild! For me, artistry came naturally, getting into gardening came later, when I found a bit of outdoor space to cultivate. We saw an advert on the Arts Council’s website and just went for it!
I have read that you two create ‘Living Structures’ – can you tell me a
little about this? What future projects are you working on?
Emily: We started off by making a portable composting toilet for our allotment with old bits of shed and two huge cartwheels; we made a cubicle that looked like a Victorian beach hut and planted a garden on the roof and gave it two window boxes full of flowers. We wanted to recycle ourselves, so we mixed our own wee with rainwater collected from the roof, and created a system to pump the mixture around the plants to feed them, anything left over drained into a reed bed at the back of the structure. It was quite charming really, and very popular…have a look, its called ‘The Jakes’ and was submitted for Margate Rocks last Spring (www.margaterocks.com).
Will: We are both interested in structures, which have a life of their own. For us, this involves growing plants, which either make up the structure, or contribute to the working of a functional building.
We are currently working on outdoor environmental projects in schools and incorporate the growing of stuff wherever possible and it is always possible!
Written by Cari Steel on Tuesday May 5th, 2009 12:11 pm
November in Mexico. The Day of the Dead celebrations still leave their mark in the wilting wreathes of marigolds adorning graveyards in the Purépecha towns round Lake Patzcuaro. And La Mano Grafica Gallery in Patzcuaro opened a new show entitled Dia De Muertos 2010; exhibiting painting, no rxed graphics and wood engraving. Superb prints line the walls of the interior room by Mexican print maker and artist Artemio Rodriguez, information pills who spent some time living in L.A.
His work although modern in its subject, appears to be ardently crafted very much in the style and fashion of Posada, the engraving master 100 years his superior that I wrote about previously here. In fact I saw some flying monsters stuck onto the glass wall that divides the gallery – They appeared to be taken from Posada’s Mundo Insolito series of prints, but they were Rodriguez’s. Forgive my ignorance.
Painting by Niño. Window stickers by Artemio Rodriguez.
Artemio Rodriguez.
He incorporates a street style, sharply on trend yet occasionally bizarre as many of his characters are skeletons. There were also a mix of prints from various artists mainly featuring imagery from the Mexican Revolution of 1910 – men on horses complete with rifle and sombrero. A mural of Janitizio, the bigger of the islands in Lake Janitizio is painted between ceiling high skulls; if you like murals check out the muralists; Juan O’Gorman, David Siqueiros, Jose Clemente Orozco and Diego Riviera.
Mural of Janitizio, Guadalupe wood engraving and etching of a revolutionary.
I particular liked a series of small square canvases featuring psychedelic skulls, dolls, and skeletons doing their make up. Actually one of these little canvases really jumped out at me, for a moment it completely threw the exhibition out of context and out of the country. Why? At that moment in time I could have been in a gallery in London or any other global artistic hub. The piece was a wooden owl painted with multicolour stripes, sat on a mini shelf and mounted printed wooden board. Nothing strikingly unusual – except it led me to ask: Why is a graphic gallery tucked into the heartland of sleepy avocado fields showing this particular low brow style of art? Global aesthetic trends, infiltrating everywhere. Everybody wants to be part of the scene.
The owl by La Cream Galeria Collective. A grave traditionally decorated by loved ones with marigold petals in Patzcuaro.
And why not? Human civilization’s demand for information is well documented. Books and engraving fulfilled our desire to distribute information in the earlier days. The technique of engraving gave us a method to mass print, mass inform and thus communicate ideas. Many artists used engraving or a form of screen printing to create images for newspapers and magazines reporting the drama of the day. The Illustrated London News is one example of this. Back in the 20′s El Chango, one of my favourite Mexican artists Illustrated for the magazine Revista de Revistas. Posada is another magnificent artist most notable for his excellent illustrations, again worked by engraving steel plate.
Guadalupe.
When the photographic revolution hit the young media industry, newpapers, magazines and posters containing illustrations switched to photographs with fewer printed illustrations. Engraving has evolved and today holds a niche in the fine art and illustration markets. Our sentimental fondness for the classic techniques of the past will not let engraving become obsolete and many artisanal techniques have been appropriated by artists who frequently return to local mythology and folklore for inspiration. The keepers of these stories are the cultural representatives of their country.
Artemio Rodriguez.
At the same time these artists connect across countries, fusing into international collectives who make use of photoshop, flash, illustrator, pixels and vectors to create a recognisable look… a wave of monomania sweeping through the global art scene, travelling at broadband speed. These artists create artworks that are strikingly similar despite an ocean or mountainscape between them.
Selection of prints by the entrance.
How is this interconnectedness diluting our respective cultures? I don’t think that preserving cultural traditions, customs and arts is either good or bad – although of course it’s wise to understand our historical footprints – but it’s interesting to note this intercontinental collision of local and global culture in the year 2010.
Wahoooo! Summer is finally here. No really, viagra dosage it is. Seriously I don’t care how damp and dreary it is outside that office window, hospital summer is most definitely here. I’m toasty warm and looking at shorts, t-shirts and dresses ranging from ethereal to barely there. Skipping round London in the increasingly cold weather this can be hard to believe, but that’s how it goes. Here’s a little look at some of the summer outfits I’ve been looking at…
Ada Zanditon
Held eight stories up in Holborn with a stunning view out over the Thames to the Oxo Tower, Ada showed her latest collection. A quick chat with the designer revealed a charming, intelligent woman and in her own words ‘geeky’. Who else would be so inspired by maths and formulas that they borrow text books from libraries? Well if that’s where inspiration comes from, long may it last. Ada is not just a lovely person but also incredibly talented. Three dimensional sculptural pyramids burst forth from the intelligently structured garments.
Even the prints were inspired by fractal geometry and swept across many garments from a particularly stunning floor length bias cut 1930s dress with backless detail to a leather minidress complete with a chiffon front panel. Hard seaming was juxtaposed with soft fabrics and details. The jewellery carried the same prints as the dress and were another hard counterpoint to some of the softness. Look out for more on Ada’s ethical collection in Amelia’s new book.
Giorgio Armani
Armani called and off to Bond Street I went. Giorgio showed some great pieces with open weave jackets and low-breaking double-breasted jackets for the men, soft and light in beige, grey and smoke. T-shirts emphasised the lightness with sheer elements. Maybe this is a way to get the ‘heavage’ out without looking like a modern day medallion man. The shoes and accessories were simple and classic, from a soft leather briefcase to a brown woven leather shoe catching my eye in particular. Suede and salmon skin belts helped to further soften the tone. All very simple and invoking a cool Italian summers evening.
On the far side of the partition was the womenswear. Strong tailoring was paired with sheer blouses in varying shades of blue and deep purple. Skirts were long and flared slightly to the hem, though I will admit it was the shoes and accessories that stood out. High perspex wedges with wooden platforms excuded both freshness and class. Chunky cuffs, twisted silver necklaces and amulets of large dark blue/black stones hung on leather and fabric. Powerful, yet clean and sophisticated.
Emporio Armani
Illustration by Stéphanie Thieullent
Emporio, the delinquent nephew of Giorgio, was my next visit. There may have been a similar colour palette across the brands, but that’s pretty much where the similarities ended. No Giorgio man is ever going to be seen in a chainlink bondage harness. The use of sheer panels as highlights was also shared, this time showing off what one imagines will be gym-honed biceps. The highlight for me was a double-fronted crock effect suit. Hiding underneath the croc, a layer of leather gave the hint of something more to come.
Draping and ruffles were mixed with simple clean lines in womenswear. A grey and purple halterneck knee length dress particularly appealed, not to mention vertiginous heels. A dainty black chiffon bow, gave the vampiest pieces a demure side. Combining both the soft and the sharp, a draped jersey dress was teamed with a pale grey cap sleeve tailored jacket. It’s youthful and energetic but with a business edge.
Showing menswear for the third season Paul opened London Fashion Week with a strong summer collection including short suits, lightweight long coats, and intricate print details. The menswear of this brand is growing on a season by season basis and whilst the formalwear is available in stockists such as John Lewis and Austin Reed, it’s hoped the casualwear and the odd catwalk piece should start hitting the shops soon.
You can see reviews of Paul’s collections by Matt and Amelia here and here.
Snake & Dagger
This London based denim company are growing stronger and stronger. Having trained in Japan, they hope to bring a more traditional feel to the denim market. The quality of the denim and the range of finishes are exquisite and the designers behind the brand bring together the best of their training and the city of London to create a unique look.
Wherever you thought you were going to buy your Christmas party dress, forget it. Scrub that idea now. Go straight to Aqua and get yourself sorted. This Christmas’ collection ‘Out to Sleigh’ is affordable glamour at its best.
The pieces are daringly cut but clever and in no way trashy. More importantly, whilst you’ve been eyeing up that dress on the high street for the last three weeks so has every other girl in your office, but it’s unlikely you’ll be in the same number if you visit Aqua.
Having previously shown in India, Morphe is thankfully launching in the UK. Playing with shape and form, the pieces are both dramatic and cutting edge. Born from countless hours of work, the statement pieces are surprisingly easy to wear, if somewhat out there.
However, the true gems in the collection include a one shoulder dress with silver trim along the neckline. Creating more than a simple point of interest this is a brand to watch as they develop their continued success in India.
Asher Levine
This was a fantastic collection from a burgeoning menswear designer. In particular, the asymmetric leather biker jackets were right on trend. Using differing leathers as well as digital printing, Asher showed a dynamic and contemporary collection.
Most certainly one to watch. Eleanor graduated this summer from the University of Westminster. Her work with fringing has to be seen to be believed. Genuinely unique and fresh, I can only hope the future holds big things for Amoroso. This is one young designer who definitely needs to be nourished.
There were more…far more people that I saw during the press days. From the sublime to the ridiculous and everything inbetween. Trying to contain yourself when browsing all these wonders is a challenge, as is trying to get enough photos and remember everything. But I can safely say S/S 2011 is going to be a very, very good season.
We discovered Herbfarmacy in issue 9 of Amelia’s Magazine, visit web and the brand has grown considerably since we last caught up with founder Dr. Paul Richards. Time to hook up with Alexandra, their new marketing guru.
When we first met you in 2008 you spoke of plans to build your brand, what has happened since then?
We have been very busy expanding our organic skincare range: growing new herbs, exploring and researching new products. Doing everything from seed to skin is quite a commitment and something of a labour of love. We have added at least ten new products to our original ten, which we sell in our ‘neo-herbal apothecary’ in Hay-on-Wye and on our website. We also supply other shops both here and abroad – including in Hong Kong, where our products have proved very popular! The Hay-on-Wye shop sells herbal tinctures (under the Postlethwaite’s label), our skincare range and holistic beauty treatments. We also support the work of local artists, and we are currently showing the photographs of Jan Sedlacek from harvest time this year.
How big is your team these days, it sounds as though it has grown? And are they as talented as they were when we last met them?
Yes, our team is made up of very talented and busy people: Rupert manages the land with Paul, and also does gardening and general maintenance work. Gabriel and Jayne (who has just left Herbfarmacy to take a degree in Photography) record music and make bespoke yurts. Our neighbour David has helped out many times over the years and he has finally given up his public sector work to join us full time, all for the love of herbs! Carol, Paul’s wife, runs the shop and teaches the Barefaced Yoga exercise sequence that we have on the website. Our two beauty therapists help us to develop products from a therapist’s point of view and one of them, Natalie, also holds a degree in fine art and print-making. I have recently joined the team to help promote the brand, so we are an ever expanding team of interesting people…
Why the change in packaging design?
We listened to the feedback from our friends and customers who thought our original packaging was too earthy and masculine. The new labels are much cleaner, conveying the idea of freshness and beauty alongside information about the key herbs. To convey Paul’s vast herbal knowledge we chose the tagline ‘Fresh from the Fields of Paul Richards’ and his signature appears on all the labels. Packaging is kept to a minimum, and we must be doing something right because we were finalists for Best New Packaging Design at The Natural & Organic Awards 2010.
Are there any particularly hard aspects for Paul, as a man working in the beauty industry? Paul: I don’t have any problem understanding the active properties of herbs but – not being a devotee myself – I have had to learn more about the mysteries of face masks and advanced skin cleansing operations so that I can get a handle on what ingredients can best contribute to an effective product. I also help out in the Hay-on-Wye shop on Saturdays when I can. Though I have no problem with our herbal remedies and skincare products I find working in the organic and mineral make-up section a bit out of my comfort zone!
Why should men spend more time on skincare? What do you recommend for the unwilling metrosexual?
Whilst men are generally less interested in looking after their skin than women that should not stop them thinking about the health of their skin. A simple cleansing and moisturising regime for the face is sufficient, and we have two creams popular with the male gender – the Starweed Face Cream, which has a more neutral fragrance, and Just Face Cream which is fragrance-free. For those working outside and with heavy physical jobs it is important to moisturise hands, feet and other exposed body parts. The Meadowsweet Muscle Balm is an excellent stand-by for knocks, aches and strains.
What are your favourite flowers and why?
It’s very difficult to choose because we love them all! But I know that Paul has a soft spot for the Marshmallow and Mullein flowers (there’s a photo of him harvesting mullein on the website) – Mullein is a beautiful vibrant yellow flower that makes a lovely oil. Carol loves the visual impact of a field of deep orange Calendula flowers, which produces an oil of a similar beautiful colour.
Do you make any products on the day of harvest?
Our tinctures are made on the day of harvest, as are some of our ingredients. Hypericum (St John’s Wort) and Starweed (Chickweed) oils are made from fresh herbs. All other herbs are harvested and dried immediately in our purpose-built Drying Shed.
Can you tell us a little known fact about any of the plants that you use? Burdock – which features in our Whole Body Lotion and of course the Dandelion & Burdock tincture – is grown widely as a vegetable known as gobo in Japan. In fact we grow a Japanese variety, and we have occasionally had enquiries from Japanese restaurants about growing burdock for them.
How is the organic and ethical skincare industry changing? What have been the most obvious shifts over the years?
The organic and ethical skin care industry has matured rapidly over the last two or three years with the expansion of the use of recognised symbols that guarantee the organic, natural and ethical integrity of products. However, the term ‘organic’ still has no legal status in skincare as a trade description – the result is that a number of high profile brands have appeared with pseudo organic names that exploit this loophole, and through using cheap ingredients they are able to give the impression that you can buy organic products for next to nothing. The organic industry is working hard to tackle this and I would emphasise the need to read labels properly and check the authenticity of products.
Top tips for living a “balanced, not boring” lifestyle? Paul: Balance is definitely the key – eat a balanced but varied diet, keep your body hydrated and well exercised, and make sure you take time to nurture mind and spirit. But forget a fanatic adherence to strict regimes that creates obsessional behaviour which is a long way from balanced.
What are your current favourite products and why?
One of Paul’s favourite products is the Mallow Beauty Balm – the pure herbal oils melt into the skin to give ultra-rich moisturising with a fabulous aroma. We have recently introduced Mullein flower oil into this product to smooth fine lines – and are also in the process of adding this oil to a new lip balm to help soothe cold sores. Carol’s favourite products are Just Face Cream, which is a great everyday moisturiser that suits her (mature) skin and Skin Rescue Balm. She loves the pungent aroma of Marshmallow, Calendula, Chickweed and Comfrey when she use it on her cuticles and as an intensive treatment to prevent dryness and cracking on the heels of her feet.
The Try-Me GIft Pack contains beautifully packaged pots of Organic Rose Oil, Whole Body Lotion, Luxury Foot Cream, Working Hands Cream and my personal favourite – Starweed Face Cream. Since Christmas is soon to be upon us I asked Herbfarmacy what they recommend as ideal presents:
For Mums and Aunties – we recommend the Divine Face Pack or Replenish Gift Packs which each contains the full works for the face. For a smaller gift try the Complete Skin Cleanse Pack, which offers everything to cleanse and tone the skin and includes a Dandelion and Burdock Tincture, which is a great internal cleanser for the liver and kidney tonic – ideal for the Christmas season!
For an Active Girl – the Totally Balmy pack is a great rescue kit for after the gym – featuring a great after-shower moisturiser, a muscle balm for any aches and pains and a skin rescue balm.
For Grandad – try our Meadowsweet Muscle Balm which is gently warming, along with our Just Face Cream, which can be used after shaving and to combat the effect of cold wintry weather on the skin.
Some of the gift packs are exclusive to the Herbfarmacy shop and our website… so please do visit us!
Written by Amelia Gregory on Tuesday November 30th, 2010 3:01 pm
We discovered Herbfarmacy in issue 9 of Amelia’s Magazine, and the brand has grown considerably since we last caught up with founder Dr. Paul Richards. Time to hook up with Alexandra, their new marketing guru.
When we first met you in 2008 you spoke of plans to build your brand, what has happened since then?
We have been very busy expanding our organic skincare range: growing new herbs, exploring and researching new products. Doing everything from seed to skin is quite a commitment and something of a labour of love. We have added at least ten new products to our original ten, which we sell in our ‘neo-herbal apothecary’ in Hay-on-Wye and on our website. We also supply other shops both here and abroad – including in Hong Kong, where our products have proved very popular! The Hay-on-Wye shop sells herbal tinctures (under the Postlethwaite’s label), our skincare range and holistic beauty treatments. We also support the work of local artists, and we are currently showing the photographs of Jan Sedlacek from harvest time this year.
How big is your team these days, it sounds as though it has grown? And are they as talented as they were when we last met them?
Yes, our team is made up of very talented and busy people: Rupert manages the land with Paul, and also does gardening and general maintenance work. Gabriel and Jayne (who has just left Herbfarmacy to take a degree in Photography) record music and make bespoke yurts. Our neighbour David has helped out many times over the years and he has finally given up his public sector work to join us full time, all for the love of herbs! Carol, Paul’s wife, runs the shop and teaches the Barefaced Yoga exercise sequence that we have on the website. Our two beauty therapists help us to develop products from a therapist’s point of view and one of them, Natalie, also holds a degree in fine art and print-making. I have recently joined the team to help promote the brand, so we are an ever expanding team of interesting people…
Why the change in packaging design?
We listened to the feedback from our friends and customers who thought our original packaging was too earthy and masculine. The new labels are much cleaner, conveying the idea of freshness and beauty alongside information about the key herbs. To convey Paul’s vast herbal knowledge we chose the tagline ‘Fresh from the Fields of Paul Richards’ and his signature appears on all the labels. Packaging is kept to a minimum, and we must be doing something right because we were finalists for Best New Packaging Design at The Natural & Organic Awards 2010.
Are there any particularly hard aspects for Paul, as a man working in the beauty industry? Paul: I don’t have any problem understanding the active properties of herbs but – not being a devotee myself – I have had to learn more about the mysteries of face masks and advanced skin cleansing operations so that I can get a handle on what ingredients can best contribute to an effective product. I also help out in the Hay-on-Wye shop on Saturdays when I can. Though I have no problem with our herbal remedies and skincare products I find working in the organic and mineral make-up section a bit out of my comfort zone!
Why should men spend more time on skincare? What do you recommend for the unwilling metrosexual?
Whilst men are generally less interested in looking after their skin than women that should not stop them thinking about the health of their skin. A simple cleansing and moisturising regime for the face is sufficient, and we have two creams popular with the male gender – the Starweed Face Cream, which has a more neutral fragrance, and Just Face Cream which is fragrance-free. For those working outside and with heavy physical jobs it is important to moisturise hands, feet and other exposed body parts. The Meadowsweet Muscle Balm is an excellent stand-by for knocks, aches and strains.
What are your favourite flowers and why?
It’s very difficult to choose because we love them all! But I know that Paul has a soft spot for the Marshmallow and Mullein flowers (there’s a photo of him harvesting mullein on the website) – Mullein is a beautiful vibrant yellow flower that makes a lovely oil. Carol loves the visual impact of a field of deep orange Calendula flowers, which produces an oil of a similar beautiful colour.
Do you make any products on the day of harvest?
Our tinctures are made on the day of harvest, as are some of our ingredients. Hypericum (St John’s Wort) and Starweed (Chickweed) oils are made from fresh herbs. All other herbs are harvested and dried immediately in our purpose-built Drying Shed.
Can you tell us a little known fact about any of the plants that you use? Burdock – which features in our Whole Body Lotion and of course the Dandelion & Burdock tincture – is grown widely as a vegetable known as gobo in Japan. In fact we grow a Japanese variety, and we have occasionally had enquiries from Japanese restaurants about growing burdock for them.
How is the organic and ethical skincare industry changing? What have been the most obvious shifts over the years?
The organic and ethical skin care industry has matured rapidly over the last two or three years with the expansion of the use of recognised symbols that guarantee the organic, natural and ethical integrity of products. However, the term ‘organic’ still has no legal status in skincare as a trade description – the result is that a number of high profile brands have appeared with pseudo organic names that exploit this loophole, and through using cheap ingredients they are able to give the impression that you can buy organic products for next to nothing. The organic industry is working hard to tackle this and I would emphasise the need to read labels properly and check the authenticity of products.
Top tips for living a “balanced, not boring” lifestyle? Paul: Balance is definitely the key – eat a balanced but varied diet, keep your body hydrated and well exercised, and make sure you take time to nurture mind and spirit. But forget a fanatic adherence to strict regimes that creates obsessional behaviour which is a long way from balanced.
What are your current favourite products and why?
One of Paul’s favourite products is the Mallow Beauty Balm – the pure herbal oils melt into the skin to give ultra-rich moisturising with a fabulous aroma. We have recently introduced Mullein flower oil into this product to smooth fine lines – and are also in the process of adding this oil to a new lip balm to help soothe cold sores. Carol’s favourite products are Just Face Cream, which is a great everyday moisturiser that suits her (mature) skin and Skin Rescue Balm. She loves the pungent aroma of Marshmallow, Calendula, Chickweed and Comfrey when she use it on her cuticles and as an intensive treatment to prevent dryness and cracking on the heels of her feet.
The Try-Me GIft Pack contains beautifully packaged pots of Organic Rose Oil, Whole Body Lotion, Luxury Foot Cream, Working Hands Cream and my personal favourite – Starweed Face Cream. Since Christmas is soon to be upon us I asked Herbfarmacy what they recommend as ideal presents:
For Mums and Aunties – we recommend the Divine Face Pack or Replenish Gift Packs which each contains the full works for the face. For a smaller gift try the Complete Skin Cleanse Pack, which offers everything to cleanse and tone the skin and includes a Dandelion and Burdock Tincture, which is a great internal cleanser for the liver and kidney tonic – ideal for the Christmas season!
For an Active Girl – the Totally Balmy pack is a great rescue kit for after the gym – featuring a great after-shower moisturiser, a muscle balm for any aches and pains and a skin rescue balm.
For Grandad – try our Meadowsweet Muscle Balm which is gently warming, along with our Just Face Cream, which can be used after shaving and to combat the effect of cold wintry weather on the skin.
Some of the gift packs are exclusive to the Herbfarmacy shop and our website… so please do visit us!
Written by Amelia Gregory on Tuesday November 30th, 2010 3:01 pm
