Amelia’s Magazine | Vintage at Goodwood: Festival Review

Wolf and Badger launch display amy
WolfandBadger skull
All photography by Amelia Gregory.

I don’t often head into town for launches after work these days but I was intrigued enough by the sound of the Wolf and Badger pop up store in Selfridges to request a ticket from them and make the trek over on my bike. Even though it was raining and I now have a snuffle.

There’s probably a reason why I don’t get asked to parties at that temple to consumerism Selfridges – it’s hallowed halls are all gleaming and full of trinkets and I don’t know that the readers of my website have much money to spend in them. I certainly don’t. But it’s rather wonderful to visit once in a blue moon – especially the food hall, order where I couldn’t resist picking up some Marmite flavoured biscuits by Fudges (shaped like Marmite pots!) as a special treat. Now there’s a brand diffusion I really can’t get enough of…

WolfandBadger Selfridges window display by Kyle Bean
The current window display by Kyle Bean.

On arrival I could see what was rather a swanky affair through the windows as I peered past a rather wonderful fairytale castle made out of old books. Inside some furiously groomed folk filled the aisles as they fuelled up with champagne and jellybeans. A couple of ladies with bog roll wigs delivered creamed canapes from a side table and there was so much people watching potential that I found it hard to concentrate on the work being sold.

WolfandBadger amelia gregory
WolfandBadger launch photo by Amelia gregory
Not sure about this as a look…

Along the back wall a vision of Amy Winehouse in buttons was on display centre stage by the artist Sarah Gwyer. We particularly admired the clever use of old Costa service badges in the hairpiece on her beehive. Next door a digital parakeet by Troy Abbott boggled my mind somewhat. Erm… fun, but do we really have energy to waste with fripperies like this?

WolfandBadger launch photo by Amelia gregory

I preferred the plates and cups with curly bites taken out of them – created by the designer Evthokia. And over the top it might be but I adored the opulent ceramic ware from Jasmin Rowlandson: great curlicued gold and cream extravagances inspired by coral reefs and wood. Note to Wolf and Badger: it’s a shame the names of artists were hammered out in metal, making them incredibly hard to read and take note of.

WolfandBadger launch photo by Amelia gregory
Not your usual crockery from Evthokia.

WolfandBadger launch photo by Amelia gregory
WolfandBadger launch photo by Amelia gregory
Ceramic ware from Jasmin Rowlandson.

On the tables knuckle duster jewellery by Gisele Ganne was equally over the top. I can’t much imagine anyone wearing this stuff but it was fun to marvel at it in a glass case.

WolfandBadger gisele ganne
Knuckle duster madness by Gisele Ganne.

Maybe I’m suddenly getting a little more low key in my old age, but I was more drawn to the delicate gold filigree jewellery of Mallarino. I often gaze longingly at the Indian wedding earrings in the windows of the shops on Bethnal Green Road, and this seemed to be greatly inspired by such designs.

WolfandBadger launch photo by Amelia gregory
Botoxed high society lady.

WolfandBadger launch photo by Amelia gregory
And not quite so botoxed (or high society) lady.

As we left I picked up a satisfyingly heavy goodie bag from Selfridges – unfortunately it wasn’t anything exciting from Wolf and Badger. Just a bog standard notebook.

Even if you haven’t got the cash to flash, the Wolf and Badger pop up concept store is worth popping into for some cool West London designer inspiration if you’re in that part of town. It’s only on between the dates of 12-31 August 2010.

WolfandBadger launch photo by Amelia gregory
WolfandBadger skull
All photography by Amelia Gregory.

I don’t often head into town for launches after work these days but I was intrigued enough by the sound of the Wolf and Badger pop up store in Selfridges to request a ticket from them and make the trek over on my bike. Even though it was raining and I now have a snuffle.

There’s probably a reason why I don’t get asked to parties at that temple to consumerism Selfridges – it’s hallowed halls are all gleaming and full of trinkets and I don’t know that the readers of my website have much money to spend in them. I certainly don’t. But it’s rather wonderful to visit once in a blue moon – especially the food hall, store where I couldn’t resist picking up some Marmite flavoured biscuits by Fudges (shaped like Marmite pots!) as a special treat. Now there’s a brand diffusion I really can’t get enough of…

WolfandBadger Selfridges window display by Kyle Bean
The current window display by Kyle Bean.

On arrival I could see what was rather a swanky affair through the windows as I peered past a rather wonderful fairytale castle made out of old books. Inside some furiously groomed folk filled the aisles as they fuelled up with champagne and jellybeans. A couple of ladies with bog roll wigs delivered creamed canapes from a side table and there was so much people watching potential that I found it hard to concentrate on the work being sold.

WolfandBadger amelia gregory
WolfandBadger launch photo by Amelia gregory
Not sure about this as a look…

Along the back wall a vision of Amy Winehouse in buttons was on display centre stage by the artist Sarah Gwyer. We particularly admired the clever use of old Costa Coffee service badges in the hairpiece on her beehive.

Wolf and Badger launch display amy

Next door a digital parakeet by Troy Abbott boggled my mind somewhat. Erm… fun, but do we really have energy to waste with fripperies like this?

WolfandBadger launch photo by Amelia gregory

I preferred the plates and cups with curly bites taken out of them – created by the designer Evthokia. And over the top it might be but I adored the opulent ceramic ware from Jasmin Rowlandson: great curlicued gold and cream extravagances inspired by coral reefs and wood. Note to Wolf and Badger: it’s a shame the names of artists were hammered out in metal, making them incredibly hard to read and take note of.

WolfandBadger launch photo by Amelia gregory
Not your usual crockery from Evthokia.

WolfandBadger launch photo by Amelia gregory
WolfandBadger launch photo by Amelia gregory
Ceramic ware from Jasmin Rowlandson.

On the tables knuckle duster jewellery by Gisele Ganne was equally over the top. I can’t much imagine anyone wearing this stuff but it was fun to marvel at it in a glass case.

WolfandBadger gisele ganne
Knuckle duster madness by Gisele Ganne.

Maybe I’m suddenly getting a little more low key in my old age, but I was more drawn to the delicate gold filigree jewellery of Mallarino. I often gaze longingly at the Indian wedding earrings in the windows of the shops on Bethnal Green Road, and this seemed to be greatly inspired by such designs.

WolfandBadger launch photo by Amelia gregory
Botoxed high society lady.

WolfandBadger launch photo by Amelia gregory
And not quite so botoxed (or high society) lady.

As we left I picked up a satisfyingly heavy goodie bag from Selfridges – unfortunately it wasn’t anything exciting from Wolf and Badger. Just a bog standard notebook.

Even if you haven’t got the cash to flash, the Wolf and Badger pop up concept store is worth popping into for some cool West London designer inspiration if you’re in that part of town. It’s only on between the dates of 12-31 August 2010.

WolfandBadger launch photo by Amelia gregory
Dahling_by_Abigail_Nottingham
Dahling by Abigail Nottingham.

“We’re building great cafes and restaurants on the Vintage High St, site where you will even find a Waitrose.” So said the flyer that I picked up in a local pub the day after our sojourn to Vintage at Goodwood. To be honest, and if I’d seen this same flyer before I’d been inundated with hype from the great VAG press machine then I might not have been so keen to attend the festival.

Vintage Goodwood 2010
Vintage Goodwood 2010
Photography by Amelia Gregory.

It’s ironic then, that, like the camping spots in “hidden glades, hollows, copses and hillocks” Waitrose didn’t make it into the final Vintage at Goodwood vision. But what did was every bit as soulless as I feared it might be in my preview blog.

Vintage Goodwood 2010

Past a regimental camping site that better represented a hillside carpark, we did indeed approach the main VAG entrance via a wooded glade… and as we did so passed what was to prove the most interesting aspect of the whole festival – a small eco-campment complete with beautiful decorated gypsy caravan, outsized lace-making and knitting, and a tiny outdoor stage for up and coming bands. Curated by textile artist Annie Sherburne, it was like a touch of Secret Garden Party had crept into the mix, but knowing not where to put it the madness was relegated to the woods.

Vintage Goodwood knit
Love shack caravan By Jessica Sharville
Love Shack Caravan by Jessica Sharville.

So far, so not very vintage, but as we ducked under the entrance arch a slew of gorgeous old cars funnelled us down towards the much trumpeted High Street, rearing up against the dramatic sky like a cross between a back lot of a Hollywood western and a trade show.

Vintage Goodwood entrance
Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

“Fifty years on from the design-led 1951 Festival of Britain, Goodwood is to host in 2010 the first of what will be an annual event” opens the glossy VAG flyer, and true to this spirit the very first shop on the High Street housed Wayne Hemingway Inc, choc full of products plastered with designs inspired by the very same Festival of Britain. As one worker commented to me “How arrogant can you be?” Vintage at Goodwood was a monument to our current obsession with consumerism as leisure, and bore no resemblance to the Festival of Britain’s celebration of modern societies’ achievements in post-war Britain. To compare something to such an iconographic event is to set oneself up for a fall.

Vintage Goodwood pub
Vintage Goodwood dress
TigzRice_pinupcar
Pinup Girl with Car by Tigz Rice.

Boggling, I gazed up at the garishly coloured towering fascias, wondering at the huge amount of money that must have gone into the construction. And none of it looking remotely recyclable. For that matter, where were the recycling bins? The post war years were frugal, and there was no sign of that here.

Vintage Goodwood 2010
Vintage Goodwood 2010

Instead there was the opportunity to shop inside stands for those well known vintage brands: The Body Shop, Fortnum & Mason, John Lewis and some really expensive watch brand I’ve never heard of; in whose stall people quaffed champagne as a man picked apart on old watch face and another displayed a case of super expensive items to a wealthy shopper. The same brand had sponsored the festival wristbands, made out of lethal lentographic plastic that cut my friend’s arm to shreds.

Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

There was also: a cinema, and a catwalk hosting “sold out” shows. We never did find out if this was just a turn of phrase or whether they were actually sold out. Yup, you had to pay on top of the ticket price for many of the attractions. And did I mention the style stand, where you could get your hair done by Primark in collaboration with the Sunday Times Style Magazine. Yes really. This is what we’ve come to.

vintage at goodwood by erica sharp
Vintage at Goodwood by Erica Sharp.

I heard rumours of people flying in to attend this festival on private jets, but it was telling of the strange mix of people that there was also a Daily Mirror volkswagen bus on site. As someone wrote on twitter, it seemed like a sanitised Daily Mail version of fifty years of culture, devoid of all nuance or passion. Inside the Sotheby’s auction tent the intermittent rain drip dripped onto a vintage speaker valued at £6000 as a couple passed looking uncomfortable in a fancy dress version of the 1970s.

Vintage Goodwood 2010
vintagegoodwood by Maria del Carmen Smith
Vintage at Goodwood Auction by Maria del Carmen Smith.

The most popular dress amongst women seemed to be the ubiquitous flouncey polka dot fifties number, or some other poorly rendered version of what was worn in the 60s or 70s. Fine if that’s your bag, but I’ve seen fancy dress done with a whole lot more verve at places like Bestival. I guess pure vintage enthusiasts wear vintage clothes with a dedication to style that wasn’t obvious on many festival goers, because vintage enthusiasts choose to wear these clothes day in day out, not as mere fancy dress. It wasn’t altogether surprising to find the real vintage enthusiasts looking slightly bemused and out of place in the staff dinner queue.

Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood crocs
Future Vintage: Crocs apparently…
Vintage Goodwood 2010
and the Big Brother chair. God help us.
Vintage Goodwood 2010
Tyrells crisps promotion: a vegetable chamber group.
Vintage Goodwood 2010
Vintage Goodwood 2010
Rocking the vintage look.

We spoke to friends in the much smaller vintage stall area that was hidden in cramped tents behind the central shopping parade. They were ambivalent about the festival: cross with the way it had been organised and how they were being treated, but happy with the money being spent on their stalls. Aside from spend spend spend, there wasn’t really much to do. We saw little evidence of art from across the decades, other than a strong presence from Peter Blake. We were amazed at the lack of protection for all the beautiful vintage cars stationed next to themed areas for each decade, scattered across the largely unpopulated site. Although there were rumours of workshops, without a £12 programme (touted as a must have “annual”) to tell us when and where, there didn’t seem to be much opportunity.

Vintage Goodwood craft

Like others we gawped at the crafters rather than join in and participate. “Ladies, wear your heels,” urged the flyer. But there wasn’t that much evidence of glamour as the small and bedraggled crowd waved their brollies in the air during the mid afternoon set at the 80s rave warehouse.

Vintage Goodwood 2010
The programme: £12 a pop.
Vintage Goodwood rave
The rave. Wet. Photograph by Tim Adey.
Vintage Goodwood empty
Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

I had hoped to visit The Chap Olympiad but every time we got close the heavens opened and we retreated. We tried to see comedian John Shuttleworth but the inflatable Leisure Dome was full to capacity and I was buggered if we were going to stand in a queue in the rain. How much electricity does it take to keep a blow up tent full of air? *ponders* Over on the main stage a respectable crowd gathered for The Noisettes, but seemed bemused by singer Shingai Shoniwa’s stage banter. And I wonder, how do The Noisettes fit into any kind of “vintage” mould?

Vintage Goodwood Noisettes
noisettes-singer-by-anagomezhernandez
Shingai Shoniwa by Ana Gomez Hernandez.

Instead we headed back to the Leisure Dome after another tip off – this time to see the absolutely amazing Swingle Singers singing choreographed acapella and beat box versions of popular songs. An utterly astonishing discovery they alone made the trip down south worthwhile.

Vintage Goodwood Swingle Singers
Vintage Goodwood austin
Vintage Goodwood swingle
Vintage Goodwood Swingle singers
swingle singers by anna hancock young
Swingle Singers by Anna Hancock Young.

Afterwards we stayed onto watch 70 year old Tony Hatch, he of soap opera theme tune fame (don’t worry, I had no idea who he was either). A highlight of our short visit to VAG was surely the sight of Captain Sensible (of punk legends The Damned), listening to Tony Hatch and singers reprise the Neighbours theme tune. Does it get anymore surreal?

Vintage Goodwood Tony Hatch
Tony Hatch and friends.

Thanks to the power of twitter I was able to find out what VAG was like for myself, and in retrospect I am very glad that I didn’t get given free tickets by the organisers because I would have felt duty bound to be much nicer about the VAG experience if I had. I am sure that many people thoroughly enjoyed their trip to Vintage at Goodwood, but for me the idea of staying on for another day was utterly unappealing. Instead we left whilst the going was good, stayed over at a friend’s house and spent Sunday getting drunk with locals at a historic pub in nearby Petersfield.

Vintage Goodwood by Louise Sterling
Vintage Goodwood by Louise Sterling.

On my previous blog there have been a couple of comments stressing the need for big sponsors in order to make a return on investment on a festival such as VAG. This is absolutely not true unless you aspire to make a festival bigger than it wants to be. Most festivals start small and grow organically through the love and dedication of the people who take part. It’s not necessary to bring big brands in unless you’re aiming for a showy experience at the expense of any kind of soul.

Vintage Goodwood girls
Vintage Goodwood shop
Vintage Goodwood red
Vintage Goodwood 2010
Sponsored up to the hilt.

For real vintage lovers I suggest that next year, instead of going to Vintage at Goodwood you check out the numerous other boutique festivals dedicated to specific eras. Especially since I have a sneaking suspicion that many of the true vintage enthusiasts that made it to VAG will not be returning next year. And if you want pure unadulterated playful creative dressing up then I suggest you check out Secret Garden Party – and for real forward thinking cultural inspiration then try Latitude. A hyped-up vanity project does not a successful festival make.

Vintage Goodwood mobility

Categories ,Abigail Nottingham, ,Ana Gomez, ,Ana Gomez Hernandez, ,Anna Hancock-Young, ,Annie Sherburne, ,bestival, ,Captain Sensible, ,Erica Sharp, ,John Shuttleworth, ,latitude, ,Louise Sterling, ,Maria del Carmen Smith, ,Peter Blake, ,Primark, ,Secret Garden Party, ,Shingai Shoniwa, ,Swingle Singers, ,The Chap Olympiad, ,The Damned, ,the Noisettes, ,Tigz Rice, ,Tigzy, ,Tim Adey, ,Tony Hatch, ,Vintage at Goodwood, ,Vintage Goodwood. Jessica Sharville, ,Wayne Hemmingway

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Amelia’s Magazine | Valentines Day: Gifts and Ideas


Illustration by Matilde Sazio

“This song is about fucking up against the wall, unhealthyJoan Wasser announces to introduce “Hard white wall”, a track from her second album To Survive at her Barbican gig. Never the shrinking violet, Joan is standing in an all-in-one fitted black leather number, slashed at the back, as the spotlights converge on her small frame. Last Sunday was the seventh time I have seen Joan As Police Woman in London.

The first time I saw Joan play was on a balmy summer’s evening in 2006 at now defunct The Spitz in Spitalfields, which in my opinion, used to put on some of the best gigs in London. The venue was at capacity that night and the air inside was clammy to the point where every surface I touched, whether it was a table or wall, seemed to be coated with a film of sweat. Fresh from a tour supporting Guillemots, Joan took the stage in a silver metallic floor length gown and wowed the audience with her electric solo set. No big stage productions, no fancy costume changes, not even a band; just Joan with her powerful, soulful vocals, Korg keyboard and guitar. I am certain that she gained some lifelong fans that night, of which I am one.

The truth is my enthusiasm for Joan extends beyond just liking her records and appreciating her live performances. There’s something about her music – in the same vein as Antony and the Johnsons, Rufus Wainwright, Cat Power and Regina Spektor – which deeply resonates with me. Her sound is raw, honest, pure and sung from the heart in a way which isn’t bland, overdone or contrived. The combination of her emotive vocals, attention to detail in the form of a subtle stroke of cymbal here and an echo of string instruments there, has had the power to reduce me to tears in the past (although I have been known to cry at most things!).

Over the years, Joan has seen me through the best and worst of times: she’s been the soundtrack to exciting train and coach journeys across South East Asia and South America as I have admired the ever-changing landscapes, accompanied me as I have trudged miserably into work on an overheated tube wedged up against some hairy obese man’s armpit, and comforted me through the pain of a relationship break-up where I often found myself lying kidney-bean shaped, feeling sorry for myself (on this last point, what I have learned is that boyfriends may come and go, but if you discover a good artist, they have an unparalleled reliance. Joan has consistently delivered the goods since her first album and that Spitz gig in 2006, which is far more than what can be said of any of my recent relationships).

A multi-instrumentalist who flits effortlessly from piano to guitar to violin, Joan has worked and performed with the likes of Antony and the Johnsons, Rufus Wainwright, Lou Reed, Nick Cave and Elton John to name but a few. Much is made of the fact that she was the girlfriend of the luminous late-Jeff Buckley when he died, whose “Everybody Here Wants You” track is rumoured to be inspired by her, but for Joan to be defined by this alone is grossly unfair. The recognition that she deserves should be based purely on her own talent of epic proportions.

In the same vein as Antony and Rufus, much of Joan’s charm lies in her musical arrangements and unique which can be spine-tingling, served tender or harsh. Her new album, The Deep Field unfurls her lust for life and presents to us a more positive and upbeat individual compared to her earlier offerings, Real Life (2006) and To Survive (2008). In her own words, it is her “most open, joyous record” to date. Although the record is a departure from her more typical sombre sound, its essence is consistent with her previous work where she continues to demonstrate mood, depth, authenticity and sophisticated musical arrangements, which is a rare gem amongst some of the generic, non-memorable cack that passes for music today.

When I meet Joan for tea at the K-West Hotel in Shepherd’s Bush for our interview, she is friendly and upbeat, but appears visibly tired after having spent two days trekking across the UK to do promo work. I try to act cool and calm, but I am sweating like hell and on my way to the hotel, I slip over and land on my bottom to the amusement of two young teenage boys who break out into hysterics, which makes for a nice ice-breaker as I re-tell my story.

Wearing a brown leather jacket, a matching pair of trousers and a bright yellow t-shirt with “Strut ‘n’ Stuff” emblazoned across the front that she picked up from a thrift store, with her thick unkempt dark brown hair and flawless skin, Joan looks much younger than her years – much closer to 30 than 40.

As we sit on a comfy sofa in the library area of the hotel, Joan is oblivious to the two men in suits sitting behind us having a business meeting, who shoot a few disapproving glances in our direction as her voice gets progressively louder over the course of the interview. Speaking animatedly with a cup of herbal tea (she is trying to cut back on the coffee) in one hand and some neatly cut slices of apple in the other, Joan and I discuss life before Joan As Police Woman, the inspiration behind her new record, being in a better place and who’s house she’d most like to be a fly on the wall at, all in the good company of some soft-porn inspired saxophone music, playing softly in the background…

You trained as a classical musician and spent some time performing as one. What was the catalyst for you to explore being an alternative musician?
I always listened to different kinds of music as I was growing up and throughout my classical training. Classical music and non-classical music is all music so for me; it wasn’t all that big of a stretch making other music. I loved studying classical music, but I wasn’t really interested in making it my life’s work because I really wanted to make new music. There were also plenty of people who were better equipped at bringing new insight to the Beethoven violin concerto and I was not one of them. I loved learning the discipline behind that but pursuing a career in it didn’t interest me so when I moved to Boston to go to school I started playing in bands then because all my friends were in bands and the rest, I guess they say, is history.

You’ve been in several bands since you started out as a musician, including playing violin with Rufus Wainwright and Antony and the Johnsons, yet it as only in 2004 that you decided to front your own band. Why was there this delay?
Well I played violin exclusively for some time so I was mostly contributing to other peoples’ bands which I loved doing. I was playing an instrument that is like a voice in itself. You don’t write songs on the violin so I had no way of writing. I picked up a guitar in 1997 to see what it was like; I wanted to figure out if I could write songs and started writing. I put a band together called Black Beetle and wrote a few songs with them and I joined Antony’s band. At this stage, I was still playing with lots of people doing string arranging, but I also wanted to try out my voice which sounded horrible to me at the time. In the beginning you’re not used to what it sounds like and it doesn’t feel natural.

But surely you must have had reassurance from your friends that your voice is anything but horrible…
Well no one heard it. I started playing but I didn’t tell many people. I did get a lot of support from my friends which helped a lot, even if you think they’re lying because they love you.

So it was all very much about stepping slowly out of your comfort zone…
Yes, very much so. Antony had me open with one of his songs solo sometimes. It was a very anxious experience, especially as I was around a lot of astounding vocal performers. It was really scary, but I’m that kind of person where I jump into the deep end. It’s the only way to do things. I was making a record with Black Beetle that never got released, which was part of the learning process and then that band broke up in 2002 but I kept going; playing on my own and then I got a drummer to play with me and then Rufus asked me to go on tour and open for him and it just all went from there.

The first time I saw you perform was at The Spitz in 2006, and even back then you seemed to be a very natural performer. Has performing always been second nature to you?
At that point I felt a lot better. Opening for Rufus (Wainwright) was a good experience – you can’t really be opening for a crowd of total music lovers without getting your act together. Also, the fact that I come to a city that isn’t mine and tonnes of people show up. It makes you feel great; it makes you think: “OK – well at least I’m doing something right”.

When did you start recording the new album and what were your inspirations for the record?
I started by making a covers record which was fun for me to do. I wanted to get out of my head; my own songwriting. I think it really helped me to direct my songwriting on this record. I’m in a great place these days so I feel really open and joyful and I really wanted to get this across in the record. I first recorded seven songs that I had been writing since my last record; some of which I had been playing live, some I hadn’t been. I did that in March and completed those songs and surveyed the scene and decided what the record needed and then spent a few months writing five more songs to fill out the record the way I saw it in June and then mixed the whole thing at the end of last summer. It was really fun because I really had never done that before. Before I would record what I had and decide what it needed and then wrote that kind of song to fit the record so this time, the new approach was a fun exercise for me. I recorded at the same studio with the same producer and I feel very comfortable there; it makes me feel like I’m coming home. And then I just got all of my favourite musicians to contribute to the record. It was just an absolute glorious experience.

How do you think your sound has evolved since Real Life and To Survive?
It’s interesting because when I listen to my songs, I think all the time: “Where did that come from?” It’s beyond me. But I feel like I’m in a different place now…much more relaxed with myself in general. This is one of the treasures of spending more time alive because you get more comfortable with yourself and your surroundings.

You reached a milestone age last summer (Joan turned 40) – were there any anxieties?
I was really excited about it because I felt like it was a demarcation point of where I really didn’t have to give a shit about anything anymore. I never had to before, but I could just actually free myself of all the youth stuff because I have experienced a lot of stuff and it’s really been worth it even though things were very difficult at times. I feel really lucky that everyday feels a bit better than the last day because I’m determined to live a full life.

How did you celebrate?
I had a big party on my roof at home (just outside New York). It was really nice because I was there for the first time on my birthday and I really embraced it.

What advice would you give a 20 year old Joan and 30 year old Joan?
I would just reassure the 20 year old Joan that things are definitely going to get better – I did not think that then. At 30…I don’t know…the thing is I wouldn’t ever do anything differently. You have to learn everything the way you learn them, unfortunately sometimes.

What do you do to switch off?
I definitely have to exercise or I go crazy. I need that in my life so I do that a lot. I spend a certain amount of time with my friends being ridiculous and making jokes as terrible as possible. Oh and drinking way too much coffee.

Who’s house would you most like to be a fly on the wall at?
Prince…definitely! He’s the only person who I think: “What is he doing right now?”. Because you know it’s something weird…or fascinating. He’s just incredible; amazing.

Joan’s new album The Deep Field is out now on PIAS records and she is playing across the UK until 13 February.


Illustration by Matilde Sazio

“This song is about fucking up against the wall, discountJoan Wasser announces to introduce “Hard white wall”, adiposity a track from her second album To Survive at her Barbican gig. Never the shrinking violet, recipe Joan is standing in an all-in-one fitted black leather number, slashed at the back, as the spotlights converge on her small frame. Last Sunday was the seventh time I have seen Joan As Police Woman in London.

The first time I saw Joan play was on a balmy summer’s evening in 2006 at now defunct The Spitz in Spitalfields, which in my opinion, used to put on some of the best gigs in London. The venue was at capacity that night and the air inside was clammy to the point where every surface I touched, whether it was a table or wall, seemed to be coated with a film of sweat. Fresh from a tour supporting Guillemots, Joan took the stage in a silver metallic floor length gown and wowed the audience with her electric solo set. No big stage productions, no fancy costume changes, not even a band; just Joan with her powerful, soulful vocals, Korg keyboard and guitar. I am certain that she gained some lifelong fans that night, of which I am one.


Illustration by Darren Fletcher

The truth is my enthusiasm for Joan extends beyond just liking her records and appreciating her live performances. There’s something about her music – in the same vein as Antony and the Johnsons, Rufus Wainwright, Cat Power and Regina Spektor – which deeply resonates with me. Her sound is raw, honest, pure and sung from the heart in a way which isn’t bland, overdone or contrived. The combination of her emotive vocals, attention to detail in the form of a subtle stroke of cymbal here and an echo of string instruments there, has had the power to reduce me to tears in the past (although I have been known to cry at most things!).

Over the years, Joan has seen me through the best and worst of times: she’s been the soundtrack to exciting train and coach journeys across South East Asia and South America as I have admired the ever-changing landscapes, accompanied me as I have trudged miserably into work on an overheated tube wedged up against some hairy obese man’s armpit, and comforted me through the pain of a relationship break-up where I often found myself lying kidney-bean shaped, feeling sorry for myself (on this last point, what I have learned is that boyfriends may come and go, but if you discover a good artist, they have an unparalleled reliance. Joan has consistently delivered the goods since her first album and that Spitz gig in 2006, which is far more than what can be said of any of my recent relationships).


Illustration by Darren Fletcher

A multi-instrumentalist who flits effortlessly from piano to guitar to violin, Joan has worked and performed with the likes of Antony and the Johnsons, Rufus Wainwright, Lou Reed, Nick Cave and Elton John to name but a few. Much is made of the fact that she was the girlfriend of the luminous late-Jeff Buckley when he died, whose “Everybody Here Wants You” track is rumoured to be inspired by her, but for Joan to be defined by this alone is grossly unfair. The recognition that she deserves should be based purely on her own talent of epic proportions.

In the same vein as Antony and Rufus, much of Joan’s charm lies in her musical arrangements and unique which can be spine-tingling, served tender or harsh. Her new album, The Deep Field unfurls her lust for life and presents to us a more positive and upbeat individual compared to her earlier offerings, Real Life (2006) and To Survive (2008). In her own words, it is her “most open, joyous record” to date. Although the record is a departure from her more typical sombre sound, its essence is consistent with her previous work where she continues to demonstrate mood, depth, authenticity and sophisticated musical arrangements, which is a rare gem amongst some of the generic, non-memorable cack that passes for music today.


Illustration by Matilde Sazio

When I meet Joan for tea at the K-West Hotel in Shepherd’s Bush for our interview, she is friendly and upbeat, but appears visibly tired after having spent two days trekking across the UK to do promo work. I try to act cool and calm, but I am sweating like hell and on my way to the hotel, I slip over and land on my bottom to the amusement of two young teenage boys who break out into hysterics, which makes for a nice ice-breaker as I re-tell my story.

Wearing a brown leather jacket, a matching pair of trousers and a bright yellow t-shirt with “Strut ‘n’ Stuff” emblazoned across the front that she picked up from a thrift store, with her thick unkempt dark brown hair and flawless skin, Joan looks much younger than her years – much closer to 30 than 40.

As we sit on a comfy sofa in the library area of the hotel, Joan is oblivious to the two men in suits sitting behind us having a business meeting, who shoot a few disapproving glances in our direction as her voice gets progressively louder over the course of the interview. Speaking animatedly with a cup of herbal tea (she is trying to cut back on the coffee) in one hand and some neatly cut slices of apple in the other, Joan and I discuss life before Joan As Police Woman, the inspiration behind her new record, being in a better place and who’s house she’d most like to be a fly on the wall at, all in the good company of some soft-porn inspired saxophone music, playing softly in the background…

You trained as a classical musician and spent some time performing as one. What was the catalyst for you to explore being an alternative musician?
I always listened to different kinds of music as I was growing up and throughout my classical training. Classical music and non-classical music is all music so for me; it wasn’t all that big of a stretch making other music. I loved studying classical music, but I wasn’t really interested in making it my life’s work because I really wanted to make new music. There were also plenty of people who were better equipped at bringing new insight to the Beethoven violin concerto and I was not one of them. I loved learning the discipline behind that but pursuing a career in it didn’t interest me so when I moved to Boston to go to school I started playing in bands then because all my friends were in bands and the rest, I guess they say, is history.

You’ve been in several bands since you started out as a musician, including playing violin with Rufus Wainwright and Antony and the Johnsons, yet it as only in 2004 that you decided to front your own band. Why was there this delay?
Well I played violin exclusively for some time so I was mostly contributing to other peoples’ bands which I loved doing. I was playing an instrument that is like a voice in itself. You don’t write songs on the violin so I had no way of writing. I picked up a guitar in 1997 to see what it was like; I wanted to figure out if I could write songs and started writing. I put a band together called Black Beetle and wrote a few songs with them and I joined Antony’s band. At this stage, I was still playing with lots of people doing string arranging, but I also wanted to try out my voice which sounded horrible to me at the time. In the beginning you’re not used to what it sounds like and it doesn’t feel natural.


But surely you must have had reassurance from your friends that your voice is anything but horrible…
Well no one heard it. I started playing but I didn’t tell many people. I did get a lot of support from my friends which helped a lot, even if you think they’re lying because they love you.

So it was all very much about stepping slowly out of your comfort zone…
Yes, very much so. Antony had me open with one of his songs solo sometimes. It was a very anxious experience, especially as I was around a lot of astounding vocal performers. It was really scary, but I’m that kind of person where I jump into the deep end. It’s the only way to do things. I was making a record with Black Beetle that never got released, which was part of the learning process and then that band broke up in 2002 but I kept going; playing on my own and then I got a drummer to play with me and then Rufus asked me to go on tour and open for him and it just all went from there.

The first time I saw you perform was at The Spitz in 2006, and even back then you seemed to be a very natural performer. Has performing always been second nature to you?
At that point I felt a lot better. Opening for Rufus (Wainwright) was a good experience – you can’t really be opening for a crowd of total music lovers without getting your act together. Also, the fact that I come to a city that isn’t mine and tonnes of people show up. It makes you feel great; it makes you think: “OK – well at least I’m doing something right”.

When did you start recording the new album and what were your inspirations for the record?
I started by making a covers record which was fun for me to do. I wanted to get out of my head; my own songwriting. I think it really helped me to direct my songwriting on this record. I’m in a great place these days so I feel really open and joyful and I really wanted to get this across in the record. I first recorded seven songs that I had been writing since my last record; some of which I had been playing live, some I hadn’t been. I did that in March and completed those songs and surveyed the scene and decided what the record needed and then spent a few months writing five more songs to fill out the record the way I saw it in June and then mixed the whole thing at the end of last summer. It was really fun because I really had never done that before. Before I would record what I had and decide what it needed and then wrote that kind of song to fit the record so this time, the new approach was a fun exercise for me. I recorded at the same studio with the same producer and I feel very comfortable there; it makes me feel like I’m coming home. And then I just got all of my favourite musicians to contribute to the record. It was just an absolute glorious experience.

How do you think your sound has evolved since Real Life and To Survive?
It’s interesting because when I listen to my songs, I think all the time: “Where did that come from?” It’s beyond me. But I feel like I’m in a different place now…much more relaxed with myself in general. This is one of the treasures of spending more time alive because you get more comfortable with yourself and your surroundings.

You reached a milestone age last summer (Joan turned 40) – were there any anxieties?
I was really excited about it because I felt like it was a demarcation point of where I really didn’t have to give a shit about anything anymore. I never had to before, but I could just actually free myself of all the youth stuff because I have experienced a lot of stuff and it’s really been worth it even though things were very difficult at times. I feel really lucky that everyday feels a bit better than the last day because I’m determined to live a full life.

How did you celebrate?
I had a big party on my roof at home (just outside New York). It was really nice because I was there for the first time on my birthday and I really embraced it.

What advice would you give a 20 year old Joan and 30 year old Joan?
I would just reassure the 20 year old Joan that things are definitely going to get better – I did not think that then. At 30…I don’t know…the thing is I wouldn’t ever do anything differently. You have to learn everything the way you learn them, unfortunately sometimes.

What do you do to switch off?
I definitely have to exercise or I go crazy. I need that in my life so I do that a lot. I spend a certain amount of time with my friends being ridiculous and making jokes as terrible as possible. Oh and drinking way too much coffee.

Who’s house would you most like to be a fly on the wall at?
Prince…definitely! He’s the only person who I think: “What is he doing right now?”. Because you know it’s something weird…or fascinating. He’s just incredible; amazing.

Joan’s new album The Deep Field is out now on PIAS records and she is playing across the UK until 13 February.


Illustration by Matilde Sazio

“This song is about fucking up against the wall, viagra ” announces Joan Wasser to introduce “Hard white wall”, a track from her second album To Survive at her Barbican gig. Never the shrinking violet, Joan is standing in an all-in-one fitted black leather number, slashed at the back, as the spotlights converge on her small frame. Last Sunday was the seventh time I have seen Joan As Police Woman in London.

The first time I saw Joan play was on a balmy summer’s evening in 2006 at now defunct The Spitz in Spitalfields, which in my opinion, used to put on some of the best gigs in London. The venue was at capacity that night and the air inside was clammy to the point where every surface I touched, whether it was a table or wall, seemed to be coated with a film of sweat. Fresh from a tour supporting Guillemots, Joan took the stage in a silver metallic floor length gown and wowed the audience with her electric solo set. No big stage productions, no fancy costume changes, not even a band; just Joan with her powerful, soulful vocals, Korg keyboard and guitar. I am certain that she gained some lifelong fans that night, of which I am one.


Illustration by Darren Fletcher

The truth is my enthusiasm for Joan extends beyond just liking her records and appreciating her live performances. There’s something about her music – in the same vein as Antony and the Johnsons, Rufus Wainwright, Cat Power and Regina Spektor – which deeply resonates with me. Her sound is raw, honest, pure and sung from the heart in a way which isn’t bland, overdone or contrived. The combination of her emotive vocals, attention to detail in the form of a subtle stroke of cymbal here and an echo of string instruments there, has had the power to reduce me to tears in the past (although I have been known to cry at most things!).

Over the years, Joan has seen me through the best and worst of times: she’s been the soundtrack to exciting train and coach journeys across South East Asia and South America as I have admired the ever-changing landscapes, accompanied me as I have trudged miserably into work on an overheated tube wedged up against some hairy obese man’s armpit, and comforted me through the pain of a relationship break-up where I often found myself lying kidney-bean shaped, feeling sorry for myself (on this last point, what I have learned is that boyfriends may come and go, but if you discover a good artist, they have an unparalleled reliance. Joan has consistently delivered the goods since her first album and that Spitz gig in 2006, which is far more than what can be said of any of my recent relationships).


Illustration by Darren Fletcher

A multi-instrumentalist who flits effortlessly from piano to guitar to violin, Joan has worked and performed with the likes of Antony and the Johnsons, Rufus Wainwright, Lou Reed, Nick Cave and Elton John to name but a few. Much is made of the fact that she was the girlfriend of the luminous late-Jeff Buckley when he died, whose “Everybody Here Wants You” track is rumoured to be inspired by her, but for Joan to be defined by this alone is grossly unfair. The recognition that she deserves should be based purely on her own talent of epic proportions.

In the same vein as Antony and Rufus, much of Joan’s charm lies in her musical arrangements and unique which can be spine-tingling, served tender or harsh. Her new album, The Deep Field unfurls her lust for life and presents to us a more positive and upbeat individual compared to her earlier offerings, Real Life (2006) and To Survive (2008). In her own words, it is her “most open, joyous record” to date. Although the record is a departure from her more typical sombre sound, its essence is consistent with her previous work where she continues to demonstrate mood, depth, authenticity and sophisticated musical arrangements, which is a rare gem amongst some of the generic, non-memorable cack that passes for music today.


Illustration by Matilde Sazio

When I meet Joan for tea at the K-West Hotel in Shepherd’s Bush for our interview, she is friendly and upbeat, but appears visibly tired after having spent two days trekking across the UK to do promo work. I try to act cool and calm, but I am sweating like hell and on my way to the hotel, I slip over and land on my bottom to the amusement of two young teenage boys who break out into hysterics, which makes for a nice ice-breaker as I re-tell my story.

Wearing a brown leather jacket, a matching pair of trousers and a bright yellow t-shirt with “Strut ‘n’ Stuff” emblazoned across the front that she picked up from a thrift store, with her thick unkempt dark brown hair and flawless skin, Joan looks much younger than her years – much closer to 30 than 40.

As we sit on a comfy sofa in the library area of the hotel, Joan is oblivious to the two men in suits sitting behind us having a business meeting, who shoot a few disapproving glances in our direction as her voice gets progressively louder over the course of the interview. Speaking animatedly with a cup of herbal tea (she is trying to cut back on the coffee) in one hand and some neatly cut slices of apple in the other, Joan and I discuss life before Joan As Police Woman, the inspiration behind her new record, being in a better place and who’s house she’d most like to be a fly on the wall at, all in the good company of some soft-porn inspired saxophone music, playing softly in the background…

You trained as a classical musician and spent some time performing as one. What was the catalyst for you to explore being an alternative musician?
I always listened to different kinds of music as I was growing up and throughout my classical training. Classical music and non-classical music is all music so for me; it wasn’t all that big of a stretch making other music. I loved studying classical music, but I wasn’t really interested in making it my life’s work because I really wanted to make new music. There were also plenty of people who were better equipped at bringing new insight to the Beethoven violin concerto and I was not one of them. I loved learning the discipline behind that but pursuing a career in it didn’t interest me so when I moved to Boston to go to school I started playing in bands then because all my friends were in bands and the rest, I guess they say, is history.

You’ve been in several bands since you started out as a musician, including playing violin with Rufus Wainwright and Antony and the Johnsons, yet it as only in 2004 that you decided to front your own band. Why was there this delay?
Well I played violin exclusively for some time so I was mostly contributing to other peoples’ bands which I loved doing. I was playing an instrument that is like a voice in itself. You don’t write songs on the violin so I had no way of writing. I picked up a guitar in 1997 to see what it was like; I wanted to figure out if I could write songs and started writing. I put a band together called Black Beetle and wrote a few songs with them and I joined Antony’s band. At this stage, I was still playing with lots of people doing string arranging, but I also wanted to try out my voice which sounded horrible to me at the time. In the beginning you’re not used to what it sounds like and it doesn’t feel natural.


But surely you must have had reassurance from your friends that your voice is anything but horrible…
Well no one heard it. I started playing but I didn’t tell many people. I did get a lot of support from my friends which helped a lot, even if you think they’re lying because they love you.

So it was all very much about stepping slowly out of your comfort zone…
Yes, very much so. Antony had me open with one of his songs solo sometimes. It was a very anxious experience, especially as I was around a lot of astounding vocal performers. It was really scary, but I’m that kind of person where I jump into the deep end. It’s the only way to do things. I was making a record with Black Beetle that never got released, which was part of the learning process and then that band broke up in 2002 but I kept going; playing on my own and then I got a drummer to play with me and then Rufus asked me to go on tour and open for him and it just all went from there.

The first time I saw you perform was at The Spitz in 2006, and even back then you seemed to be a very natural performer. Has performing always been second nature to you?
At that point I felt a lot better. Opening for Rufus (Wainwright) was a good experience – you can’t really be opening for a crowd of total music lovers without getting your act together. Also, the fact that I come to a city that isn’t mine and tonnes of people show up. It makes you feel great; it makes you think: “OK – well at least I’m doing something right”.

When did you start recording the new album and what were your inspirations for the record?
I started by making a covers record which was fun for me to do. I wanted to get out of my head; my own songwriting. I think it really helped me to direct my songwriting on this record. I’m in a great place these days so I feel really open and joyful and I really wanted to get this across in the record. I first recorded seven songs that I had been writing since my last record; some of which I had been playing live, some I hadn’t been. I did that in March and completed those songs and surveyed the scene and decided what the record needed and then spent a few months writing five more songs to fill out the record the way I saw it in June and then mixed the whole thing at the end of last summer. It was really fun because I really had never done that before. Before I would record what I had and decide what it needed and then wrote that kind of song to fit the record so this time, the new approach was a fun exercise for me. I recorded at the same studio with the same producer and I feel very comfortable there; it makes me feel like I’m coming home. And then I just got all of my favourite musicians to contribute to the record. It was just an absolute glorious experience.

How do you think your sound has evolved since Real Life and To Survive?
It’s interesting because when I listen to my songs, I think all the time: “Where did that come from?” It’s beyond me. But I feel like I’m in a different place now…much more relaxed with myself in general. This is one of the treasures of spending more time alive because you get more comfortable with yourself and your surroundings.

You reached a milestone age last summer (Joan turned 40) – were there any anxieties?
I was really excited about it because I felt like it was a demarcation point of where I really didn’t have to give a shit about anything anymore. I never had to before, but I could just actually free myself of all the youth stuff because I have experienced a lot of stuff and it’s really been worth it even though things were very difficult at times. I feel really lucky that everyday feels a bit better than the last day because I’m determined to live a full life.

How did you celebrate?
I had a big party on my roof at home (just outside New York). It was really nice because I was there for the first time on my birthday and I really embraced it.

What advice would you give a 20 year old Joan and 30 year old Joan?
I would just reassure the 20 year old Joan that things are definitely going to get better – I did not think that then. At 30…I don’t know…the thing is I wouldn’t ever do anything differently. You have to learn everything the way you learn them, unfortunately sometimes.

What do you do to switch off?
I definitely have to exercise or I go crazy. I need that in my life so I do that a lot. I spend a certain amount of time with my friends being ridiculous and making jokes as terrible as possible. Oh and drinking way too much coffee.

Who’s house would you most like to be a fly on the wall at?
Prince…definitely! He’s the only person who I think: “What is he doing right now?”. Because you know it’s something weird…or fascinating. He’s just incredible; amazing.

Joan’s new album The Deep Field is out now on PIAS records and she is playing across the UK until 13 February.

valentines foxes by bex glover
Valentines Foxes by Bex Glover.

By now if you have any interest in the upcoming consumer fest that is Valentines Day you will probably already have read Hannah’s slightly bah humbug Valentines blog post, recipe which nevertheless gave some great tips on how to best celebrate this festival of luuuurve.

Peacock Heart by Jenny Lloyd
Peacock Heart by Jenny Lloyd. Available to buy as a print over on Society 6.

Last year I detailed how Valentines has been for me in the past – in almost every instance a non event unless I went to the trouble of sending friends and family something special.

jenny robins - red valentine
Red Valentine by Jenny Robins. You can buy her Book of Love here on Etsy.

But I’ve been in my current relationship for quite awhile now and this year Valentines Day throws up all sorts of new worries for me… Will he feel pressurised to take me out? Do I even want to go out and join the masses, here now that the option may in fact be available? What do I feel about how I should be treated and what, at the end of the day, is the best expression of love? Don’t laugh, I’ve seriously never had to think about these things before: my love life has been that rubbish for so long.

valentine's day by Natsuki-Otani
LSD Love by Natsuki Otani – available to buy online at Society 6.

Well, unsurprisingly I have to say that my views remain pretty much the same as they did last year. For me the best way to show that you care about someone is to put a bit of thought into whatever you decide to do on Valentines Day, whether you are showing that kindness to friends and family or a special partner – something that it goes without saying should really be an ongoing year-round state of affairs.

youmakemetick by Adam Smith
youmakemetick by Adam Smith.

Whatever you do steer clear of the crazed demands to BUY BUY BUY, and instead think of what your loved one truly appreciates – which is most likely to be your time and your energy. For me receiving something hand made is always the most appreciated gift there is – time having become such a precious resource in itself. There are some really sweet ideas that cost barely a penny over on Hannah’s blog.

Valentines Icecream by Gemma Smith
Valentines Icecream by Gemma Smith.

Failing that a gift hand made by someone else is definitely a close second best. So in the spirit of collaboration I asked people to send me their hand made Valentines gift ideas via twitter – here’s my pick of the best:

Anko Fairy Steps pendant
Ankolie has contributed to Amelia’s Magazine as an illustrator – here’s her lovely little Fairy Steps necklace which features really cute heart links and a central cabochon that features one of her paintings, available on Etsy.

lovebirds-becca thorne
Becca Thorne offers this adorable love birds linoprint on Etsy.

stay over toothbrush pendant by plastic seconds
On the recycled jewellery front how about this jokey Stay Over toothbrush necklace from Plastic Seconds? Also seen in the ICA shop.

Prick Your Finger hearts
Prick Your Finger offer these lovely knitted wool hearts that were knitted by Mary in the Shetlands: a steal at £4.50

Rob Ryan Valentines
He’s the king of romantic whimsy so I felt duty bound to include the now obligatory Rob Ryan laser cut piece Can We Shall We – miraculously there appear to still be some of these in stock at Soma Gallery. Grab em whilst you can.

Valentines fisheye camera by Gemma Smith
Valentines fisheye camera by Gemma Smith.

Lomography have brought out a special edition Diana F+ camera encrusted in naked people and a Fisheye 2 in syrupy sweet pink. If your lover is not yet a hipstamatic aficionado now may might be a good time for them to try analogue again.

I Heart Music by Liz Lewis
I Heart Music by Liz Lewis.

Flowers would never ever go amiss… so long as they haven’t been flown in from some beleaguered country far away.

LOVE by Lou Cloud
LOVE by Lou Cloud.

And I like jewellery. Don’t know why. I just do. I think it’s something about the fact that a treasured piece can be worn almost all the time as a reminder of someone’s devotion, which is why I respond very well to delicate pieces… particularly in gold.

Laura Gravestock
Love these rose gold pieces by Laura Gravestock, and quite reasonably priced too.

Peppermint Patty. An oil painting by Artist Andrea
Peppermint Patty. An oil painting by Artist Andrea.

Speaking of which, the much anticipated UK Fairtrade ethical gold standard came into force only yesterday, so here’s hoping that it will soon become very much easier to buy luxury jewellery that is made without harm to people or planet. Because, after all, where’s the love in that?

Oria-blossom-bird
Over at EC One ethical jewellery brand Oria (featured in Amelia’s Compendium of Fashion Illustration) offer their lovely lovebird earrings – as illustrated in my book. Purrrrfect, and they come with a totally clear conscience.

Finally, if you’re looking for something to do that’s a bit out of the ordinary, how about a trip to the Museum of Everything to see the current Peter Blake curated exhibition for the last time? There will be things to watch all over the weekend, including live music, and a film showing.

Je t'aime by Anieszka Banks
Je t’aime by Anieszka Banks.

The School for Life is well known for hosting some ever so intriguing seminars. On February 14th they ask:
Who’d be in a relationship?
At its best, love can make us deliriously happy. At worst, it makes us more miserable than anything on earth. It robs us of our autonomy, freedom and financial independence. It can bring disillusion, heartbreak and betrayal.
Who’d be single?
We’re confined to the prison of our established and frequently very boring selves. At best, singleness allows us to be free agents, able to fulfill our desires. At worst, it drags us down to the depths of loneliness. It robs us of intimacy, personal engagement, and an understanding that true happiness is about giving oneself away. 

Paris by Joanna Faria
Paris by Joana Faria.

So why not book an evening with author Simon Critchley? He’ll be talking at The School for Life which is located at 70 Marchmont Street, London WC1N 1AB.

Elliott_Quince_Linocut_illustration Quinky Art
And if you’re still feeling a bit grumpy about the whole affair how about this free downloadable Zombie Valentines lino cut from Quinky Art?

No pressure on the boyfriend at all then. But between this lot there’s a little something for everyone don’t you think? Especially the ladies amongst us…

emma_block_Oria_jewellery
Oria Lovebird necklace as featured in Amelia’s Compendium of Fashion Illustration. Illustration by Emma Block.

You can read more about my abysmal love life in my Valentines blog post from 2010.

Categories ,ACOFI, ,Adam Smith, ,Amelia’s Compendium of Fashion Illustration, ,Andrea Peterson, ,Anieszka Banks, ,Ankolie, ,Artist Andrea, ,Becca Thorne, ,Bex Glover, ,Can We Shall We, ,Diana F+, ,EC One, ,Emma Block, ,Ethical Gold, ,etsy, ,fairtrade, ,Fisheye 2, ,Flowers, ,Gemma Smith, ,gifts, ,Gold, ,hearts, ,ica, ,Je t’aime, ,Jenny Lloyd, ,Jenny Robins, ,jewellery, ,Joana Faria, ,Laura Gravestock, ,Liz Lewis, ,Lou Cloud, ,Museum of Everything, ,Natsuki Otani, ,Oria, ,Peacock Heart, ,Peter Blake, ,Plastic Seconds, ,Prick your Finger, ,Quinky Art, ,rob ryan, ,Simon Critchley, ,Society 6, ,Soma Gallery, ,The School of Life, ,Valentine’s Day

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Amelia’s Magazine | Vintage at Goodwood: Festival Review

Wolf and Badger launch display amy
WolfandBadger skull
All photography by Amelia Gregory.

I don’t often head into town for launches after work these days but I was intrigued enough by the sound of the Wolf and Badger pop up store in Selfridges to request a ticket from them and make the trek over on my bike. Even though it was raining and I now have a snuffle.

There’s probably a reason why I don’t get asked to parties at that temple to consumerism Selfridges – it’s hallowed halls are all gleaming and full of trinkets and I don’t know that the readers of my website have much money to spend in them. I certainly don’t. But it’s rather wonderful to visit once in a blue moon – especially the food hall, order where I couldn’t resist picking up some Marmite flavoured biscuits by Fudges (shaped like Marmite pots!) as a special treat. Now there’s a brand diffusion I really can’t get enough of…

WolfandBadger Selfridges window display by Kyle Bean
The current window display by Kyle Bean.

On arrival I could see what was rather a swanky affair through the windows as I peered past a rather wonderful fairytale castle made out of old books. Inside some furiously groomed folk filled the aisles as they fuelled up with champagne and jellybeans. A couple of ladies with bog roll wigs delivered creamed canapes from a side table and there was so much people watching potential that I found it hard to concentrate on the work being sold.

WolfandBadger amelia gregory
WolfandBadger launch photo by Amelia gregory
Not sure about this as a look…

Along the back wall a vision of Amy Winehouse in buttons was on display centre stage by the artist Sarah Gwyer. We particularly admired the clever use of old Costa service badges in the hairpiece on her beehive. Next door a digital parakeet by Troy Abbott boggled my mind somewhat. Erm… fun, but do we really have energy to waste with fripperies like this?

WolfandBadger launch photo by Amelia gregory

I preferred the plates and cups with curly bites taken out of them – created by the designer Evthokia. And over the top it might be but I adored the opulent ceramic ware from Jasmin Rowlandson: great curlicued gold and cream extravagances inspired by coral reefs and wood. Note to Wolf and Badger: it’s a shame the names of artists were hammered out in metal, making them incredibly hard to read and take note of.

WolfandBadger launch photo by Amelia gregory
Not your usual crockery from Evthokia.

WolfandBadger launch photo by Amelia gregory
WolfandBadger launch photo by Amelia gregory
Ceramic ware from Jasmin Rowlandson.

On the tables knuckle duster jewellery by Gisele Ganne was equally over the top. I can’t much imagine anyone wearing this stuff but it was fun to marvel at it in a glass case.

WolfandBadger gisele ganne
Knuckle duster madness by Gisele Ganne.

Maybe I’m suddenly getting a little more low key in my old age, but I was more drawn to the delicate gold filigree jewellery of Mallarino. I often gaze longingly at the Indian wedding earrings in the windows of the shops on Bethnal Green Road, and this seemed to be greatly inspired by such designs.

WolfandBadger launch photo by Amelia gregory
Botoxed high society lady.

WolfandBadger launch photo by Amelia gregory
And not quite so botoxed (or high society) lady.

As we left I picked up a satisfyingly heavy goodie bag from Selfridges – unfortunately it wasn’t anything exciting from Wolf and Badger. Just a bog standard notebook.

Even if you haven’t got the cash to flash, the Wolf and Badger pop up concept store is worth popping into for some cool West London designer inspiration if you’re in that part of town. It’s only on between the dates of 12-31 August 2010.

WolfandBadger launch photo by Amelia gregory
WolfandBadger skull
All photography by Amelia Gregory.

I don’t often head into town for launches after work these days but I was intrigued enough by the sound of the Wolf and Badger pop up store in Selfridges to request a ticket from them and make the trek over on my bike. Even though it was raining and I now have a snuffle.

There’s probably a reason why I don’t get asked to parties at that temple to consumerism Selfridges – it’s hallowed halls are all gleaming and full of trinkets and I don’t know that the readers of my website have much money to spend in them. I certainly don’t. But it’s rather wonderful to visit once in a blue moon – especially the food hall, store where I couldn’t resist picking up some Marmite flavoured biscuits by Fudges (shaped like Marmite pots!) as a special treat. Now there’s a brand diffusion I really can’t get enough of…

WolfandBadger Selfridges window display by Kyle Bean
The current window display by Kyle Bean.

On arrival I could see what was rather a swanky affair through the windows as I peered past a rather wonderful fairytale castle made out of old books. Inside some furiously groomed folk filled the aisles as they fuelled up with champagne and jellybeans. A couple of ladies with bog roll wigs delivered creamed canapes from a side table and there was so much people watching potential that I found it hard to concentrate on the work being sold.

WolfandBadger amelia gregory
WolfandBadger launch photo by Amelia gregory
Not sure about this as a look…

Along the back wall a vision of Amy Winehouse in buttons was on display centre stage by the artist Sarah Gwyer. We particularly admired the clever use of old Costa Coffee service badges in the hairpiece on her beehive.

Wolf and Badger launch display amy

Next door a digital parakeet by Troy Abbott boggled my mind somewhat. Erm… fun, but do we really have energy to waste with fripperies like this?

WolfandBadger launch photo by Amelia gregory

I preferred the plates and cups with curly bites taken out of them – created by the designer Evthokia. And over the top it might be but I adored the opulent ceramic ware from Jasmin Rowlandson: great curlicued gold and cream extravagances inspired by coral reefs and wood. Note to Wolf and Badger: it’s a shame the names of artists were hammered out in metal, making them incredibly hard to read and take note of.

WolfandBadger launch photo by Amelia gregory
Not your usual crockery from Evthokia.

WolfandBadger launch photo by Amelia gregory
WolfandBadger launch photo by Amelia gregory
Ceramic ware from Jasmin Rowlandson.

On the tables knuckle duster jewellery by Gisele Ganne was equally over the top. I can’t much imagine anyone wearing this stuff but it was fun to marvel at it in a glass case.

WolfandBadger gisele ganne
Knuckle duster madness by Gisele Ganne.

Maybe I’m suddenly getting a little more low key in my old age, but I was more drawn to the delicate gold filigree jewellery of Mallarino. I often gaze longingly at the Indian wedding earrings in the windows of the shops on Bethnal Green Road, and this seemed to be greatly inspired by such designs.

WolfandBadger launch photo by Amelia gregory
Botoxed high society lady.

WolfandBadger launch photo by Amelia gregory
And not quite so botoxed (or high society) lady.

As we left I picked up a satisfyingly heavy goodie bag from Selfridges – unfortunately it wasn’t anything exciting from Wolf and Badger. Just a bog standard notebook.

Even if you haven’t got the cash to flash, the Wolf and Badger pop up concept store is worth popping into for some cool West London designer inspiration if you’re in that part of town. It’s only on between the dates of 12-31 August 2010.

WolfandBadger launch photo by Amelia gregory
Dahling_by_Abigail_Nottingham
Dahling by Abigail Nottingham.

“We’re building great cafes and restaurants on the Vintage High St, site where you will even find a Waitrose.” So said the flyer that I picked up in a local pub the day after our sojourn to Vintage at Goodwood. To be honest, and if I’d seen this same flyer before I’d been inundated with hype from the great VAG press machine then I might not have been so keen to attend the festival.

Vintage Goodwood 2010
Vintage Goodwood 2010
Photography by Amelia Gregory.

It’s ironic then, that, like the camping spots in “hidden glades, hollows, copses and hillocks” Waitrose didn’t make it into the final Vintage at Goodwood vision. But what did was every bit as soulless as I feared it might be in my preview blog.

Vintage Goodwood 2010

Past a regimental camping site that better represented a hillside carpark, we did indeed approach the main VAG entrance via a wooded glade… and as we did so passed what was to prove the most interesting aspect of the whole festival – a small eco-campment complete with beautiful decorated gypsy caravan, outsized lace-making and knitting, and a tiny outdoor stage for up and coming bands. Curated by textile artist Annie Sherburne, it was like a touch of Secret Garden Party had crept into the mix, but knowing not where to put it the madness was relegated to the woods.

Vintage Goodwood knit
Love shack caravan By Jessica Sharville
Love Shack Caravan by Jessica Sharville.

So far, so not very vintage, but as we ducked under the entrance arch a slew of gorgeous old cars funnelled us down towards the much trumpeted High Street, rearing up against the dramatic sky like a cross between a back lot of a Hollywood western and a trade show.

Vintage Goodwood entrance
Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

“Fifty years on from the design-led 1951 Festival of Britain, Goodwood is to host in 2010 the first of what will be an annual event” opens the glossy VAG flyer, and true to this spirit the very first shop on the High Street housed Wayne Hemingway Inc, choc full of products plastered with designs inspired by the very same Festival of Britain. As one worker commented to me “How arrogant can you be?” Vintage at Goodwood was a monument to our current obsession with consumerism as leisure, and bore no resemblance to the Festival of Britain’s celebration of modern societies’ achievements in post-war Britain. To compare something to such an iconographic event is to set oneself up for a fall.

Vintage Goodwood pub
Vintage Goodwood dress
TigzRice_pinupcar
Pinup Girl with Car by Tigz Rice.

Boggling, I gazed up at the garishly coloured towering fascias, wondering at the huge amount of money that must have gone into the construction. And none of it looking remotely recyclable. For that matter, where were the recycling bins? The post war years were frugal, and there was no sign of that here.

Vintage Goodwood 2010
Vintage Goodwood 2010

Instead there was the opportunity to shop inside stands for those well known vintage brands: The Body Shop, Fortnum & Mason, John Lewis and some really expensive watch brand I’ve never heard of; in whose stall people quaffed champagne as a man picked apart on old watch face and another displayed a case of super expensive items to a wealthy shopper. The same brand had sponsored the festival wristbands, made out of lethal lentographic plastic that cut my friend’s arm to shreds.

Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

There was also: a cinema, and a catwalk hosting “sold out” shows. We never did find out if this was just a turn of phrase or whether they were actually sold out. Yup, you had to pay on top of the ticket price for many of the attractions. And did I mention the style stand, where you could get your hair done by Primark in collaboration with the Sunday Times Style Magazine. Yes really. This is what we’ve come to.

vintage at goodwood by erica sharp
Vintage at Goodwood by Erica Sharp.

I heard rumours of people flying in to attend this festival on private jets, but it was telling of the strange mix of people that there was also a Daily Mirror volkswagen bus on site. As someone wrote on twitter, it seemed like a sanitised Daily Mail version of fifty years of culture, devoid of all nuance or passion. Inside the Sotheby’s auction tent the intermittent rain drip dripped onto a vintage speaker valued at £6000 as a couple passed looking uncomfortable in a fancy dress version of the 1970s.

Vintage Goodwood 2010
vintagegoodwood by Maria del Carmen Smith
Vintage at Goodwood Auction by Maria del Carmen Smith.

The most popular dress amongst women seemed to be the ubiquitous flouncey polka dot fifties number, or some other poorly rendered version of what was worn in the 60s or 70s. Fine if that’s your bag, but I’ve seen fancy dress done with a whole lot more verve at places like Bestival. I guess pure vintage enthusiasts wear vintage clothes with a dedication to style that wasn’t obvious on many festival goers, because vintage enthusiasts choose to wear these clothes day in day out, not as mere fancy dress. It wasn’t altogether surprising to find the real vintage enthusiasts looking slightly bemused and out of place in the staff dinner queue.

Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood crocs
Future Vintage: Crocs apparently…
Vintage Goodwood 2010
and the Big Brother chair. God help us.
Vintage Goodwood 2010
Tyrells crisps promotion: a vegetable chamber group.
Vintage Goodwood 2010
Vintage Goodwood 2010
Rocking the vintage look.

We spoke to friends in the much smaller vintage stall area that was hidden in cramped tents behind the central shopping parade. They were ambivalent about the festival: cross with the way it had been organised and how they were being treated, but happy with the money being spent on their stalls. Aside from spend spend spend, there wasn’t really much to do. We saw little evidence of art from across the decades, other than a strong presence from Peter Blake. We were amazed at the lack of protection for all the beautiful vintage cars stationed next to themed areas for each decade, scattered across the largely unpopulated site. Although there were rumours of workshops, without a £12 programme (touted as a must have “annual”) to tell us when and where, there didn’t seem to be much opportunity.

Vintage Goodwood craft

Like others we gawped at the crafters rather than join in and participate. “Ladies, wear your heels,” urged the flyer. But there wasn’t that much evidence of glamour as the small and bedraggled crowd waved their brollies in the air during the mid afternoon set at the 80s rave warehouse.

Vintage Goodwood 2010
The programme: £12 a pop.
Vintage Goodwood rave
The rave. Wet. Photograph by Tim Adey.
Vintage Goodwood empty
Vintage Goodwood 2010
Vintage Goodwood 2010
Vintage Goodwood 2010

I had hoped to visit The Chap Olympiad but every time we got close the heavens opened and we retreated. We tried to see comedian John Shuttleworth but the inflatable Leisure Dome was full to capacity and I was buggered if we were going to stand in a queue in the rain. How much electricity does it take to keep a blow up tent full of air? *ponders* Over on the main stage a respectable crowd gathered for The Noisettes, but seemed bemused by singer Shingai Shoniwa’s stage banter. And I wonder, how do The Noisettes fit into any kind of “vintage” mould?

Vintage Goodwood Noisettes
noisettes-singer-by-anagomezhernandez
Shingai Shoniwa by Ana Gomez Hernandez.

Instead we headed back to the Leisure Dome after another tip off – this time to see the absolutely amazing Swingle Singers singing choreographed acapella and beat box versions of popular songs. An utterly astonishing discovery they alone made the trip down south worthwhile.

Vintage Goodwood Swingle Singers
Vintage Goodwood austin
Vintage Goodwood swingle
Vintage Goodwood Swingle singers
swingle singers by anna hancock young
Swingle Singers by Anna Hancock Young.

Afterwards we stayed onto watch 70 year old Tony Hatch, he of soap opera theme tune fame (don’t worry, I had no idea who he was either). A highlight of our short visit to VAG was surely the sight of Captain Sensible (of punk legends The Damned), listening to Tony Hatch and singers reprise the Neighbours theme tune. Does it get anymore surreal?

Vintage Goodwood Tony Hatch
Tony Hatch and friends.

Thanks to the power of twitter I was able to find out what VAG was like for myself, and in retrospect I am very glad that I didn’t get given free tickets by the organisers because I would have felt duty bound to be much nicer about the VAG experience if I had. I am sure that many people thoroughly enjoyed their trip to Vintage at Goodwood, but for me the idea of staying on for another day was utterly unappealing. Instead we left whilst the going was good, stayed over at a friend’s house and spent Sunday getting drunk with locals at a historic pub in nearby Petersfield.

Vintage Goodwood by Louise Sterling
Vintage Goodwood by Louise Sterling.

On my previous blog there have been a couple of comments stressing the need for big sponsors in order to make a return on investment on a festival such as VAG. This is absolutely not true unless you aspire to make a festival bigger than it wants to be. Most festivals start small and grow organically through the love and dedication of the people who take part. It’s not necessary to bring big brands in unless you’re aiming for a showy experience at the expense of any kind of soul.

Vintage Goodwood girls
Vintage Goodwood shop
Vintage Goodwood red
Vintage Goodwood 2010
Sponsored up to the hilt.

For real vintage lovers I suggest that next year, instead of going to Vintage at Goodwood you check out the numerous other boutique festivals dedicated to specific eras. Especially since I have a sneaking suspicion that many of the true vintage enthusiasts that made it to VAG will not be returning next year. And if you want pure unadulterated playful creative dressing up then I suggest you check out Secret Garden Party – and for real forward thinking cultural inspiration then try Latitude. A hyped-up vanity project does not a successful festival make.

Vintage Goodwood mobility

Categories ,Abigail Nottingham, ,Ana Gomez, ,Ana Gomez Hernandez, ,Anna Hancock-Young, ,Annie Sherburne, ,bestival, ,Captain Sensible, ,Erica Sharp, ,John Shuttleworth, ,latitude, ,Louise Sterling, ,Maria del Carmen Smith, ,Peter Blake, ,Primark, ,Secret Garden Party, ,Shingai Shoniwa, ,Swingle Singers, ,The Chap Olympiad, ,The Damned, ,the Noisettes, ,Tigz Rice, ,Tigzy, ,Tim Adey, ,Tony Hatch, ,Vintage at Goodwood, ,Vintage Goodwood. Jessica Sharville, ,Wayne Hemmingway

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This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, drugs no, I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

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Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

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Design by Orschel-Read, Illustration by Gareth A Hopkins

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Samuel Membey’s coat revisits the … as beloved by punks as captured in the wonderful photography book Skins by Gavin Watson.

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Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

Finally I came upon the research section of the Royal College’s Mphil department and the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5 , an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Design by Ruth Hill, buy information pills Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, viagra no, I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

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It was amazing to discover, that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

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Samuel Membey’s coat revisits the … as beloved by punks as captured in the wonderful photography book Skins by Gavin Watson.

Ruth Hill

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Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

Finally I came upon the research section of the Royal College’s Mphil department and the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5 , an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Design by Ruth Hill, store Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, viagra buy no, this site I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover, that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

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I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Ahn

Menswear Year 2 student and intriguing illustrator, Sol Ahn displayed this breathtaking combination of a triomphe d’oeil shirt and cardigan with fabrics to match the illustrations!

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Samuel Membey’s coat revisits the … as beloved by punks as captured in the wonderful photography book Skins by Gavin Watson.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange dress was highly reminiscent of Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

Finally I came upon the research section of the Royal College’s Mphil department and the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5 , an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Design by Ruth Hill, side effects Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, viagra approved no, diagnosis I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Ahn

Menswear Year 2 student and intriguing illustrator, Sol Ahn displayed this breathtaking combination of a triomphe d’oeil shirt and cardigan with fabrics to match the illustrations!

Samuel Membey

Samuel Membey’s coat revisits the … as beloved by punks as captured in the wonderful photography book Skins by Gavin Watson.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange dress with a subtle block print was beautifully reminiscent of the artist Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

Finally I came upon the research section of the Royal College’s Mphil department and the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5 , an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Design by Ruth Hill, link Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, unhealthy no, I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Ahn

Menswear Year 2 student and intriguing illustrator, Sol Ahn displayed this breathtaking combination of a triomphe d’oeil shirt and cardigan with fabrics to match the illustrations!

Samuel Membey

Samuel Membey’s overcoat revisits the skinhead movement of the 1970′s, as captured in Gavin Watson’s collection of photographs: Skins.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange dress with a subtle block print was beautifully reminiscent of the artist Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

In the M.Phil research section, I came across the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5, an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.


Illustration by Alexandra Rolfe

I almost didn’t make it to Rudy de Belgeonne‘s exhibition at the Exposure Gallery. It was a rainy Thursday and I’d already hiked to the Hipstamatic exhibition, seek and all I wanted to do was go home and watch EastEnders. Occasionally, it pays to miss EastEnders.


All photography by Matt Bramford

At the Exposure Gallery on Little Portland Street, Rudy has mounted a thousand wooden blocks, each with a different phrase representing a man. Y’know, everything from ‘Pal‘ and ‘Hero‘ to ‘Bad Ass‘, ‘Mofo‘ and ‘Gay Boy‘.

The blocks all proudly own their own hand-painted idioms in a varying array of typefaces, with themes like spaghetti western, 1970s disco and 1980s computer graphics. For anybody obsessed with type, this is a must-see exhibition.

But it isn’t just about typefaces or bright colours. Oh no. Rudy has pretty much mapped all the phrases and aphorisms that have come to represent the male. Song titles, common expressions and often insults are all presented, with the design of each block perfectly suiting each word. Masculine phrases like ‘Champ‘ and ‘Jock‘ are portrayed in bold, blocked fonts; ‘Sexy Mother Fucker‘ and ‘Baby Boy‘ have the flamboyant essence of the 1970s; and ‘Faggot‘ and ‘Friend of Dorothy‘ make use of more feminine typefaces.

I had a chat with Rudy to find out more about the exhibition…

What’s the story behind Who’s The Man??
It’s a very long and winding tale, with many false starts and wrong turnings. Although I studied as a painter years ago, I had been doing mostly digital commercial projects for about 10 years.  I had been working for about a year for a client who I won’t name, on a project that I hated – unpleasant subject, quite complex, very pressurised – so I thought I would keep myself sane by  starting a ‘nice simple’ painting project in my spare time. Also, there was an appeal in the tangibility of paint on wooden panels as an antidote to the nebulous nature of software.

I had always been interested in lists and collections – and also in typefaces and logos, and had an idea that I might do something that played on the words typography/type, and different types of women – the whole housewife, mother, goddess, whore thing amused me.  So I set about collecting as many words for a woman as I could think of.  Trouble was, when I started to actually paint them, something didn’t feel right.  I was painting the word ‘whore’, and it just felt – well – a bit impolite!  It occurred to me how most of the history of art is about the male gaze, woman as subject, men imposing their labels, philosophies, fantasies on their models.  It was then that I had a bit of a lightbulb moment.  Bought up without any paternal role model myself, I think I struggled a bit when I was younger with how one is suppose to behave as a man – what degree of sensitivity, what degree of softness should one allow to show.  So how much more interesting, more personal, how much….funnier,  to turn the gaze around and look at myself, to look at the male.  And how much more culturally relevant, at this time of true female ascendancy in the west, when male roles, behaviour – even purpose – are being questioned on a daily basis in culture and media.  There’s not much call for fighting or hunting these days, and that’s after all what we’re hard-wired to do. Even our breadwinning role is questionable, and there are many many men who – consciously or subconsciously – don’t quite know how they are meant to be.

So I started all over again – and I’m pleased I did, because the Man work has had such a good critical reception – I think in retrospect I may have been given a much harder time if I had worked away for five years and then presented 1000 clichés about women.  I have also become more wrapped up in the subject as it has evolved – reading up on gender politics and masculinity studies.  I came across the phrases ‘gender landscape’  and ‘psychic landscape’ which I hadn’t heard before,  and have come to think of the work almost as some kind of map that a man can stand in front of, and see arrayed before him all the things he could possibly be, and maybe plot his way through these landscapes – who am I? Who would I like to be? Who do I have the option to be but choose not to be? 

What do you hope to achieve with the project?
?First and foremost, with every project I have done, my aim is to seduce – to appeal through beautiful colour schemes and by making people laugh.  If they then start thinking about what kind of man they are, what kind of man they could be, what kind of man they are with, or what kind of man they have bought into the world, then that’s a total bonus for me.
I’m happy for the installation to travel around the world, being reconfigured to fit into different spaces – there are discussions about it going to Tokyo and San Francisco in coming months – selling prints and panel sets off the back of it.  There are also discussions about other merchandise – enamel dog-tags with the words of your choice.  I’m very interested in that point where the art of idea meets mass culture.


Illustration by Avril Kelly

How long has Who’s the Man been in the making? Have you had any help with it??
I started the project 5 years ago in quite a casual way just fitting it in around my day jobs, but I spent more and more time on it as it gained momentum and I realized I was onto something.  I took a studio 2 years ago and I started only doing part-time work so that I could spend more time painting, researching words and typefaces, and thinking about the composition of the piece.  For the last year I worked exclusively on Who’s The Man, and for the first half of 2010, even engaged some interns to help paint backgrounds as I struggled to finish in time for its first showing at the Future Gallery in June.  So it’s all my own work – but with the assistance of everyone who has seen it and given feedback. 
How did you come up with the different words, and how did you source the different typefaces??I have an Excel spreadsheet with more than 4000 words and phrases for a Man. I started out just listing every word I could think of – which was surprisingly many – I have always enjoyed language, and my everyday speech is peppered with phases such as Good Egg, Queer Fish, Rum Cove, Charlie Big Potatoes.  Then, when that started to run dry I turned to dictionaries and thesauruses.  Then I realised that there were a lot of song titles – Good Rockin’ Daddy, Sweet Talkin’ Guy, Mr Boombastic – and movie titles – Godfather, Invisible Man, Mr Majestic – so I turned to IMDB and iTunes.  Then of course, whenever people visited my studio they would challenge themselves to find words I had missed. It still happens whenever show the work – 99% of the time I already have the word people suggest, but I’m still happy to find a place for new ones if something really juicy comes up.

In terms of typefaces, I have a huge collection that I have gathered over the years – I’m a bit of a type geek – I photograph it whenever I see it, clip it from magazines, scan it in, and of course there are many good resources online.

Do you have any particular favourites?
?I’m a fan of all the old fashioned words and phrases that I have already mentioned – ones that I think should be more widely used.  But I also enjoy the juxtaposition of sets of words – Alpha Dog/Pussy Boy, Fancy Dan/Mama Man, Diamond Geezer/Flash Harry Champagne Charlie/Golden Bollocks

What or who has influenced Who’s the Man, or any of your other projects?
?Inspiration comes from all over the place. Conceptually, pop artists like Peter Blake, with his obsessive collections, bold forms and bright flat colours.  Graffiti artists like Margaret Kilgallen, and Ben Eine working today, for the power they manage to invest in the words.  I like a lot of outsider art for its sincerity and obsessive tunnel vision.  But also product packaging, advertising and vintage movie posters of course.

What’s next for the installation and Rudy?
?At the moment I’m still busy dealing with the interest stirred up by Who’s The Man? The installation rolls on from venue to venue, I’m repainting a lot of the panels as bespoke sets to order on a commission basis, and also releasing different configurations as limited edition prints. But I’m conscious that I need to balance all this with taking the idea forwards – I’m working on a range of projects to present the work in different ways – as animation, as an interactive installation, in book form, alongside photos/illustrations of actual men. And developing my next project of course – can’t say too much about it at this stage, but it will be a similar format, except involving images this time, alongside the words… •

Interestingly, I posted an image of ‘16 Gay Types‘ on Twitter – a screen-printed montage of 16 words Rudy has used to represent gay men, which is available as a large-scale print. I had a barrage of replies with suggestions for what could have been on there, and all the gays seemed to love it. I spoke to Rudy about this afterwards, and all of my Twitter pals’ suggestions (fruity examples such as ‘Backdoor Pirate‘) were on Rudy’s original list but he’d been reserved in which to use. Interestingly, he told me the exhibition had resonated mostly with women and gay men, and he believes this is because gay men have experienced longer periods of self-reflection and women think more about the men that surround them and the men they’ve brought into the world. Apparently, it just doesn’t do it for straight men. ‘I have had the odd hetero friend who has looked at it and I can see from looking at their face that it just doesn’t compute,’ Rudy told me.

I guess that’s down to machismo, but even the most alpha of males can find something to enjoy in this unique exhibition, even if it is only swooning over macho typefaces and words. But that’s just the start of it…

Categories ,1970s, ,1980s, ,Baby Boy, ,Ben Eine, ,Champ, ,Charlie Big Potatoes, ,Computer graphics, ,disco, ,EastEnders, ,Exposure Gallery, ,Faggot, ,Friend of Dorothy, ,Gay Boy, ,Good Egg, ,hero, ,IMDB, ,iTunes, ,Jock, ,london, ,Man, ,Margaret Kilgallen, ,MEN, ,Mofo, ,Pal, ,Peter Blake, ,Queer Fish, ,Rudy de Belgeonne, ,Rum Cove, ,Sexy Mother Fucker, ,Typefaces, ,Who’s The Man

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Amelia’s Magazine | In Conversation at the V&A: Peter Blake

http://qik.com/video/9048914

A while back I happened to catch a performance by Lissie at the Old Queens Head in Angel. I hadn’t planned on watching her – truth be told, dosage I was there to check out the band before her; but my curiosity was piqued as I watched the room fill up with an expectant and excited audience, cialis 40mg all craning their necks and standing on their tippy toes to get a better view of the girl serenading us. It’s been a while since I saw someone so captivating. Golden haired, freckled and just a slip of a thing, Lissie entranced the room who in turn treated her to a hushed and reverential silence, punctuated only by bursts of spirited applause and cheers. I watched the audience watching her. Everyone seemed transported out of their location; away from the top room of a pub on grimy old Essex Road and into the world that Mid-Western native come Californian girl Lissie inhabits, laced with the scent of orange blossom, filled with wide open skies, winding rivers and smokey mountains, and night-times spent on porches with nothing but a guitar, a couple of beers and a pack of Marlboro Reds . No wonder we were all enchanted.

A couple of weeks later, I got to meet the busy Lissie. In the time between, Lissie had appeared on Jools Holland, toured around Europe, duetted with Ellie Goulding at The Great Escape, and graced the airwaves, all in the name of the hectic promotion of her debut album, Catching a Tiger (hot on the heels of the release of last years Why You Runnin’ EP). The phrase ‘riding a juggernaut’ comes to mind with Lissie; bursting into our consciousness with the brightest of starts. The day we met was a rare moment of down time; her touring schedule is in a constant state of flux – stretching to accommodate gigs that are being added on a daily basis, and Lissie had only just made it back from the previous nights gigs in Manchester and Newcastle. Curled up wearing her newest ac
health Peter_GarethAHopkins_13thJuly2010″ width=”480″ height=”456″ class=”aligncenter size-full wp-image-21290″ />
Peter Blake, remedy illustrated by Gareth A Hopkins

Peter Blake is, sickness for the majority, most famous for THAT cover. The one still spawning imitators – frequently seen walking the streets, they can be identified through the wearing of what is now the eponymous band jacket. Blake groaned every time the cover was mentioned. For those, like me familiar with Blake’s influence in graphic design, the talk at the V&A was an eye opener. For all the famous album covers (if you would like the aforementioned album signed, Blake charges a tenner and the proceeds are donated to charity) there were numerous drawing projects showcasing the depth of Blake’s talent that is all to often associated solely with an idea of Pop Art.


Illustration by Gareth A Hopkins

Blake received an incredible introduction to a range of technical skills whilst studying at college prior to the Royal College of Art. Fairly recently Blake reintroduced himself to wood engraving, producing prints based on old carnival illustrations. The outcome was a series titled “Side Show,” which with their dark humour and sense of craft could easily have been made in the 19th century.

The series Under Milk Wood appears to be a labour of love. Blake has produced a watercolour for every character, collages of the 28 different dreams experienced by the characters alongside 60 anecdotes. The words of Dylan Thomas appear within the work.

Whilst the talk was organised to champion the release of Blake’s new book: Design, it was full of fascinating anecdotes and tangents as Blake explained the minute reasoning for the appearance of this figure here or that figure there (specifically in relation to the album covers). What came across was the importance of the ability to collect to his work, the treasure trove of his studio and Blake’s ability to embrace the new, demonstrated through his clear admiration for the powers of the computer.

This was a fascinating insight into a polymath of an artist.

Categories ,Album Covers, ,art, ,Dark Humour, ,Dylan Thomas, ,Gareth A Hopkins, ,Graphic Design, ,In Conversation, ,Peter Blake, ,Peter Blake Design, ,Pop Art, ,Royal College of Art, ,Sally Mumby-Croft, ,Sgt Pepper’s Lonely Hearts Club Band, ,Side Show, ,the beatles, ,Under Milk Wood, ,va

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Amelia’s Magazine | London Art Fair 2012 Review: Part One

London Art Fair 2012 -Andrea Mastrovito
London Art Fair 2012. Detail of Andrea Mastrovito‘s Gulliver’s Travels.

You may remember from my previous blog that the launch of The Catlin Guide for the best graduate artists took place at the London Art Fair last week. I popped along to the Islington Business Design Centre to check out the completed guide, suss out which galleries are showcasing the best new talent, and find out what trends are hot in the art world right now.

London Art Fair 2012 -Annie Whiles, detailAnnie Whiles, detail.

First up at Danielle Arnaud I loved work by Annie Whiles, using simple line to create iconic shapes.

London Art Fair 2012 -Simon Lewty, detail
Simon Lewty, detail.

Simon Lewty for Art First showed amazing inked drawings: it’s well worth checking out the rest of his work.

London Art Fair 2012 -Annie Morris, detail
Annie Morris, detail.

At Pertwee, Anderson & Gold, the first in a common theme was evident, rows of stuff: in this case hundreds of pegs, each decorated with a crudely drawn female figure. This Peg Piece was created by artist Annie Morris, who rose to fame after illustrating the children’s book The Man With the Dancing Eyes by Sophie Dahl.

Andrea mastrovito Foley Gallery
London Art Fair 2012 -Andrea Mastrovito, detail
Andrea Mastrovito, detail.

At Foley Gallery Andrea Mastrovito used intricate collaged paper for the Gulliver’s Travels series, which imagines a brightly coloured world of little people and puppet hands.

justine smith the-british-isles
Diamond dust is hot news for use in prints, favoured by the likes of Damian Hirst, Peter Blake, and Justine Smith at TAG Fine Arts. Her lovely limited edition print of a bank note British Isles features oodles of the stuff. Common glitter was also a favourite enhancement for many artists.

claire brewster flyingfinch
London Art Fair 2012 -Claire Brewster
London Art Fair 2012 -Claire Brewster
Also at TAG I loved the work of Claire Brewster. The Harbingers featured exquisitely cut and mounted birds, created from old maps: Maps are another massive trend, reworked into any manner of different outcomes. Good to see so much upcycling!

Tobias Till Picadilly tag arts
Tobias Till showed a fabulous set of prints – the London A-Z, available as a boxed set and selling very well if the red dots were anything to go by.

Witness - Detail Rachel Shaw Ashton
Witness – Detail, by Rachel Shaw Ashton.

Of course TAG also host the work of Rob Ryan (read a review of his TAG art exhibition in 2010 here). More beautiful papercutting (still a massive trend) came from Rachel Shaw Ashton, showing with JaggedArt. She layers paper with pins to create simple shapes in pure white to great affect.

London Art Fair 2012 -tracey bush
I was also drawn to the 3D sculpture by Tracey Bush. Little Clod of Earth is a clump of wild plants made from the dog ends of paper packaging – oddly beautiful and strange.

London Art Fair 2012 -francesca prieto
JaggedArt also hosts the work of Francisca Prieto, who once more works with old atlases and maps to create beautiful 3D repetitive works of art. We wrote about her recent exhibition Unbound.

London Art Fair 2012 -Charles Fazzino
London Art Fair 2012 -London Art Fair 2012 -Charles Fazzino
USA based artist Charles Fazzino creates astonishing scenes with layers of paper. He calls it 3D pop art; showing with Galerie Olivier Waltman from Paris.

London Art Fair 2012 -derrick santini
On a completely different tangent I was surprised to see the work of fashion photographer Derrick Santini, who showed lenticular artwork with Scream. Forget those cheesy Jesus postcards, these artworks feature an astonishing amount of different angles. I can see city types absolutely loving one of these on their penthouse apartment walls!

London Art Fair 2012 -karen nicol
Russian_Bear_by_Karen_Nicol
Russian Bear by Karen Nicol.

The Rebecca Hossack gallery always hosts interesting craft based artworks: Karen Nicol‘s Thread Bear utilised a vintage piece of French needlepoint as the basis, into which pieces have been embroidered and appliqued. I have a bad photo so here’s another similar piece.

London Art Fair 2012 -rebecca coles
Rebecca Coles also shows with Rebecca Hossack – you can read our extensive interview with this paper artist who specialises in butterflies here.

London Art Fair 2012 -simone lia
London Art Fair 2012 -simone lia
Rounding a corner I was pleased to see a wall of artwork by Simone Lia, who sells prints with Jealous Gallery. Her infamous Hello Sausage Hello Chicken has just been reissued in a new colour range. The gallery are also the purveyors of the prints from the Ghosts of Gone Birds exhibition, including the fab Ralph Steadman birds (read my review here).

More coming up shortly… don’t go away! *here’s part two of my review*

Categories ,2012, ,Anderson & Gold, ,Andrea Mastrovito, ,Annie Morris, ,Annie Whiles, ,art, ,Art First, ,Butterflies, ,Charles Fazzino, ,Claire Brewster, ,collage, ,craft, ,Damian Hirst, ,Danielle Arnaud, ,Derrick Santini, ,Foley Gallery, ,Francisca Prieto, ,Galerie Olivier Waltman, ,Ghosts of Gone Birds, ,Gulliver’s Travels, ,Hello Sausage Hello Chicken, ,Islington Business Centre, ,JaggedArt, ,Jealous Gallery, ,Justine Smith, ,Karen Nicol, ,Lenticular, ,Little Clod of Earth, ,London A-Z, ,London Art Fair, ,maps, ,Papercutting, ,Pegs, ,Pertwee, ,Peter Blake, ,prints, ,Rachel Shaw Ashton, ,Ralph Steadman, ,Rebecca Hossack Gallery, ,Rebecca J Coles, ,review, ,Rob Ryan TAG fine arts, ,Scream, ,Simon Lewty, ,Simone Lia, ,Sophie Dahl, ,textile, ,The Catlin Guide, ,The Harbingers, ,Thread Bear, ,Tobias Till, ,Tracey Bush, ,Unbound, ,Upcycling

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Amelia’s Magazine | Deloitte Ignite 2011 at the Royal Opera House: Festival Review

Red Dancer by Claire Kearns

Red Dancer by Claire Kearns

Mike Figgis held the creative reins at the festival this year. One of the names he had invited along was someone I was keen to see – Hans Ulrich Obrist, diagnosis the director of the Serpentine Gallery and art mastermind. When we arrived at the epicentre of the festival, the Paul Hamlyn Hall, Hans and Mike were in deep conversation about Mike’s career, and his thoughts on Hollywood. Mike spoke bitterly about what he saw as the corruption of mainstream cinema and wasn’t abashed to name and shame, as he slammed Michael Bay and likened Steven Spielberg to Adolf Hitler. A poor shot from Figgis I thought.

Paul Hamlyn Hall by Amelia Gregory

Paul Hamlyn Hall by Amelia Gregory

It was independent film maker Emily James and her two guests, who almost managed to stir the reserved crowd. Emily is an American film-maker who was at the festival to present her film Just Do It. It was actually reviewed by Amelia for this blog back in July 2011 – a great review, which you should go and read here. The film charts three years in the environmental activism scene, focussing on protest groups such as Climate Camp and Plane Stupid. Emily follows a number of activists with her camera, as they show up at places like power stations, bank headquarters, and with no exceptions, films the direct action that takes place. Emily’s documentary provides a refreshing change from the mainstream media’s representation of the activity of these groups, which is often negative and has a habit of portraying the activists as trouble-makers.

The star of the film is Marina Pepper, a passionate ex-journalist who now devotes her life to rallying. In the film she dwells on what she does, and asks, ‘will this really make any difference?’. Cue long pause. She admits that it probably won’t, but she has attached herself to this fight, and will see it through. Marina was one of Emily’s guests, alongside Leo Murray who works with Plane Stupid, who were the group behind the closures of Stansted and Manchester airports a few years ago. It was a shame that feisty Marina faced a timid crowd when she tried to initiate a discussion about the Dale Farm issue. ‘Who here doesn’t like travellers?‘ she bellowed into the crowd. I felt a small achievement was made when Marina did manage to rouse the inner activists with some of the crowd members. She reminded us all that the environmentalist’s bane, oil company BP were the sponsors of the Royal Opera House.

It was a thought-provoking and intelligent part of the day. I felt I’d been given a lot of information that honestly, I hadn’t really been prepared for. Amelia’s Magazine has blogged extensively about activism, and specifically about groups such as Climate Camp. After coming home from the festival, and preparing to write this review, I took some time out to read these previous articles. One article which particularly stood out for me was by Adam S – his account of when over 1000 protestors stood their ground at the Ratcliffe-On-Soar power station. If like me, your not familiar with the good work of these people, go read one of Amelia’s fantastic and energetic articles here.

Dress Display by Amelia Gregory

Dress Display by Amelia Gregory

Alber Elbaz, the creative director at Lanvin, delivered Saturday’s highlight. No-one in Camp Deloitte had anticipated that Alber’s talk would bring in the masses. Due to an impromptu room change (Alber preferred the opulence and beauty of the intimate Crush Cinema Room) not everyone could fit in, and so he agreed to do the talk twice. He instantly won us over when he interrupted co-host Alice Rawsthorn as she mentioned his short lived career at YSL to add that yes, he had been fired. What touched me was the story of how he found his purpose at Lanvin. He had heard from a friend in New York, who was going to see her ‘arsehole husband‘ to sign their divorce. She messaged him, ‘Alber, I’m wearing Lanvin and I feel so protected‘. The idea that he could create this feeling from something as fine as silk is what propels him today.

Dress by Claire Kearns

Dress by Claire Kearns

The cinema room showing interviews from the likes of David Lynch and John Berger were interesting, but I found it difficult to concentrate with people constantly coming and going. I enjoyed it much more in the main hall, sat at a table and engaged with the speakers. This was the playground to several dancers who were performing for both 8 hour days – the young girl in red, continuously twirling on a raised block became a point of conversation for visitors and speakers.

Peter Blake by Amelia Gregory

Peter Blake by Amelia Gregory

On Sunday I enjoyed a cosy afternoon with national treasures, artist Peter Blake, and newsreader Jon Snow. Peter studied at the RCA, and is best known for the album artwork for the Beatle’s Sgt Pepper’s Lonely Hearts Club Band. Peter was genuinely lovely. I felt like I could listen to him and his stories for hours. He was honest to admit that his printed work has made him more financially secure in the last two years than he has ever been before.

Jon Snow and Mike Figgis by Amelia Gregory

Jon Snow and Mike Figgis by Amelia Gregory

Jon Snow was last on the bill. He brilliantly handled a question from the audience about the representation of Palestine in the news. He pondered whether the situation would be as bad as it is now if they had covered the story properly – probably not, he said honestly. He also spoke about the fall of print, and the rise of online media, ‘We’re travelling into the golden age of journalism…democratised information‘, he said after admitting that he frequently goes an entire day without touching a newspaper. He finished with an emotive speech, that highlighted how highly individual we have all become, and how we desperately need something that we have lost, a sense of community. He received a huge applause.

Red Dancer on Podium by Amelia Gregory

Red Dancer on Podium by Amelia Gregory

Only one word can describe the finale, and that is ‘spectacle’. Mike transformed from curator to director, of a sort of hotchpotch avant-garde orchestra. The People Band took one side of the stage, and the Opera House orchestra on the other. They were joined by saxophonist Peter King, Rosey Chan on the piano, the weird but wonderful Feral Choir, and the magnificent flamenco dancer Eva Yerbabuena. She crept on to the centre of the floor dressed all in black, and gave a stand out performance.

I felt like I’d been on an a funny sort of emotional rollercoaster with Mike Figgis this weekend – laughing with him, but quickly annoyed with his eye rolls and name calling. At the end, I saw someone congratulate and thank him. He was speechless, and it was at this point that I liked him best, and I thought, well done Mike, well done Deloitte. I’ll be back next year.

Categories ,Alber Elbaz, ,Alice Rawsthorn, ,Beatle’s Sgt Pepper’s Lonely Hearts Club Band, ,Climate Camp, ,Crush Cinema Room, ,Deloitte Ignite, ,Emily James, ,Hans Ulrich Obrist, ,Jon Snow, ,Lanvin, ,Marina Pepper, ,Mike Figgis, ,Peter Blake, ,Plane Stupid, ,Ratcliffe On Soar, ,rca, ,Royal Opera House

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Amelia’s Magazine | Art Car Boot Fair 2013 Review

art car boot fair review
This year’s Art Car Boot Fair was noticeably busier than the previous ones I have attended, despite the drabness of the day. A tipping point has been reached, and it’s unique charms are now reaching a wider crowd beyond the trendy Shoreditch regulars. Whilst this can only be a good thing for the artists (some of whom are not as well known or rich as Peter Blake) it made for a far less pleasant experience. Particularly with a little one in tow: the car park behind the Truman Brewery is not a good place to hang out with children. This meant my visit was fairly fast, then straight across Allen Gardens to the far more relaxed environs of Spitalfields City Farm, which hosts the Eco-Chic Outdoor Market every Sunday through summer. Of course I hung out long enough to make a few purchases and take copious photos… here’s what I saw.

An amazing outfit & floral headdress at the #artcarbootfair
Lots of people make an effort to be outrageous: how about this dashing cartoon character made real (above) or an amazing floral headdress to make an impact on the crowd?

gavin turk
Peter Blake had already packed up and gone home by the time we arrived shortly after lunch. Sadly (maybe?) I don’t think fellow famous artist Gavin Turk sold too many balloons. An Avante Garde step too far perhaps?

chris balls
Chris’ Balls made a delightful pattern laid out on a rug.

boo saville
Portraits by Boo Saville swung artfully in the breeze.

cliff pearcey
cliff pearcey
One of my favourite stalls every year is that of Cliff Pearcey, who has a real eye for creating up cycled products out of old tat. Above you can see Snarfle surveying my piece, Booking (Geddit?) I loves it.

The Whitechapel Gallery were trying to persuade people to slap the jelly arse at #artcarbootfair
The Whitechapel Gallery were trying to persuade people to slap the jelly arse by artist Justine Pearsall, and I must say it did have a rather fabulous wobble.

Felt Beatles by John Gathercole
Felt Beatles by John Gathercole got the thumbs up from craft lovers on my instagram feed.

pure evil
Pure Evil did ridiculous business, with a queue snaking around half the market thanks to his appearance in The Apprentice and subsequent fame.

sock monster
Not sure who created these bizarre sock monsters, maybe good for a doorstop?!

Bespoke collage pizza art at keelertornero
Bespoke collages on vintage vinyl at the PIZZARTERIA by artists KEELERTORNERO.

Ace silk scarf by Mark Titchner. Feel Good Now
I love this ace silk scarf by Mark Titchner. Feel Good Now: fine sentiments.

Spooky girls embroidered artwork by the Binnie Sisters
The Binnie Sisters were in residence inside a gazebo hung with their artwork, including this spooky girls embroidered portrait of two girls. Out front a painted car was for sale ‘contents included‘ – those contents including an old television heavily encrusted with paint. I’ve been trying to find out more about these intriguing artists, who together with Wilma Johnson were founders of the Neo-Naturist body painting cabaret in the early 80s.

Ladies by Wilma Johnson, #neonaturist #surfmama
Wilma herself had travelled over from her home in France to take part: I love her loose style of painting in black ink, then colouring in with bright colours… so much so that I commissioned her to draw our family portrait for a mere £20. Wilma Johnson is another fascinating character, having left Ireland with her three children to pursue her dream of learning how to surf when she was well past the age of 40. Her biography, Surf Mama (published by Beautiful Books), has received unanimously glowing reviews on amazon and I’d love to read it, once I find the time.

Wilma Johnson the Surf Mama
wilma johnson family portrait
I wonder what next year will bring… in the meantime find the Art Car Boot Fair at the Queen Elizabeth Olympic Park on 27-28th July.

Categories ,Allen Gardens, ,Art Car Boot Fair, ,Beautiful Books, ,Boo Saville, ,Chris Balls, ,Cliff Pearcey, ,Eco-Chic Outdoor Market, ,Felt Beatles, ,Gavin Turk, ,John Gathercole, ,Justine Pearsall, ,Keeler & Tornero, ,KEELERTORNERO, ,Mark Titchner, ,Neo-Naturist, ,Peter Blake, ,Pure Evil, ,shoreditch, ,Spitalfields City Farm, ,Surf Mama, ,The Apprentice, ,The Binnie Sisters, ,Truman Brewery, ,Whitechapel Gallery, ,Wilma Johnson

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Amelia’s Magazine | A Review of the 2012 Art Car Boot Fair

art car boot fair May 2012
This year’s Art Car Boot Fair was a fantastically hot affair with a distinct lack of shade: not really the place for a newborn Snarfle, who travelled on my chest wrapped up in a leopard print scarf and shaded by a brolly. Lovely though this weather is, plenty of burning tarmac and reflective car surfaces ensured a quick whip around the stalls. Us Brits eh? we’re so bad at coping with extremes of temperature.

art car boot fair May 2012 - pure evil
art car boot fair May 2012 - pure evil
art car boot fair May 2012 - pure evil
Despite the heat the fair was busy, with more mainstream punters than usual which is undoubtedly a better thing for artists, the usual east end pissheads are probably more interested in conviviality than the act of buying. Of particular note was the vast queue winding round the Pure Evil orange van – clearly demonstrating The Apprentice effect. I’m glad to see Charlie finally raking it in.

Here’s what else I saw:

art car boot fair May 2012 -Bob & Roberta Smith
art car boot fair May 2012 -Bob & Roberta Smith
Bob & Roberta Smith was signing ironic placards, accompanied by three lovely girls in well advised wide brimmed hats.

art car boot fair May 2012 -Peter Blake
Peter Blake was selling special Jubilee prints, one of which was purchased as a first investment artwork for Snarfle by his doting dad.

art car boot fair May 2012 -Ian Dawson
Ian Dawson was touting crazy colourful sculptures.

art car boot fair May 2012 -Dave Anderson
art car boot fair May 2012 -Dave Anderson
We were most captivated by the work of illustrator and filmmaker Dave Anderson, showing with Scrawl Collective. Given his zany subject matter it comes as little surprise to find he also writes comedy.

art car boot fair May 2012 -Carrie Reichardt
art car boot fair May 2012 -Carrie Reichardt
art car boot fair May 2012 -Carrie Reichardt
Carrie Reichardt had draped her stall in a colourful Mad in England banner to better display her inimitable ceramic wares.

art car boot fair May 2012 -David David
art car boot fair May 2012 -David David
art car boot fair May 2012 -David David
I absolutely adore David David‘s typography…. and they were selling some wonderful hand printed t-shirts along side their graphic prints too.

art car boot fair May 2012 -pam hogg
Pam Hogg was selling inexplicably cheap signed prints, which may explain why she was so over people taking her photo. Rock and roll!

art car boot fair May 2012 -Double Regina Experience
art car boot fair May 2012 -Double Regina Experience
art car boot fair May 2012 -Double Regina Experience
art car boot fair May 2012 -Double Regina Experience
Next door I experienced the Double Regina Experience from artistic duo The Girls: a bizarre meet and greet with two versions of royalty in a well decorated marquee. Surreal enough for adults – no doubt nightmare inducing for small people. I like that The Girls have created an artistic ideology all their own.

art car boot fair May 2012 -Outline Editions
Beautiful upcycled artwork by Noma Bar and butterfly prints from Kristjana S Williams, (formerly of Beyond the Valley) were flying off the Outline Editions stand.

art car boot fair May 2012 -Cliff Pearcey
art car boot fair May 2012 -Cliff Pearcey
I adored Cliff Pearcey‘s wooden upcycled art, as ever.

art car boot fair May 2012
Car size Scalextric: had the big boys intrigued.

Escargo
art car boot fair May 2012 -Escargo
Escargo – snail racing. As you do!

art car boot fair May 2012 -http://www.matcollishaw.com/
Mat Collishaw was doing a fine job of selling his insect prints.

art car boot fair May 2012 -http://coinsjunkyardsnackbar.tumblr.com/
Mike’s Corn dogs in a shopping cart contraption. Hot work! Rather him than me.

art car boot fair May 2012
art car boot fair May 2012
art car boot fair May 2012
art car boot fair May 2012
art car boot fair May 2012
art car boot fair May 2012
art car boot fair May 2012
art car boot fair May 2012
art car boot fair May 2012
There is an interesting confluence of fine art and street art at the moment and there is no better place to see this in action than at the Art Car Boot Fair – where so many forms of high, low, street and performance art exist happily side by side. Roll on 2013. Can we have some shade please?

All photography by Amelia Gregory.

Categories ,2012, ,Art Car Boot Fair, ,Beyond the Valley, ,Bob & Roberta Smith, ,Carrie Reichardt, ,Cliff Pearcey, ,Dave Anderson, ,David David, ,Double Regina Experience, ,Escargo, ,Jubilee, ,Kristjana S Williams, ,Mad in England, ,Noma Bar, ,Outline Editions, ,Pam Hogg, ,Performance Art, ,Peter Blake, ,Pure Evil, ,review, ,Scalextric, ,Scrawl Collective, ,street art, ,The Apprentice, ,The Girls, ,vauxhall

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