At the Bodyamr show, viagra 100mg the celebrities nearly outshone the clothes. Lily Allen, adiposity Nick Grimshaw, Keisha from the Sugababes and the TV Chef Gizzi Erskine all waltzed in past us mere mortals crammed outside the Vauxhall Fashion Scout hall, (made more manic by the decision to cram two presentations into one catwalk show) cue much jostling and craning of necks by my fellow bloggers to get a good photo.
Once inside, the celeb fest continued – the press release reeled off a list of starlets who loved Bodyamr (Florence Welch, Beyonce, and Cheryl Cole dontcha know), and the crowd whispered about Daisy Lowe opening the show and Kanye West’s girlfriend Amber Rose closing. The scrum for goodie bags as everyone sat down added to the excitement – a recent collaboration with Rixos hotels meant a rather bizarre mix of hotel freebies and glossy brochures was under every seat.
As for the clothes – Bodyamr do a fine line in creating flattering, skin-tight looks for powerful women (hence the appeal for starlets). True to form, their inspiration for S/S 2011 was a cross between Josephine Baker wrapping jewels ‘seductively around her naked body’ and a 90s supermodel. It was a fun, glamorous collection, with pieces that wouldn’t look out of place in Studio 54 (sequins, kaftan style dresses, jersey, Grecian draping), a nice dose of body con and some sheer chiffon dresses printed with art deco jewels (there’s the naked Josephine Baker for you). There was even some slouchy, slinky daywear amongst the goddess dresses tailor-made for the red carpet. And yes, Daisy looked amazing – I just hope people weren’t too star-struck to notice her beautifully draped white jersey jumpsuit.
Illustration by Krister Selin
I was very excited to see what NEWGEN winner Michael Van Der Ham would have in store this season at his first solo show. He’s quickly rising up the fashion ranks – he only bloody graduated a year ago, erectile for God’s sake, more about and it was inevitable that this was going to be a good ‘un.
A quick cycle across Waterloo Bridge took me to the erstwhile Eurostar Terminal at Waterloo Station. London Fashion Week is SO much better by bike. Despite the odd trauma here and there, specific to my unlucky self, to be able to zip between the many venues without relying on public transport is a Godsend.
The building is like a ghost town these days since the firm’s relocation to St Pancras. Apparently it’s costing millions to upkeep, so hopefully Topshop’s little foray into hosting fashion events there has helped. Sir Phillip Green certainly doesn’t need the money, that’s for sure.
Directed by awkward looking teenagers dressed in grey branded bolier suits, we were ushered through the labyrinth that is left behind. There’s something a bit spooky about it – escalators are motionless, luggage belts are empty and all electrical devices like light-up signs for directions are, of course, turned off. There’s also a sense of poignancy in the air in this abandoned haunt. Nobody else seemed to sense this misery as they clacked around on their heels, so this might have been due to the eight coffees I had consumed that morning. Arriving at the top with the beautiful afternoon light bathing through the glass roof was quite something, though.
I had a little wander around, Ham-ing it up and taking a few pics of people glugging booze, and then a loud speaker announced that we should take our seats. The catwalk was the very last platform on the south side of the building, with tiered seating on one side only. Those models sure were close to the track. I did worry, especially after the trend of tumbling models we’ve seen this season.
The usual front rowers were there, including Alexandra Shulman, Brix Smith Start, Anna Dello Russo, and Sarah Mower. While it was nice to be in the daylight, the building doesn’t allow for any dramatic changes in light, so without any prior warning the show began. It’s a long catwalk n’all – there I was, worrying again that these models might not have eaten and would pass out from all that exercise.
Michael Van Der Ham’s clothing is a little odd when you first view it – seams are all over the place, fabrics are diverse, colours clash, outfits are classifiable on one side and then something totally different by the other. But somehow, they work. Rich tones of blue, pale and hot pinks, graphic patterns and pale colours all combine to make unique pieces and were styled very simply to allow them to have maximum impact. Themes like disco and dance spring to mind.
Because of Michael’s expert fusing of varying fabrics and cuts, there isn’t really any kind of silhouette to talk about – skirts were short, and then long; necklines were high, and then low; waists were diagonal and then horizontal, sleeves were short and then high – there was bias cut, flattering fabrics, body-con fabrics, the lot… I was a nervous wreck by the time the show finished. It’s all pretty baffling but beautiful to look at.
My favourite elements were crushed velours and velvets, embellished skirts, skirts that had been gathered to create gorgeous, soft shapes, and floating translucent fabrics that were attached like super-hero capes.
It’s a brave woman that can pull off the Michael Van Der Ham look. But those who can, should.
All photography by Matt Bramford
Written by Matt Bramford on Monday September 20th, 2010 6:01 pm
The first of my visits was to Gabriel’s Wharfon the South Bank. Nestled amongst a handful of gift shops and cafes is the Jianhui London jewellery shop. However, from 17th – 25th September, the shop was also home to the Jewellery Designers Collective, or JeDoCo, and featured the work from independent jewellers including MODICA, Jessica De Lotz, Zelda Cave and some amazing statement, tubular cuffs from Rosemary Lucas.
The small shop was crowded with jewellery, and felt like a treasure trove. A super friendly attendant turned out to be Sian Bostwick – a JeDoCo designer. She was a brilliant tour guide around this Aladdin’s cave, but her work also deserves merit. Sian produces her jewellery from a workshop in Kent, and has a feminine and soft signature style.
It was her Forget Me Not pieces that caught my eye. A combination of brightly anodised Titanium in dazzling blue, paired with delicate silver, in elegant and simple shapes. The Forget Me Not pendant is delicate, yet striking, as the vibrancy of the blue Titanium catches the eye. When I first spotted her work, I thought instantly of Alice of Wonderland – the blue of Alice’s dress, the ever-present background of nature, the flowers. I later read that the story was an inspiration for the collection.
Linnie McLarty’s silver rings caught my attention before I entered the shop, displayed in the front window cabinets. Linnie comes from a fine art background, which I think you can see quite clearly from the collection Take Me I’m Yours, to which her layered silver wire rings belong. The silver wraps beautifully around your finger, but the individual sterling silver strands add depth and interest. Linnie is also comitted to working ethically and responsibily, using 100% recycled silver and gold that is officially certified as fairtrade, which is fantastic.
Running from the 21st – 25th September was Composite, at the superb Two Columbia Road furniture shop, and on the same road that hosted another great independent jewellery show. I was invited along by designer Bethan Laura Wood, whose work I have been avidly following for a while now.
Bethan deserves her own post on Amelia’s Magazine (which I hope to provide one day soon), but briefly she studied at the RCA, and has since set up her own practice, WOOD London, designing and producing a range of beautiful creations from jewellery to furniture. Her work is based on the idea of rediscovering and exploration of aspects of the usual and everyday objects – focussing particularly on colour and pattern.
Bethan was showing her new Pivot and Push ring collection. I was really happy to see that Bethan was on show space duty that day, and she passionately talked to me about the new collection, from conception to the final product. The rings are like delicate snowflakes, in shades of metallics – gunmetal, gold, bronze and rose gold.
The rings shimmered below their glass case, tempting me to try them on. Bethan explained the ‘push’ and ‘pivot’ technique was to create interaction between the ring and it’s owner. And as Bethan kindly let me have a trying on session, I found myself enchanted with their movement and design. They are stackable, versatile and for me, utterly desirable.
One of Bethan’s Push and Pivot Rings, photo by Miranda Williams.
The weekend was over, but enjoying a day off in the week, I went along to see the work of another familiar face. I have been aware of Ros Millar’s work for about a year and half now – finally getting to meet lovely Ros at this year’s Treasure exhibition. Ros was showing her work at 2 different spaces – the Pitzhanger House in Ealing, and also as part of the Bobbles & Bling Pop Up Shop in Clerkenwell, from the 27th September to 1st October. I really like Ros’s work, specifically because I’d wear it. The rings from her Nugget collection are like natural rock formations – rich in colour, and really cool. She was showing these at the Bobbles & Bling shop, where for one week, Modica Jewellery, Amanda Li Hope and Ros, had created a mini boutique. It was based in the Craft Central Corner shop, and showcased new work, aswell as some other special pieces. Ros was showing both her Nugget and Black & Rose collections.
Over at the Pitzhanger exhibition it was great to see some diversification in her range with the specially produced One Off pieces. Originally the home of Sir John Soane, who the saw the Pitzhanger manor as an architectural ‘portrait’ of himself, and the house as a reflection of his personal style, from the 21st September – 12 November, it was home to Portraits in the Making. It featured the work of 17 designers, Craft Council award winning artists, who were invited to find new ways of making portraits in their fields of glass, textiles, woodwork and jewellery, with the influence of the design and architectural details in the Pitzhanger Manor. Ros’s large necklace, made from lichen, sponge, rope, silver and bronze, was a great contrast to the work of hers that I had previously seen.
This exhibition was in conjunction with the Hothouse scheme, run by the Crafts Council, which provides a programme of skills and creative development for designers starting out in their careers. It is a fantastic programme, similar to that run by Camden Council which I wrote about a few months ago here. I hope that these schemes, and those similar to them, continue to nurture and develop the talents of these designers, so that I can explore and enjoy the creations of our local designers as I did that weekend a few months ago.
Written by Miranda Williams on Wednesday November 30th, 2011 11:31 am
I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, no rx so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, viagra of course, malady didn’t disappoint and this was by far my favourite outing on menswear day.
This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.
Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads. Ah, well.
This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.
Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.
Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.
This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.
I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection:
When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.
Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!
I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, viagra 100mg so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, capsule of course, didn’t disappoint and this was by far my favourite outing on menswear day.
This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.
Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.
This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.
Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.
Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.
This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.
I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.
When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.
Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!
I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, sale so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, visit this site of course, didn’t disappoint and this was by far my favourite outing on menswear day.
This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.
Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.
This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.
Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.
Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.
This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.
I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.
When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.
Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!
I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, help so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, of course, didn’t disappoint and this was by far my favourite outing on menswear day.
This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.
Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.
This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.
Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.
Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.
This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.
I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.
When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.
Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!
I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, viagra 40mg so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, sickness of course, didn’t disappoint and this was by far my favourite outing on menswear day.
This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.
Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.
This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.
Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.
Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.
This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.
I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.
When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.
Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!
Amidst the commotion of catwalks and exhibitions at London Fashion Week, one website had everyone talking; Young British Designers. Grabbing attention with their eye-catching launch video, the team behind YBD are providing a platform for the fashion conscious everywhere to buy designs by the next generation of British greats. Ada Zanditon, Jena.Theo, Jasper Garvida, Eudon Choi and Felicity Brown are just a few of fashion’s bright young things being championed by the site, where you can read about the designers themselves as well as investing in their clothes, shoes and accessories. But who is behind the venture? Though they are prolific on Twitter and becoming a household name amongst bloggers and press, little has been revealed about the individuals behind Young British Designers; until now.
Tell us about the people behind Young British Designers; how did you end up working together?
YBD comprises four people, Adriana, Stuart, Debra and Julian – two couples. Adriana and Stuart had a great idea to champion developing British design talent and approached Deb and Julian to enable the idea to fly; all four were totally taken with the concept, it seemed such an obvious thing to do, none of us could really believe that nobody had thought of it before. Then came London Fashion Week in February 2010 – the breadth of new, naïve British talent was clear for us to see and the thought of bringing it all together ‘under one roof’ (so to speak) became an increasingly enthralling prospect. But every idea needs its seminal moment, for us it was Adriana and Debra entering the hall at Vauxhall Fashion Scout that cold and windy Monday afternoon; the room was empty – and the utterly beautiful Felicity Brown dresses called across the room. For us, that moment encapsulated the sheer joy of finding new talent – and in knowing that we could bring our own talents and experience to introduce them to an emerging global market.
We ended up working together because of a shared passion, but it was more than that – our skills were compatible: design, marketing, business, sustainability and communications. We also wanted to take a risk – a risk on a new venture, to do something really significant in our own way. We like each other too.
? It’s a difficult time for young British designers starting out today; what inspired you to champion them in this way?
No one focuses purely on the promotion of new British talent – a handful of designers make it through to retailers each year, but it’s not many and even those that do are a small part of massive collections made up primarily of well known, established names. We believe that many more of our designers deserve to be showcased and that our designers’ stories be more thoroughly told and their developing brands be enhanced. We also believe that this is absolutely in keeping with the developing trend for highly individual style statements amongst increasingly discerning consumers. ?
Your launch video is impeccably styled and really captures the timelessness of British style. What do you think distinguishes British fashion designers from the rest of the world?
We hope the video captures the passion we all have for British fashion, the cues from the past, the energy, the excitement, the ready to risk all and have a go idealism. The sheer bloody eccentricity and quintessentially quirkiness only to be found on this island. Wonderful.
How do you go about selecting which designers to feature?
We are really emotional and subjective in our approach to selecting the designers for our collections – does the design make our heart sing? The hairs on the back of our neck stand on end? Can we imagine that our customers will love it as much as we do?
You feature a number of ethical designers on YBD; do you think more designers will start taking sustainability into consideration as the ethical fashion industry grows?
Great design is at the heart of solving the problems of natural resource depletion and global warming. Our wish is to promote the talents of the best British designers and to encourage them to see the beauty in an ethical heart to their designs … and we will promote the beauty they create to our customers. Delivering sustainable and ethical solutions take on many forms, we’re delighted to promote the recycled materials in Issi’s bags, the employment of impoverished Hungarian workers in making Emesha’s beautiful clothes and in encouraging the continued employment of local manufacturing in the UK.
Lots of your designers are showing at LFW, which presentations moved you most? Jena.Theo – because they so successfully retained their original style signature yet moved forward to embrace both a new season and a new confidence. Eudon Choi for showing all the assurance of a brand that is well established and all the freshness and energy of a designer who is still exploring the limits of his talent.
What are your hopes for the future of YBD?
That leading retailers come together online and off to enthusiastically support the best interests of our developing talent by promoting them generously and not seeking to put their own interests first by insisting on exclusivity of supply. This in turn limits a growing brand and can stifle it and its demand at its most crucial fledgling stage.
Whilst researching a new label founded by two LA socialites Lauren Alexander and April Leight, appropriately called LnA, I started thinking about the ever fading line separating men’s and women’s clothes. The pair’s debut ‘Boyfriend Tee Collection’, launched in Spring/Summer 2007, is described on their website as “a colourful, flattering and wearable take on the men’s under tee” and is made up of lots of different designs of plain, basic tees, all 100% cotton and all comfortable.
I’m kind of missing the link between their masculine inspiration and the final product. Correct me if I’m wrong, but these look like plain women’s Tees to me. What’s so special about these designs? Upon reading of the website I discovered; “The duo’s designs are wholly inspired by their lifestyles, sharing an affinity for wearing their boyfriend’s Tees out to LA’s hotspots.” Surely more inspiration can be found living in sunny LA, surrounded by movie star history and going to all those crazy ‘hotspots’?
As well as a love for wearing boyfriend tees, the website says that the partners originally bonded over their fashion backgrounds. High fashion aspirations might explain the high prices, but the less than high fashion designs lead me to wonder whether their ‘fashion backgrounds’ amount to much more than that they both love a good shopping sesh. Then again, maybe I’ve been too harsh. I mean, these t-shirts do come in at least FIVE different colours.
As can be expected, the celebrity following of the brand is huge. Nicole Richie, Rachel Bilson, Paris Hilton – they’re all wearing it. Lauren Alexander and April Leight evidently have some good contacts. This celebrity interest has no doubt affected the popularity of the brand (as these things do.) One review I found was from a massive fan of the ‘Deep V T-shirt’ (all the items are named after their cut – another injection of creativity from LnA) as seen on Mary-Kate Olsen. The fan boasts having the garment in seven different colours. I worked this out and, if my calculations are correct, she spent $392 (that’s around £196) on seven plain T-shirts. Either the tops are lined with gold or that’s one major Olsen fan.
In case you didn’t pick up on it, I’m not much of a fan. LnA ask for a lot of money for something so simple (which they claim to be the product of an individual idea). Yes, ok, they are 100% cotton, but you would think that for $50 you would be, I don’t know, helping the environment or half the cost would be donated to charity? Unfortunately no, you’re not. Although I’m all for basic, classically cut clothes with no prints or fancy bits, the way in which they seem to claim the ownership of the popular T-shirt design annoys me. Because of this I can’t get the idea of money grabbing attachment to this brand out of my mind.
Written by Helena Hamilton on Monday August 4th, 2008 12:52 pm
Three oil cans; Tate Summer Party, remedy Photography by Immo Klink
Gushing from floral skirts, spilling elegantly from giant white eggs, jetting from paint tubes across the floor of the iconic Tate Turbine Hall, 2010 has witnessed a flood of oily resistance against oil sponsorship in the arts. The likes of art activist group Liberate Tate have generated a fierce debate in the art world around oil, ethics and sponsorship.
Plans are afoot to spring board the campaign into the New Year, with a high energy, high profile mainstream gallery event to attract lots of new people and to keep the pressure up. In an innovative bid to raise dosh for the project London creative campaign group PLATFORM has launched a crowd- funding initiative at Indiegogo. The idea is that people can give what ever little bit of cash they can, and by Christmas there will be enough in the pot to book a snazzy venue and put on a truly sensational participatory exhibition in early 2011.
Easter egg spill with wiggle, British Museum Photography by Amy Scaife
They would be really grateful if you could help by spreading the word forwarding the link bellow by email and facebook, and telling your economically empowered friends and relatives. What ever you can or can’t do to help fundraise, everyone is invited to the event itself, which is likely to be held in January (email sophie@platformlondon.org for more information about getting involved).
To say thank you for donations over £16 ($25) they are offering some quirky perks, including sets of beautiful postcards ideal for a Christmas stocking, invites to the first night private viewing of the exhibition, and limited edition hand made, ‘BP branded’ paint tubes full of molasses, hot from the intervention at the Tate Modern’s Turbine Hall
So whether you have some cash to spare – or if you just want to get messy with molasses – get involved!
Written by Sophie Allain on Thursday October 21st, 2010 2:14 pm
Having spearheaded the new London folk scene with their debut album, theremedicalNoah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.
Photos by Katie Weatherall
Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?
Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.
AM: And the live shows must add another dimension to that?
CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.
AM: And is there anything in particular that has done this or has it been the natural progression of the band?
CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.
AM: Was there anything in particular you were listening to whilst making the record?
CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco…
AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?
CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.
There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.
AM: And Daisy Lowe stars in it, how was that?
CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.
AM: So is film making something you want to continue with?
CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…
AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?
CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.
AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?
CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.
AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…
CF: I can’t really remember how I write… I was writing last night but… do you drive?
AM: I just recently failed my test.
CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.
AM: Is being in a band everything you imagined it to be?
CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.
AM: So are there any untapped creative pursuits left for you?
CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.
AM: So how about acting?
CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.
AM: Do you prefer the full creative potential a director has?
CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.
At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.
If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.
Wednesday 26th August
The Hot Rats
The Old Blue Last, London
Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.
Thursday 27th August
KILL IT KID Madam Jo Jos, London
Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.
Friday 28th August
Swanton Bombs Old Blue Last, London
If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.
Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist Vibe Bar, London
It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.
Sunday 30th August
The Gladstone Open Mic Night The Gladstone, London
As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!
Sunderland born designer Rosie Upright is truly passionate about design. Aren’t we all I hear you say? Well, health she’s up, recipe all hours, medical day or night… cutting away with her trusty stanley knife… stopping only when her numb fingertips plead for rest. Do your fingertips bleed? I thought not! Rosie developed her unique hand-crafted techniques whilst at university in Epsom, where she learnt all the usual computer design programs… and then decided to steer clear of them. She’s fled the suburbs of Epsom now, to live in London town with all the other hopeful new freelancers. She spends her days photographing, drawing, organising balls of string… and deciding what hat to wear.
We caught up with Rosie for a little chat…
Hi, how are you today?
I’ve got a bit of a sore throat coming on, the irritating children over the road are noisily playing some kind of shooting game, a car is beeping its horn continuously just below my window, itunes is refusing to play anything other than Billy Idol (which I’m not in the mood for), my coloured ink cartridge has just ran out, I’ve got a blister from my favourite pink shoes, an uninvited wasp is stuck in my blinds, my ginger hair has faded to a weird brown, I forgot to buy milk and Ronnie Mitchell is still crying on Eastenders – but apart from that I’m topper thanks.
What have you been up to lately?
Fingers in pies, fingers in pies!
Including…cross-stitch and a week in a cottage in Norfolk (no telephone signal or internet connection, bloody lovely!)
Which artists or illustrators do you most admire?
I don’t think I would have done a degree in graphic design if my ever-encouraging parents hadn’t taken me to a Peter Saville exhibition at the Urbis in Manchester many moons ago. Made me see the ideas process at its very best and the crucial-ness (that’s not even a word!) of initial doodles and sketchbooks.
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Where would any of us be if it weren’t for Dr Seuss?
I really love a bit of Russian Constructivism, in particular Alexander Rodchenko and Varvara Stepanova, bloody genius. Mr Vaughan Oliver, for making us all think differently about where to crop the image, for being an ongoing influence and for that opportunity. Harry Beck, Robert Doisneau and most recently Philippe Petit.
If we visited you in your hometown, where would you take us?
Stroll down to Seaburn beach because when you don’t live next to the sea anymore you really miss it, and it has really nice sand. Then to my very best friend Sarah Bowman’s house, to play with Peggy Sue the kitten, have mental vegetarian sandwiches off a cake stand, and a glass of red wine, ice cubes and coke. We should pop to an art shop in Darlington and then to The Borough, the best pub for tunes, a pint of cider and a Jaeger bomb.
Who would most love to collaborate with creatively?
Mike Perry and YES art studio please. Thank you.
When did you realise you had creative talent?
When some hippy artist came into my junior school to create banners for some event at the local library with us. I was told after five minutes of colouring it in that I had to go away and read because I couldn’t keep within the lines.
If you weren’t an artist, what would you be doing?
A teenage Mam or an actress, haven’t decided which yet.
Where would you like to be in 10 years time?
I’d like to be the designer than graphic design students hate because their tutors always tell them to get their book out of the Uni library. And I’d quite like to have my own shop in London, Brighton or maybe Newcastle (or all three, and maybe Paris then if we’re going crazy) selling things made by me!
What advice would you give up and coming artists such as yourself?
Take other peoples advice but make your own mistakes, don’t be a dick and always colour outside of the lines.
How would you describe your art in five words?
Hand made/ typography/ narrative/ personal/ I’d like to say idiosyncratic too but don’t want to sound like a twat.
What is your guilty pleasure?
Seeing people fall over.
(and cake)
If you could time travel back or forward to any era, where would you go?
It was horrific enough moving away to University and into London and trying to find a job and start my life up. I think if I had to go backward or forward to another era I would probably just straight up die. Having said that though I would like to be a highwayman’s assistant.
Tell us something about Rosie Upright that we didn’t know already.
I can’t wait till I’m an old lady so I can wear those lacy nighties from Marks & Sparks and I love animals in clothes.
What are you up to next?
Going to make a cuppa tea, kill this wasp and then take over the world.
While most of us at the tender age of 19 rooted our existence in smacking down vodka jelly shots at the bar with kebabs at four in the morning and the Hollyoaks omnibus on a Sunday, pilule some people, of course, are born to shine in different ways. Take, for instance, London College of Fashion student Millie Cockton, somebody who has already had their work featured in a shoot for Dazed and Confused, styled by Robbie Spencer.
As a lover of clean lines and beautiful silhouettes, Millie looks for the wearer to bring their own identity to her gender non-specific pieces. At the moment under new label Euphemia, with her AW09/10 about to be stocked in London boutique and gallery space Digitaria, after being chosen to be the first guest designer at the Soho store. Check out the Dazed piece to see some brilliant Shakespearian-style ruffs that Millie has also created working with paper (a material proving popular as with Petra Storrs, who I featured last week).
Each to their own, mind you. I could totally do all that, if I wanted to.
At the age of 19 you’ve already received quite a lot of attention – how has that been?
It’s been great so far! It’s very flattering but its also very daunting! I am on a constant learning curve and my work is developing all the time so although the attention is great it creates a lot of pressure!
Describe your design aesthetic in three words.
Clean, sculptural, understated.
Who do you see wearing your designs? Are they reflective of your own personality?
I like to think of a real mixture of people wearing my designs. I love the way that the same garment can look completely different on different people- for me its all about the individual and how they carry themselves, bringing their own identity to the piece.
I don’t think that my designs are necessarily a true representation of my personality and personal style. I feel that my designs are more of a reflection of the aesthetic that i find desirable and aspirational.
Thinking about the ruffs featured in Dazed, people have touched on the theatrical nature of your designs – is the idea of performance important to you in fashion?
The idea of performance within fashion is something that interests me but I wouldn’t say that it’s a key element within my own designs. I like the notion of a performative element within a piece or a collection as i think that it helps gain a further understanding and insight of the designers thought process and inspiration.
What else do you respond to?
I am constantly discovering new sources of inspiration, being so young I know that I still have so much to learn!
I like to use elements of craft within my designs, such as origami style folding. Craft elements can add interesting details to simple pieces.
What are your plans for the future? Who would you like to work for?
I am about to launch my new collection which will be stocked in Digitaria, recently opened on Berwick St, Soho. I have just started to work with Digitaria’s creative director , Stavros Karelis and stylist Paul Joyce on some future projects which are really exciting and I am thoroughly enjoying. I want to continue learning and developing my ideas, challenging myself and most importantly keep having fun!
‘Having fun’ of course might well translate to ‘becoming future fashion empress of the galaxy’. This is a talent to watch out for.
The Camp for Climate Action 2009 is almost upon us – now’s the time to gather ourselves and prepare to swoop. Convinced that the response to climate change needs more? Ready to share skills, stomach knowledge and experiences? To be part of the grassroots swell of people demanding a difference? To get out there and do something?
Be ready next Wednesday, 12th August, from noon, in London. We’re going to swoop on the camp location together. The more people the better. Secret until the last moment, you can sign up for text alerts and join one of the groups meeting scattered about central London before moving together to the camp.
Why Camp? We can all meet each other and learn stuff – reason enough? – I mean, an enormous, public, activist-friendly child-friendly student-friendly climate-friendly gathering with an ambitious and well-prepared programme of workshops covering all things from Tai Chi for those of us up early enough, through histories student activism, DIY radio, pedal-powered sound systems, legal briefings, stepping into direct action, singing, dancing, jumping and waving.
Why London? Climate Campers have listed ten reasons to focus on London – right up the top of that list is : tall buildings and low flood plains. London is big corporate central, the City square mile itself accounting for a huge proportion of the UK economy, that FTSE100-flavoured slice of barely accountable, shareholder driven pie. And yet, as the Thames Barrier should always remind us, the whole city sits low on the ground. Just check out what the centre looks like with a few metres rise in sea level.
So what’s first? The Climate Camp Benefit party/shindig/jamboree/palooza/knee’s-up/gala ball/discotheque/rave/soiree at RampART, 9pm-3am this Friday 21st August. Consisting of fun/revelry/ribaldry/tomfoolery/jocularity/jive/merriment/high kinks, low jinks, jinks of all stature/cheer/gambol/horseplay & frolic. With bands & DJ’s including Rob the Rub & Sarah Bear & those amazing skiffle kids ‘The Severed Limb’. That’s at:
9pm-3am
rampART, 15 -17 Rampart Street,
London E1 2LA (near Whitechapel, off Commercial Rd)
Donations on the door much appreciated (and needed!) – all going straight to Climate Camp
And then? The Swoop – Night Before – Londoners and out-of-town visitors are welcome to ‘the night before the swoop’ – near the bandstand in Lincoln’s Inn Fields, 7-8.30pm, Tuesday 25th August – for any last minute info, a legal briefing and an opportunity to join an affinity group and get excited. Lincoln’s Inn Fields is just behind Holborn tube station – this map here might help.
Awesome. See you soon.
Ctrl.Alt.Shift dropped us a line to let us know about a comics-making competition so get your promarkers and layout pads at the ready. Ctrl.Alt.Shift Unmarks Corruption is giving you the opportunity to design a unique comic style story. Ctrl.Alt.Shift is the experimental youth initiative politicising a new generation of activists for social justice and global change. The competition hopes to raise awareness of the Ctrl.Alt.Shift and Lightspeed Champion goals and views by inspiring this generation of designers to work together.
Oscar nominated Marjane Satrapi, medical V V Brown and Lightspeed Champion are amongst the judges for the Ctrl.Alt.Shift Unmasks Corruption competition launched today. Corruption is both a cause of poverty, and a barrier to overcoming it. It is one of the most serious obstacles to eradicate.
Entrants to the competition will be in with the chance to create a unique comic style story in collaboration with acclaimed musician and writer Dev Hynes aka Lightspeed Champion. After the first round of judging at the end of September, shortlisted entrants will be given Lightspeed Champion’s comic script as inspiration and asked to create a visual adaptation of the story.
The winning commission will be published in a comic alongside new work exploring the issue of Corruption by some of comic’s greatest talents. The work will also be showcased as part of a new exhibition, Ctrl.Alt.Shift Unmasks Corruption, later this year at Lazarides Gallery, Soho.
To enter the competition please send relevant examples of your visual work along with your contact details to Ctrl.Alt.Shift by Friday 25th September by visiting www.ctrlaltshift.co.uk/unmaskscorruption.
Five short listed artists will then be given a comic brief to respond to and a winner chosen by a panel of judges including: Marjane Satrapi (Writer and Director of Academy Award Nominated Animated Film Persepolis) Paul Gravett (Comica founder), V V Brown and David Allain (Musician and Comic Book Writer/Artist duo), Lightspeed Champion and Ctrl.Alt.Shift.
The competition is restricted to UK Residents only
For further information about the competition please contact John Doe on 020 7749 7530 or Hannah@johndoehub.com / Jo.bartlett@johndoehub.com Brooke Roberts is my favourite new designer. Why? Well, more about after exchanging several emails with her over the last few weeks, for sale for a young designer making such waves in the industry, her witty and playful personality has impressed even via my inbox! Having worked with such characters such as Louise Goldin and Giles, her avant- garde aesthetic really shines through in her highly tailored and retro-feel designs. Miss Roberts is going places, and she’s more than willing to take us along with her!
What made you want to be a designer? What’s your design background?
I’m definitely not one of those designers who always knew that’s what they wanted to do. I did a degree in Applied Science at Sydney University (I’m from Australia) and worked as a radiographer for a year before moving to London to find out what I wanted to do. I did some work as a stylist with a fashion photographer (random hook-up). I knew his girlfriend and she knew my massive extensive collection of vintage clothes and shoes. My mum had a boutique when I was growing up and I loved clothes – I just never knew it was going to be my career.
I did a few jobs in London (pub, bank – more randomness) before realising I wanted to study fashion. I went to London College of Fashion and Central St.Martins (graduated 2005) wanting to be a pattern-cutter or tailor. I really wanted to create, rather than design. I get most satisfaction from making beautiful things and being involved in the whole process. I have a close working relationship with my suppliers, and go to the factories to develop my garments. I cut them all myself, which is probably bordering on control freakery, but I feel it shows in the final product and I can realise my designs exactly as I imagine them.
I’m waffling. I worked for Giles for two seasons after I left Uni, and started with Louise Goldin when she launched her label. We worked together for three years (until last October when I launched my label).
What are your inspirations for your collections?
I get lots of inspiration from my radiography job (I do that part-time to fund my label). So I’m running between the hospital and my studio all the time. I have used CT (cat) brain scans this season to create knit fabrics and digital prints. My obsession with reptile skins never seems to go away, and I have worked with Anwen Jenkins (awesome print designer) to create skull slice python skin prints. Basically, the python scales are replaced with multi-dimensional skull slices.
Apart from that, I research at museums and LCF Library. This season went to the British Museum and discovered Yoruba sculpture and traditional costumes. I researched these for silhouette and style lines. I also looked at Niger garments. They’re beautifully colourful, vibrant and flamboyant.
What are your favourite pieces from your latest collection?
Umm. I wear the cat suit most. I actually met my boyfriend the first time I wore it. So I’m renaming it Lucky cat suit. I also love the Flex jacket in red snakeskin. The razor sharp points make me feel like I am ready for world domination!
What was it like working with Giles Deacon and Louise Goldin? What did you learn from them?
I learnt that I hate taking orders from others! I’m really not one to toe-the-line. I am a perfectionist and this drives other people mad sometimes. I was a pattern-cutter at Giles, doing mostly tailoring, which suited me fine. Most people wanted to do the showpieces, but I was most happy cutting jackets. Giles is a really lovely bloke. Working with him was really my first experience of doing shows and the pressure and stress of getting everything done.
With Louise, my job was broader because in the beginning it was just the two of us. I learnt so much, I can’t even write it down. I worked in the London studio and the knitwear factory in Italy. I had the opportunity to learn knitwear programming, selecting yarns and cutting and constructing knit. I still work in the factory for my own label and really love it. The other big thing was learning about running a business and starting from scratch. The hoops you have to jump through, the process of getting sponsorship, doing shows, sales and production… It’s a massive undertaking starting your own label. And I still chose to do it! Bonkers.
Who do you think are the most important designers of your generation?
Hmm. Well, I like the work of Tina Kalivas and Gareth Pugh. If we’re talking most important, it has to be Gareth.
What do you think are the problems facing young designers at the moment?
The biggest problems are funding and dealing with suppliers, particularly for production. Creating a beautiful product that you can reproduce is actually really difficult! You need to understand the technicalities of fabrics and construction (or hire someone who does) otherwise it all goes wrong.
What’s next for Brooke Roberts?
In fantasy land, what’s next for Brooke Roberts is a holiday. In reality, I’m working hard on marketing and sales for London Fashion Week. I’m collaborating with jewellery designer Chris Edwards and shoe and bag designer Laura Villasenin on side projects for the label. Look out for skull slice stacked rings and metal bone-fixation embellished super-soft bags for SS10!!
Not slim tomatoes, viagra dosage narrow cucumbers or squashed, um, squashes – no, we’re talking about digging for victory in our own meagre abodes. With allotment waiting lists stretching beyond a century in Hackney and not many of us owning the half-county some how-to books seem to assume, options on grow-your-own approaches might look limited. But before you get the howling fantods at the piling impossibilities. As those of you who read the Amelia’s Magazine review of Growing Stuff (an Alternative Guide to Gardening) will know well, even the meagrest city apartment can burst forth in cornucopic life.
And but so then it seems the thing to do is simply to get a pack of seeds and a container and get growing, no hesitation about it. If a brief pause in favour of screenreading sounds like it could lead to better inspiration, I entreat you, read on. There’s a glut of blogs and enthusiasts all over the place to speak to or read up upon. Here are just a few of our favourites.
Life on the Balcony tells Fern Richardson’s encounters with gardens small and smaller, great for fresh faces and old hands alike, with an awesome friendly dirt cheap ways to garden.
Carrie, of Concrete Gardening blogging fame (true in a juster world), digs organic urban gardening, and has gotten into gardening without the erm, garden, since buying a house in the city (Philadelphia) and sees all the possibilities of planting up, sideways and over – just recently blogging about taking things to the next level and climbing up on her roof to plant out veggies, seedlings to sit and soak up sun.
Herbs and Dragonflies is written by a group set up by Kathy Marshall back in 2008 for the Pudsey Carnival and have been creatively, craftily planting since, encouraging others to get their green fingers dirty – doing activities with children and volunteering about the place. Most recently, they encouraged us blog-readers to leave the comfort of plastic planters and terracotta pots – most anything can sit with some soil in it. They suggest novelty Cadbury’s Fingers tins, I’ve used fancy jamjars, and seen anything from skips to wellington boots enlisted in the service of greenery.
Emma Cooper (I’m cribbing now from the ‘Growing Stuff’ contributor biogs page) lives in Oxfordshire with two pet chickens – Hen Solo and Princess Layer – and six compost bins. She has written an ‘Alternative A-Z of Kitchen Gardening’, which Karen Cannard The Rubbish Diet reckons is ‘an inspirational tour of an edible garden that can be recreated in the smallest of backyards. An essential guide for a new generation of gardeners who are keen to join the kitchen garden revolution.’And she blogs about anything from compost to pod plants to the future of food…
Madeleine Giddens loves herbs, which I guess you’d guess from the name of her blog – Mad About Herbs. But there’s nothing off the wall about any of it, she’s plunged into an obsession and come out smelling of roses and lavender, buzzing about bees too, recently, and their favourite flowers.
So there you have it, just a few spots and pointers. Good evening, and wishes for a fruitful weekend from Amelia’s Magazine.
The Royal Bank of Scotland. RBS. Formally known with pride as the “oil and gas bank” due to their close alliance with the fossil fuel industries. What on earth would I have to do with them? They may have lost the unfortunate moniker, treat partly due to a hugely successful campaign by People and Planet student activists who launched a spoof ad campaign and website named the Oyal Bank of Scotland before delivering a host of greenwashing awards – but they’re certainly not due for any special ethical mentions yet.
Not yet.
There was of course a massive £33 billion bank bailout from the taxpayer for RBS last year. But RBS didn’t spend the money on anything worthwhile. Oh no, the truth is that RBS still has oily blackened hands. Most people will remember the Fred Goodwin debacle, he who managed to retire at the age of 50 on a £16 million pension funded by taxpayers. But that’s not the whole of it – since the bailout some of our money has been used to arrange loans for the fossil fuel industries worth a staggering £10 billion, including a substantial sum for E.ON, the company that wants to build a new coal fired power station at Kingsnorth. Despite the best efforts of activists – there was an impromptu snowball fight during the winter, Climate Rush held a luncheon dance and Climate Camp set up camp down the road at Bishopsgate – RBS continues to invest in unsustainable resources.
But the good news is there is hope for change!
As I’ve got more and more involved with activism I’ve got to know members of PLATFORM, who together with People and Planet and the World Development Movement have launched a legal challenge against our government to make sure that public money used for bailouts is put towards building sustainability. PLATFORM is an organisation that combines art with activism, research and campaigning, so in many ways we are perfect partners and I was really excited when they recently approached me to collaborate on an exciting new project at the Arnolfini gallery in Bristol.
As part of a wider festival named 100 Days, PLATFORM will be co-producing over 50 events, installations, performances, actions, walks, discussions and skill shares over a period of two months. This season is called “C words: Carbon, Climate, Capital, Culture” and is intended to highlight what needs to be done to change the world in the run-up to the incredibly important (but unlikely to solve anything) COP 15 conference (think Kyoto 2 – it failed first time around so why would it succeed now?) in Copenhagen in December.
Your part in this audacious experiment?
We’re going to re-envision RBS as a bastion of sustainability – the Royal Bank of Sustainability in fact. And it will be down to you to create the artwork… once more I will be running one of my becoming-somewhat-regular open briefs. We would like you to submit either a logo or a poster (or both) that will suggest a swing in the direction of all things sustainable in the most imaginative way possible. Around ten of the best artworks will be shown for a week at the prestigious Arnolfini gallery in Bristol as part of the whole shebang, culminating with a public judging and prize-giving overseen by yours truly and helped out by the folk at PLATFORM and no less than the Marketing Manager of the Arnolfini, Rob Webster, and Fiona Hamilton of Soma Gallery (Bristol), a woman with great taste in the arts who runs a cult art shop that has been a long standing supplier of my print magazine. We might even invite someone powerful from RBS! (invite being the operative word) After the event PLATFORM will profile you on their website with links to yours, and prior to the actual event I’ll be posting the best entries onto my website – one good reason to get your artwork in as quickly as possible.
If you are interested read on:
What you need to know:
Ideas:
Yeah yeah – we all know wind turbines are great news and polar bears are having a terrible time, but for this brief we’d like you to think a bit outside the box. We’ll be looking for the most refreshing ways of thinking about how we can live in the most sustainable way possible, and most importantly how RBS could play a possible role in aiding this transition to a low carbon world. Don’t forget that we, the taxpayers, own 70% of RBS – why not make it into the people’s bank? You should make clear in your chosen design the re-imagining of the old RBS into the new. Instead of investing in carbon-intensive industries the new RBS will serve the public interest by investing only in socially conscious, ethically driven, and environmentally sound projects.
Style:
Think serious or earnest, kitsch or ironic, warm and fluffy, abstract or illustrative; whatever best communicates the concept and appeals to the broader public, the press and perhaps even people in government. It should engage and inspire. You can collage photography on your computer or paint with your fingers and toes – what matters is the outcome. We want to see imagery that speaks of something new, radical and POSSIBLE. Think positive social force. We love the Obama image that was used in the run up to his election – the reworking of his image in a simple pop art style somehow speaks volumes about new, positive change – and has fast become an iconic piece of graphic design, so we thought we’d use it here to demonstrate that you don’t have to be too literal in your interpretation of the brief to create a successful image. If you choose to create a poster remember that it could be made as an advert.
Technical specifications:
your image should be created to these sizes and scannable or put together on a computer:
A1 for the poster.
A2 or squared off A2 for the logo.
Please send me a lo resolution version but make sure you work to these sizes. We will arrange for the printing of your image should it be chosen.
Deadline:
We need your submissions to reach me by Monday 2nd November. Please send lo res versions of your design to info@ameliasmagazine.com
Future projects:
Please bear in mind that if we really love your work we might want to use it in further literature and exhibitions. Just think, your work really could persuade RBS to change course at a pivotal point in our history. What a fabulous idea!
Join the facebook event here to stay in touch with updates
And join the “Stop RBS using public money to finance climate change” facebook group here
Below is a list of links you might want to peruse for inspiration:
Having spearheaded the new London folk scene with their debut album, theremedicalNoah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.
Photos by Katie Weatherall
Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?
Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.
AM: And the live shows must add another dimension to that?
CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.
AM: And is there anything in particular that has done this or has it been the natural progression of the band?
CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.
AM: Was there anything in particular you were listening to whilst making the record?
CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco…
AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?
CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.
There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.
AM: And Daisy Lowe stars in it, how was that?
CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.
AM: So is film making something you want to continue with?
CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…
AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?
CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.
AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?
CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.
AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…
CF: I can’t really remember how I write… I was writing last night but… do you drive?
AM: I just recently failed my test.
CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.
AM: Is being in a band everything you imagined it to be?
CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.
AM: So are there any untapped creative pursuits left for you?
CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.
AM: So how about acting?
CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.
AM: Do you prefer the full creative potential a director has?
CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.
At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.
If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.
Wednesday 26th August
The Hot Rats
The Old Blue Last, London
Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.
Thursday 27th August
KILL IT KID Madam Jo Jos, London
Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.
Friday 28th August
Swanton Bombs Old Blue Last, London
If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.
Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist Vibe Bar, London
It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.
Sunday 30th August
The Gladstone Open Mic Night The Gladstone, London
As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!
Sunderland born designer Rosie Upright is truly passionate about design. Aren’t we all I hear you say? Well, health she’s up, recipe all hours, medical day or night… cutting away with her trusty stanley knife… stopping only when her numb fingertips plead for rest. Do your fingertips bleed? I thought not! Rosie developed her unique hand-crafted techniques whilst at university in Epsom, where she learnt all the usual computer design programs… and then decided to steer clear of them. She’s fled the suburbs of Epsom now, to live in London town with all the other hopeful new freelancers. She spends her days photographing, drawing, organising balls of string… and deciding what hat to wear.
We caught up with Rosie for a little chat…
Hi, how are you today?
I’ve got a bit of a sore throat coming on, the irritating children over the road are noisily playing some kind of shooting game, a car is beeping its horn continuously just below my window, itunes is refusing to play anything other than Billy Idol (which I’m not in the mood for), my coloured ink cartridge has just ran out, I’ve got a blister from my favourite pink shoes, an uninvited wasp is stuck in my blinds, my ginger hair has faded to a weird brown, I forgot to buy milk and Ronnie Mitchell is still crying on Eastenders – but apart from that I’m topper thanks.
What have you been up to lately?
Fingers in pies, fingers in pies!
Including…cross-stitch and a week in a cottage in Norfolk (no telephone signal or internet connection, bloody lovely!)
Which artists or illustrators do you most admire?
I don’t think I would have done a degree in graphic design if my ever-encouraging parents hadn’t taken me to a Peter Saville exhibition at the Urbis in Manchester many moons ago. Made me see the ideas process at its very best and the crucial-ness (that’s not even a word!) of initial doodles and sketchbooks.
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Where would any of us be if it weren’t for Dr Seuss?
I really love a bit of Russian Constructivism, in particular Alexander Rodchenko and Varvara Stepanova, bloody genius. Mr Vaughan Oliver, for making us all think differently about where to crop the image, for being an ongoing influence and for that opportunity. Harry Beck, Robert Doisneau and most recently Philippe Petit.
If we visited you in your hometown, where would you take us?
Stroll down to Seaburn beach because when you don’t live next to the sea anymore you really miss it, and it has really nice sand. Then to my very best friend Sarah Bowman’s house, to play with Peggy Sue the kitten, have mental vegetarian sandwiches off a cake stand, and a glass of red wine, ice cubes and coke. We should pop to an art shop in Darlington and then to The Borough, the best pub for tunes, a pint of cider and a Jaeger bomb.
Who would most love to collaborate with creatively?
Mike Perry and YES art studio please. Thank you.
When did you realise you had creative talent?
When some hippy artist came into my junior school to create banners for some event at the local library with us. I was told after five minutes of colouring it in that I had to go away and read because I couldn’t keep within the lines.
If you weren’t an artist, what would you be doing?
A teenage Mam or an actress, haven’t decided which yet.
Where would you like to be in 10 years time?
I’d like to be the designer than graphic design students hate because their tutors always tell them to get their book out of the Uni library. And I’d quite like to have my own shop in London, Brighton or maybe Newcastle (or all three, and maybe Paris then if we’re going crazy) selling things made by me!
What advice would you give up and coming artists such as yourself?
Take other peoples advice but make your own mistakes, don’t be a dick and always colour outside of the lines.
How would you describe your art in five words?
Hand made/ typography/ narrative/ personal/ I’d like to say idiosyncratic too but don’t want to sound like a twat.
What is your guilty pleasure?
Seeing people fall over.
(and cake)
If you could time travel back or forward to any era, where would you go?
It was horrific enough moving away to University and into London and trying to find a job and start my life up. I think if I had to go backward or forward to another era I would probably just straight up die. Having said that though I would like to be a highwayman’s assistant.
Tell us something about Rosie Upright that we didn’t know already.
I can’t wait till I’m an old lady so I can wear those lacy nighties from Marks & Sparks and I love animals in clothes.
What are you up to next?
Going to make a cuppa tea, kill this wasp and then take over the world.
While most of us at the tender age of 19 rooted our existence in smacking down vodka jelly shots at the bar with kebabs at four in the morning and the Hollyoaks omnibus on a Sunday, pilule some people, of course, are born to shine in different ways. Take, for instance, London College of Fashion student Millie Cockton, somebody who has already had their work featured in a shoot for Dazed and Confused, styled by Robbie Spencer.
As a lover of clean lines and beautiful silhouettes, Millie looks for the wearer to bring their own identity to her gender non-specific pieces. At the moment under new label Euphemia, with her AW09/10 about to be stocked in London boutique and gallery space Digitaria, after being chosen to be the first guest designer at the Soho store. Check out the Dazed piece to see some brilliant Shakespearian-style ruffs that Millie has also created working with paper (a material proving popular as with Petra Storrs, who I featured last week).
Each to their own, mind you. I could totally do all that, if I wanted to.
At the age of 19 you’ve already received quite a lot of attention – how has that been?
It’s been great so far! It’s very flattering but its also very daunting! I am on a constant learning curve and my work is developing all the time so although the attention is great it creates a lot of pressure!
Describe your design aesthetic in three words.
Clean, sculptural, understated.
Who do you see wearing your designs? Are they reflective of your own personality?
I like to think of a real mixture of people wearing my designs. I love the way that the same garment can look completely different on different people- for me its all about the individual and how they carry themselves, bringing their own identity to the piece.
I don’t think that my designs are necessarily a true representation of my personality and personal style. I feel that my designs are more of a reflection of the aesthetic that i find desirable and aspirational.
Thinking about the ruffs featured in Dazed, people have touched on the theatrical nature of your designs – is the idea of performance important to you in fashion?
The idea of performance within fashion is something that interests me but I wouldn’t say that it’s a key element within my own designs. I like the notion of a performative element within a piece or a collection as i think that it helps gain a further understanding and insight of the designers thought process and inspiration.
What else do you respond to?
I am constantly discovering new sources of inspiration, being so young I know that I still have so much to learn!
I like to use elements of craft within my designs, such as origami style folding. Craft elements can add interesting details to simple pieces.
What are your plans for the future? Who would you like to work for?
I am about to launch my new collection which will be stocked in Digitaria, recently opened on Berwick St, Soho. I have just started to work with Digitaria’s creative director , Stavros Karelis and stylist Paul Joyce on some future projects which are really exciting and I am thoroughly enjoying. I want to continue learning and developing my ideas, challenging myself and most importantly keep having fun!
‘Having fun’ of course might well translate to ‘becoming future fashion empress of the galaxy’. This is a talent to watch out for.
The Camp for Climate Action 2009 is almost upon us – now’s the time to gather ourselves and prepare to swoop. Convinced that the response to climate change needs more? Ready to share skills, stomach knowledge and experiences? To be part of the grassroots swell of people demanding a difference? To get out there and do something?
Be ready next Wednesday, 12th August, from noon, in London. We’re going to swoop on the camp location together. The more people the better. Secret until the last moment, you can sign up for text alerts and join one of the groups meeting scattered about central London before moving together to the camp.
Why Camp? We can all meet each other and learn stuff – reason enough? – I mean, an enormous, public, activist-friendly child-friendly student-friendly climate-friendly gathering with an ambitious and well-prepared programme of workshops covering all things from Tai Chi for those of us up early enough, through histories student activism, DIY radio, pedal-powered sound systems, legal briefings, stepping into direct action, singing, dancing, jumping and waving.
Why London? Climate Campers have listed ten reasons to focus on London – right up the top of that list is : tall buildings and low flood plains. London is big corporate central, the City square mile itself accounting for a huge proportion of the UK economy, that FTSE100-flavoured slice of barely accountable, shareholder driven pie. And yet, as the Thames Barrier should always remind us, the whole city sits low on the ground. Just check out what the centre looks like with a few metres rise in sea level.
So what’s first? The Climate Camp Benefit party/shindig/jamboree/palooza/knee’s-up/gala ball/discotheque/rave/soiree at RampART, 9pm-3am this Friday 21st August. Consisting of fun/revelry/ribaldry/tomfoolery/jocularity/jive/merriment/high kinks, low jinks, jinks of all stature/cheer/gambol/horseplay & frolic. With bands & DJ’s including Rob the Rub & Sarah Bear & those amazing skiffle kids ‘The Severed Limb’. That’s at:
9pm-3am
rampART, 15 -17 Rampart Street,
London E1 2LA (near Whitechapel, off Commercial Rd)
Donations on the door much appreciated (and needed!) – all going straight to Climate Camp
And then? The Swoop – Night Before – Londoners and out-of-town visitors are welcome to ‘the night before the swoop’ – near the bandstand in Lincoln’s Inn Fields, 7-8.30pm, Tuesday 25th August – for any last minute info, a legal briefing and an opportunity to join an affinity group and get excited. Lincoln’s Inn Fields is just behind Holborn tube station – this map here might help.
Awesome. See you soon.
Ctrl.Alt.Shift dropped us a line to let us know about a comics-making competition so get your promarkers and layout pads at the ready. Ctrl.Alt.Shift Unmarks Corruption is giving you the opportunity to design a unique comic style story. Ctrl.Alt.Shift is the experimental youth initiative politicising a new generation of activists for social justice and global change. The competition hopes to raise awareness of the Ctrl.Alt.Shift and Lightspeed Champion goals and views by inspiring this generation of designers to work together.
Oscar nominated Marjane Satrapi, medical V V Brown and Lightspeed Champion are amongst the judges for the Ctrl.Alt.Shift Unmasks Corruption competition launched today. Corruption is both a cause of poverty, and a barrier to overcoming it. It is one of the most serious obstacles to eradicate.
Entrants to the competition will be in with the chance to create a unique comic style story in collaboration with acclaimed musician and writer Dev Hynes aka Lightspeed Champion. After the first round of judging at the end of September, shortlisted entrants will be given Lightspeed Champion’s comic script as inspiration and asked to create a visual adaptation of the story.
The winning commission will be published in a comic alongside new work exploring the issue of Corruption by some of comic’s greatest talents. The work will also be showcased as part of a new exhibition, Ctrl.Alt.Shift Unmasks Corruption, later this year at Lazarides Gallery, Soho.
To enter the competition please send relevant examples of your visual work along with your contact details to Ctrl.Alt.Shift by Friday 25th September by visiting www.ctrlaltshift.co.uk/unmaskscorruption.
Five short listed artists will then be given a comic brief to respond to and a winner chosen by a panel of judges including: Marjane Satrapi (Writer and Director of Academy Award Nominated Animated Film Persepolis) Paul Gravett (Comica founder), V V Brown and David Allain (Musician and Comic Book Writer/Artist duo), Lightspeed Champion and Ctrl.Alt.Shift.
The competition is restricted to UK Residents only
For further information about the competition please contact John Doe on 020 7749 7530 or Hannah@johndoehub.com / Jo.bartlett@johndoehub.com Brooke Roberts is my favourite new designer. Why? Well, more about after exchanging several emails with her over the last few weeks, for sale for a young designer making such waves in the industry, her witty and playful personality has impressed even via my inbox! Having worked with such characters such as Louise Goldin and Giles, her avant- garde aesthetic really shines through in her highly tailored and retro-feel designs. Miss Roberts is going places, and she’s more than willing to take us along with her!
What made you want to be a designer? What’s your design background?
I’m definitely not one of those designers who always knew that’s what they wanted to do. I did a degree in Applied Science at Sydney University (I’m from Australia) and worked as a radiographer for a year before moving to London to find out what I wanted to do. I did some work as a stylist with a fashion photographer (random hook-up). I knew his girlfriend and she knew my massive extensive collection of vintage clothes and shoes. My mum had a boutique when I was growing up and I loved clothes – I just never knew it was going to be my career.
I did a few jobs in London (pub, bank – more randomness) before realising I wanted to study fashion. I went to London College of Fashion and Central St.Martins (graduated 2005) wanting to be a pattern-cutter or tailor. I really wanted to create, rather than design. I get most satisfaction from making beautiful things and being involved in the whole process. I have a close working relationship with my suppliers, and go to the factories to develop my garments. I cut them all myself, which is probably bordering on control freakery, but I feel it shows in the final product and I can realise my designs exactly as I imagine them.
I’m waffling. I worked for Giles for two seasons after I left Uni, and started with Louise Goldin when she launched her label. We worked together for three years (until last October when I launched my label).
What are your inspirations for your collections?
I get lots of inspiration from my radiography job (I do that part-time to fund my label). So I’m running between the hospital and my studio all the time. I have used CT (cat) brain scans this season to create knit fabrics and digital prints. My obsession with reptile skins never seems to go away, and I have worked with Anwen Jenkins (awesome print designer) to create skull slice python skin prints. Basically, the python scales are replaced with multi-dimensional skull slices.
Apart from that, I research at museums and LCF Library. This season went to the British Museum and discovered Yoruba sculpture and traditional costumes. I researched these for silhouette and style lines. I also looked at Niger garments. They’re beautifully colourful, vibrant and flamboyant.
What are your favourite pieces from your latest collection?
Umm. I wear the cat suit most. I actually met my boyfriend the first time I wore it. So I’m renaming it Lucky cat suit. I also love the Flex jacket in red snakeskin. The razor sharp points make me feel like I am ready for world domination!
What was it like working with Giles Deacon and Louise Goldin? What did you learn from them?
I learnt that I hate taking orders from others! I’m really not one to toe-the-line. I am a perfectionist and this drives other people mad sometimes. I was a pattern-cutter at Giles, doing mostly tailoring, which suited me fine. Most people wanted to do the showpieces, but I was most happy cutting jackets. Giles is a really lovely bloke. Working with him was really my first experience of doing shows and the pressure and stress of getting everything done.
With Louise, my job was broader because in the beginning it was just the two of us. I learnt so much, I can’t even write it down. I worked in the London studio and the knitwear factory in Italy. I had the opportunity to learn knitwear programming, selecting yarns and cutting and constructing knit. I still work in the factory for my own label and really love it. The other big thing was learning about running a business and starting from scratch. The hoops you have to jump through, the process of getting sponsorship, doing shows, sales and production… It’s a massive undertaking starting your own label. And I still chose to do it! Bonkers.
Who do you think are the most important designers of your generation?
Hmm. Well, I like the work of Tina Kalivas and Gareth Pugh. If we’re talking most important, it has to be Gareth.
What do you think are the problems facing young designers at the moment?
The biggest problems are funding and dealing with suppliers, particularly for production. Creating a beautiful product that you can reproduce is actually really difficult! You need to understand the technicalities of fabrics and construction (or hire someone who does) otherwise it all goes wrong.
What’s next for Brooke Roberts?
In fantasy land, what’s next for Brooke Roberts is a holiday. In reality, I’m working hard on marketing and sales for London Fashion Week. I’m collaborating with jewellery designer Chris Edwards and shoe and bag designer Laura Villasenin on side projects for the label. Look out for skull slice stacked rings and metal bone-fixation embellished super-soft bags for SS10!!
Not slim tomatoes, viagra dosage narrow cucumbers or squashed, um, squashes – no, we’re talking about digging for victory in our own meagre abodes. With allotment waiting lists stretching beyond a century in Hackney and not many of us owning the half-county some how-to books seem to assume, options on grow-your-own approaches might look limited. But before you get the howling fantods at the piling impossibilities. As those of you who read the Amelia’s Magazine review of Growing Stuff (an Alternative Guide to Gardening) will know well, even the meagrest city apartment can burst forth in cornucopic life.
And but so then it seems the thing to do is simply to get a pack of seeds and a container and get growing, no hesitation about it. If a brief pause in favour of screenreading sounds like it could lead to better inspiration, I entreat you, read on. There’s a glut of blogs and enthusiasts all over the place to speak to or read up upon. Here are just a few of our favourites.
Life on the Balcony tells Fern Richardson’s encounters with gardens small and smaller, great for fresh faces and old hands alike, with an awesome friendly dirt cheap ways to garden.
Carrie, of Concrete Gardening blogging fame (true in a juster world), digs organic urban gardening, and has gotten into gardening without the erm, garden, since buying a house in the city (Philadelphia) and sees all the possibilities of planting up, sideways and over – just recently blogging about taking things to the next level and climbing up on her roof to plant out veggies, seedlings to sit and soak up sun.
Herbs and Dragonflies is written by a group set up by Kathy Marshall back in 2008 for the Pudsey Carnival and have been creatively, craftily planting since, encouraging others to get their green fingers dirty – doing activities with children and volunteering about the place. Most recently, they encouraged us blog-readers to leave the comfort of plastic planters and terracotta pots – most anything can sit with some soil in it. They suggest novelty Cadbury’s Fingers tins, I’ve used fancy jamjars, and seen anything from skips to wellington boots enlisted in the service of greenery.
Emma Cooper (I’m cribbing now from the ‘Growing Stuff’ contributor biogs page) lives in Oxfordshire with two pet chickens – Hen Solo and Princess Layer – and six compost bins. She has written an ‘Alternative A-Z of Kitchen Gardening’, which Karen Cannard The Rubbish Diet reckons is ‘an inspirational tour of an edible garden that can be recreated in the smallest of backyards. An essential guide for a new generation of gardeners who are keen to join the kitchen garden revolution.’And she blogs about anything from compost to pod plants to the future of food…
Madeleine Giddens loves herbs, which I guess you’d guess from the name of her blog – Mad About Herbs. But there’s nothing off the wall about any of it, she’s plunged into an obsession and come out smelling of roses and lavender, buzzing about bees too, recently, and their favourite flowers.
So there you have it, just a few spots and pointers. Good evening, and wishes for a fruitful weekend from Amelia’s Magazine.
The Royal Bank of Scotland. RBS. Formally known with pride as the “oil and gas bank” due to their close alliance with the fossil fuel industries. What on earth would I have to do with them? They may have lost the unfortunate moniker, treat partly due to a hugely successful campaign by People and Planet student activists who launched a spoof ad campaign and website named the Oyal Bank of Scotland before delivering a host of greenwashing awards – but they’re certainly not due for any special ethical mentions yet.
Not yet.
There was of course a massive £33 billion bank bailout from the taxpayer for RBS last year. But RBS didn’t spend the money on anything worthwhile. Oh no, the truth is that RBS still has oily blackened hands. Most people will remember the Fred Goodwin debacle, he who managed to retire at the age of 50 on a £16 million pension funded by taxpayers. But that’s not the whole of it – since the bailout some of our money has been used to arrange loans for the fossil fuel industries worth a staggering £10 billion, including a substantial sum for E.ON, the company that wants to build a new coal fired power station at Kingsnorth. Despite the best efforts of activists – there was an impromptu snowball fight during the winter, Climate Rush held a luncheon dance and Climate Camp set up camp down the road at Bishopsgate – RBS continues to invest in unsustainable resources.
But the good news is there is hope for change!
As I’ve got more and more involved with activism I’ve got to know members of PLATFORM, who together with People and Planet and the World Development Movement have launched a legal challenge against our government to make sure that public money used for bailouts is put towards building sustainability. PLATFORM is an organisation that combines art with activism, research and campaigning, so in many ways we are perfect partners and I was really excited when they recently approached me to collaborate on an exciting new project at the Arnolfini gallery in Bristol.
As part of a wider festival named 100 Days, PLATFORM will be co-producing over 50 events, installations, performances, actions, walks, discussions and skill shares over a period of two months. This season is called “C words: Carbon, Climate, Capital, Culture” and is intended to highlight what needs to be done to change the world in the run-up to the incredibly important (but unlikely to solve anything) COP 15 conference (think Kyoto 2 – it failed first time around so why would it succeed now?) in Copenhagen in December.
Your part in this audacious experiment?
We’re going to re-envision RBS as a bastion of sustainability – the Royal Bank of Sustainability in fact. And it will be down to you to create the artwork… once more I will be running one of my becoming-somewhat-regular open briefs. We would like you to submit either a logo or a poster (or both) that will suggest a swing in the direction of all things sustainable in the most imaginative way possible. Around ten of the best artworks will be shown for a week at the prestigious Arnolfini gallery in Bristol as part of the whole shebang, culminating with a public judging and prize-giving overseen by yours truly and helped out by the folk at PLATFORM and no less than the Marketing Manager of the Arnolfini, Rob Webster, and Fiona Hamilton of Soma Gallery (Bristol), a woman with great taste in the arts who runs a cult art shop that has been a long standing supplier of my print magazine. We might even invite someone powerful from RBS! (invite being the operative word) After the event PLATFORM will profile you on their website with links to yours, and prior to the actual event I’ll be posting the best entries onto my website – one good reason to get your artwork in as quickly as possible.
If you are interested read on:
What you need to know:
Ideas:
Yeah yeah – we all know wind turbines are great news and polar bears are having a terrible time, but for this brief we’d like you to think a bit outside the box. We’ll be looking for the most refreshing ways of thinking about how we can live in the most sustainable way possible, and most importantly how RBS could play a possible role in aiding this transition to a low carbon world. Don’t forget that we, the taxpayers, own 70% of RBS – why not make it into the people’s bank? You should make clear in your chosen design the re-imagining of the old RBS into the new. Instead of investing in carbon-intensive industries the new RBS will serve the public interest by investing only in socially conscious, ethically driven, and environmentally sound projects.
Style:
Think serious or earnest, kitsch or ironic, warm and fluffy, abstract or illustrative; whatever best communicates the concept and appeals to the broader public, the press and perhaps even people in government. It should engage and inspire. You can collage photography on your computer or paint with your fingers and toes – what matters is the outcome. We want to see imagery that speaks of something new, radical and POSSIBLE. Think positive social force. We love the Obama image that was used in the run up to his election – the reworking of his image in a simple pop art style somehow speaks volumes about new, positive change – and has fast become an iconic piece of graphic design, so we thought we’d use it here to demonstrate that you don’t have to be too literal in your interpretation of the brief to create a successful image. If you choose to create a poster remember that it could be made as an advert.
Technical specifications:
your image should be created to these sizes and scannable or put together on a computer:
A1 for the poster.
A2 or squared off A2 for the logo.
Please send me a lo resolution version but make sure you work to these sizes. We will arrange for the printing of your image should it be chosen.
Deadline:
We need your submissions to reach me by Monday 2nd November. Please send lo res versions of your design to info@ameliasmagazine.com
Future projects:
Please bear in mind that if we really love your work we might want to use it in further literature and exhibitions. Just think, your work really could persuade RBS to change course at a pivotal point in our history. What a fabulous idea!
Join the facebook event here to stay in touch with updates
And join the “Stop RBS using public money to finance climate change” facebook group here
Below is a list of links you might want to peruse for inspiration:
Just in time for a last minute eco Christmas round up before the Royal Mail goes totally pear shaped….
Firstly, I am a bit in love with Kirsty Allsopp, either that or I am just really bloody jealous – how did she get to the position where she has managed to forge an entire career out of learning to craft? That’s like my ideal job. And her own entire range at Marks & Spencer? If you fancy yourself a bit of Kirsty why not take a peek at some of the gift packages she’s put together. They’re a bit girly for me, so I’m gunning for this Marks & Spencer baking set, currently on special offer for £15. With all the things you need to make festive treats over Christmas in a pretty red and white heart tin. Get in.
On a purely decorative from how about these? I love these candy wrapper stars from Re-Found – they’re the kind of thing that I would make out of my rubbish in that alternate Kirsty Allsopp world where I have lots of spare time… handily these ones come ready made.
One of the best place to hunt for interesting eco goodies is Nigel’s Eco Store, which is a veritable treasure trove of environmentally aware goodies, including this pretty silvered tea light holder, made from recycled glass.
Tara Starlet, an ethical fashion designer who is featured in Amelia’s Compendium of Fashion Illustration, has put together this adorable Patchwork Pooch kit from leftover fabrics, vintage buttons and recycled ribbons: so adorable, and the perfect project to keep crafty types happy over Christmas.
Lastly, I couldn’t go without mentioning Culture Beyond Oil, a publication put together by my friends at Platform and perfect for the environmentalist and art enthusiast in your life: as recommended by me in a recent interview about arts and activism with Sierra Club online. Not If But When: Culture Beyond Oil is a long hard look at the way that oil funding has infiltrated our art institutions, with contributions from a range of top artists including Banksy and Matthew Herbert. This line of investigation could not come at a better time, as proved by an article in the Guardian only today which confirms that four of the UK’s biggest cultural organisations – the British Museum, the National Portrait Gallery, the Royal Opera House and Tate – have announced they are to renew sponsorship deals with BP worth £10m despite protests from environmental campaigners. Here’s to more positive news on that front in 2012.
Written by Amelia Gregory on Monday December 19th, 2011 1:54 pm
Just in time for a last minute eco Christmas round up before the Royal Mail goes totally pear shaped….
Firstly, I am a bit in love with Kirsty Allsopp, either that or I am just really bloody jealous – how did she get to the position where she has managed to forge an entire career out of learning to craft? That’s like my ideal job. And her own entire range at Marks & Spencer? If you fancy yourself a bit of Kirsty why not take a peek at some of the gift packages she’s put together. They’re a bit girly for me, so I’m gunning for this Marks & Spencer baking set, currently on special offer for £15. With all the things you need to make festive treats over Christmas in a pretty red and white heart tin. Get in.
On a purely decorative from how about these? I love these candy wrapper stars from Re-Found – they’re the kind of thing that I would make out of my rubbish in that alternate Kirsty Allsopp world where I have lots of spare time… handily these ones come ready made.
One of the best place to hunt for interesting eco goodies is Nigel’s Eco Store, which is a veritable treasure trove of environmentally aware goodies, including this pretty silvered tea light holder, made from recycled glass.
Tara Starlet, an ethical fashion designer who is featured in Amelia’s Compendium of Fashion Illustration, has put together this adorable Patchwork Pooch kit from leftover fabrics, vintage buttons and recycled ribbons: so adorable, and the perfect project to keep crafty types happy over Christmas.
Lastly, I couldn’t go without mentioning Culture Beyond Oil, a publication put together by my friends at Platform and perfect for the environmentalist and art enthusiast in your life: as recommended by me in a recent interview about arts and activism with Sierra Club online. Not If But When: Culture Beyond Oil is a long hard look at the way that oil funding has infiltrated our art institutions, with contributions from a range of top artists including Banksy and Matthew Herbert. This line of investigation could not come at a better time, as proved by an article in the Guardian only today which confirms that four of the UK’s biggest cultural organisations – the British Museum, the National Portrait Gallery, the Royal Opera House and Tate – have announced they are to renew sponsorship deals with BP worth £10m despite protests from environmental campaigners. Here’s to more positive news on that front in 2012.
Written by Amelia Gregory on Monday December 19th, 2011 1:54 pm
The Dulwich Picture Gallery has been graced with a showcase of 100 master drawings from the Art Gallery of Ontario. The great masters from Picasso and Matisse, approved to Rembrandt and Van Gogh are here and movements including Renaissance Italy and German Expressionism. An unmissable opportunity to witness arguably the greatest collection of master drawings in one space, see this exhibition will be undoubtedly compelling and astounding. The gallery have already received a record amount of bookings so join the crowds to see one of this year’s must see exhibitions.
Dulwich Picture Gallery
October 21st 2009 – January 27th 2010
Veolia Wildlife Photographer Of The Year
Perhaps a tad too excited about this exhibition, ailment The Veolia Wildlife Photographer Of The Year is at the top of my to-do list this week. Held in the wonderous Natural History Museum, the competition handpicks a selection of the finest wildlife photographs from professional and amateur photographers and have received an astounding 43,000 entries. The candidates aim to produce work that is original, creative and inspired and many of this year’s entries will prove to exceed these expectations. None more so in fact than the winner, Jose Luis Rodriguez’ piece ‘The Storybook Wolf’ alone, makes this exhibition worth going to.
Natural History Museum
October 23 2009 – April 11 2010
Phaidon Pop-Up Shop
The world renowned publisher Phaidon have just opened their first UK pop up book shop in Piccadilly. Famous for superior quality books on visual arts, culture and creativity, you will be able to buy from categories such as design, photography, architecture, fashion, travel and now new editions, cookery and children’s books. Be sure to make a visit soon to get your mits on any of the beautifully crafted publications as it won’t be around forever. The store will be gone again in the January of next year.
Phaidon Store 173 Piccadilly London W1
Pop Life:Art In A Material World
Based on Andy Warhol’s notorious quote ‘good business is the best art’ the exhibition considers the legacy Pop Art left behind and the influence it has had since. ‘Pop Life’ will focus on how artists have inflitrated and been invloved in the mass media since the 1980′s including Damien Hirst, Jeff Koons, Tracey Emin, Richard Prince and Keith Haring. We are also asked to be aware that some works in this exhibition are of a challenging and sexual nature and dmission to three of the rooms is restricted to over-18s only. You have been warned!
Tate Modern
October 1 2009 – January 17 2010
Green Day Presents: ‘The Art of Rock’
A celebration of art and music has come to Brick Lane this week. To coincide with the release of their new album Green Day have commissioned a selection of artists to produce work for a travelling exhibition that will also accompany them on their world tour. The artists, who include curator Logan Hicks, Ron English, Sixten, Will Barras and The London Police were asked to make work in reaction to their latest album, 21st Century Breakdown.
StolenSpace Gallery Brick Lane
October 23 – November 11
Drawing Attention
The Dulwich Picture Gallery has been graced with a showcase of 100 master drawings from the Art Gallery of Ontario. The great masters from Picasso and Matisse, order to Rembrandt and Van Gogh are here and movements including Renaissance Italy and German Expressionism. An unmissable opportunity to witness arguably the greatest collection of master drawings in one space, this exhibition will be undoubtedly compelling and astounding. The gallery have already received a record amount of bookings so join the crowds to see one of this year’s must see exhibitions.
Dulwich Picture Gallery
October 21st 2009 – January 27th 2010
Veolia Wildlife Photographer Of The Year
Perhaps a tad too excited about this exhibition, The Veolia Wildlife Photographer Of The Year is at the top of my to-do list this week. Held in the wonderous Natural History Museum, the competition handpicks a selection of the finest wildlife photographs from professional and amateur photographers and have received an astounding 43,000 entries. The candidates aim to produce work that is original, creative and inspired and many of this year’s entries will prove to exceed these expectations. None more so in fact than the winner, Jose Luis Rodriguez’ piece ‘The Storybook Wolf’ alone, makes this exhibition worth going to.
Natural History Museum
October 23 2009 – April 11 2010
Phaidon Pop-Up Shop
The world renowned publisher Phaidon have just opened their first UK pop up book shop in Piccadilly. Famous for superior quality books on visual arts, culture and creativity, you will be able to buy from categories such as design, photography, architecture, fashion, travel and now new editions, cookery and children’s books. Be sure to make a visit soon to get your mits on any of the beautifully crafted publications as it won’t be around forever. The store will be gone again in the January of next year.
Phaidon Store 173 Piccadilly London W1
Pop Life:Art In A Material World
Based on Andy Warhol’s notorious quote ‘good business is the best art’ the exhibition considers the legacy Pop Art left behind and the influence it has had since. ‘Pop Life’ will focus on how artists have inflitrated and been invloved in the mass media since the 1980′s including Damien Hirst, Jeff Koons, Tracey Emin, Richard Prince and Keith Haring. We are also asked to be aware that some works in this exhibition are of a challenging and sexual nature and dmission to three of the rooms is restricted to over-18s only. You have been warned!
Tate Modern
October 1 2009 – January 17 2010
Green Day Presents: ‘The Art of Rock’
A celebration of art and music has come to Brick Lane this week. To coincide with the release of their new album Green Day have commissioned a selection of artists to produce work for a travelling exhibition that will also accompany them on their world tour. The artists, who include curator Logan Hicks, Ron English, Sixten, Will Barras and The London Police were asked to make work in reaction to their latest album, 21st Century Breakdown.
StolenSpace Gallery Brick Lane
October 23 – November 11
Drawing Attention
The Dulwich Picture Gallery has been graced with a showcase of 100 master drawings from the Art Gallery of Ontario. The great masters from Picasso and Matisse, prescription to Rembrandt and Van Gogh are here and movements including Renaissance Italy and German Expressionism. An unmissable opportunity to witness arguably the greatest collection of master drawings in one space, this exhibition will be undoubtedly compelling and astounding. The gallery have already received a record amount of bookings so join the crowds to see one of this year’s must see exhibitions.
Dulwich Picture Gallery
October 21st 2009 – January 27th 2010
Veolia Wildlife Photographer Of The Year
Perhaps a tad too excited about this exhibition, The Veolia Wildlife Photographer Of The Year is at the top of my to-do list this week. Held in the wonderous Natural History Museum, the competition handpicks a selection of the finest wildlife photographs from professional and amateur photographers and have received an astounding 43,000 entries. The candidates aim to produce work that is original, creative and inspired and many of this year’s entries will prove to exceed these expectations. None more so in fact than the winner, Jose Luis Rodriguez’ piece ‘The Storybook Wolf’ alone, makes this exhibition worth going to.
Natural History Museum
October 23 2009 – April 11 2010
Phaidon Pop-Up Shop
The world renowned publisher Phaidon have just opened their first UK pop up book shop in Piccadilly. Famous for superior quality books on visual arts, culture and creativity, you will be able to buy from categories such as design, photography, architecture, fashion, travel and now new editions, cookery and children’s books. Be sure to make a visit soon to get your mits on any of the beautifully crafted publications as it won’t be around forever. The store will be gone again in the January of next year.
Phaidon Store 173 Piccadilly London W1
Pop Life:Art In A Material World
Based on Andy Warhol’s notorious quote ‘good business is the best art’ the exhibition considers the legacy Pop Art left behind and the influence it has had since. ‘Pop Life’ will focus on how artists have inflitrated and been invloved in the mass media since the 1980′s including Damien Hirst, Jeff Koons, Tracey Emin, Richard Prince and Keith Haring. We are also asked to be aware that some works in this exhibition are of a challenging and sexual nature and dmission to three of the rooms is restricted to over-18s only. You have been warned!
Green Day Presents: ‘The Art of Rock’
A celebration of art and music has come to Brick Lane this week. To coincide with the release of their new album Green Day have commissioned a selection of artists to produce work for a travelling exhibition that will also accompany them on their world tour. The artists, who include curator Logan Hicks, Ron English, Sixten, Will Barras and The London Police were asked to make work in reaction to their latest album, 21st Century Breakdown.
StolenSpace Gallery Brick Lane
October 23 – November 11
Drawing Attention
The Dulwich Picture Gallery has been graced with a showcase of 100 master drawings from the Art Gallery of Ontario. The great masters from Picasso and Matisse, approved to Rembrandt and Van Gogh are here and movements including Renaissance Italy and German Expressionism. An unmissable opportunity to witness arguably the greatest collection of master drawings in one space, there this exhibition will be undoubtedly compelling and astounding. The gallery have already received a record amount of bookings so join the crowds to see one of this year’s must see exhibitions.
Dulwich Picture Gallery
October 21st 2009 – January 27th 2010
Veolia Wildlife Photographer Of The Year
Perhaps a tad too excited about this exhibition, The Veolia Wildlife Photographer Of The Year is at the top of my to-do list this week. Held in the wonderous Natural History Museum, the competition handpicks a selection of the finest wildlife photographs from professional and amateur photographers and have received an astounding 43,000 entries. The candidates aim to produce work that is original, creative and inspired and many of this year’s entries will prove to exceed these expectations. None more so in fact than the winner, Jose Luis Rodriguez’ piece ‘The Storybook Wolf’ alone, makes this exhibition worth going to.
Natural History Museum
October 23 2009 – April 11 2010
Phaidon Pop-Up Shop
The world renowned publisher Phaidon have just opened their first UK pop up book shop in Piccadilly. Famous for superior quality books on visual arts, culture and creativity, you will be able to buy from categories such as design, photography, architecture, fashion, travel and now new editions, cookery and children’s books. Be sure to make a visit soon to get your mits on any of the beautifully crafted publications as it won’t be around forever. The store will be gone again in the January of next year.
Phaidon Store 173 Piccadilly London W1
Pop Life:Art In A Material World
Based on Andy Warhol’s notorious quote ‘good business is the best art’ the exhibition considers the legacy Pop Art left behind and the influence it has had since. ‘Pop Life’ will focus on how artists have inflitrated and been invloved in the mass media since the 1980′s including Damien Hirst, Jeff Koons, Tracey Emin, Richard Prince and Keith Haring. We are also asked to be aware that some works in this exhibition are of a challenging and sexual nature and dmission to three of the rooms is restricted to over-18s only. You have been warned!
Tate Modern
October 1 2009 – January 17 2010
Green Day Presents: ‘The Art of Rock’
A celebration of art and music has come to Brick Lane this week. To coincide with the release of their new album Green Day have commissioned a selection of artists to produce work for a travelling exhibition that will also accompany them on their world tour. The artists, who include curator Logan Hicks, Ron English, Sixten, Will Barras and The London Police were asked to make work in reaction to their latest album, 21st Century Breakdown.
StolenSpace Gallery Brick Lane
October 23 – November 11
Drawing Attention
The Dulwich Picture Gallery has been graced with a showcase of 100 master drawings from the Art Gallery of Ontario. The great masters from Picasso and Matisse, page to Rembrandt and Van Gogh are here and movements including Renaissance Italy and German Expressionism. An unmissable opportunity to witness arguably the greatest collection of master drawings in one space, approved this exhibition will be undoubtedly compelling and astounding. The gallery have already received a record amount of bookings so join the crowds to see one of this year’s must see exhibitions.
Dulwich Picture Gallery
October 21st 2009 – January 27th 2010
Veolia Wildlife Photographer Of The Year
Perhaps a tad too excited about this exhibition, for sale The Veolia Wildlife Photographer Of The Year is at the top of my to-do list this week. Held in the wonderous Natural History Museum, the competition handpicks a selection of the finest wildlife photographs from professional and amateur photographers and have received an astounding 43,000 entries. The candidates aim to produce work that is original, creative and inspired and many of this year’s entries will prove to exceed these expectations. None more so in fact than the winner, Jose Luis Rodriguez’ piece ‘The Storybook Wolf’ alone, makes this exhibition worth going to.
Natural History Museum
October 23 2009 – April 11 2010
Phaidon Pop-Up Shop
The world renowned publisher Phaidon have just opened their first UK pop up book shop in Piccadilly. Famous for superior quality books on visual arts, culture and creativity, you will be able to buy from categories such as design, photography, architecture, fashion, travel and now new editions, cookery and children’s books. Be sure to make a visit soon to get your mits on any of the beautifully crafted publications as it won’t be around forever. The store will be gone again in the January of next year.
Phaidon Store 173 Piccadilly London W1
Pop Life:Art In A Material World
Based on Andy Warhol’s notorious quote ‘good business is the best art’ the exhibition considers the legacy Pop Art left behind and the influence it has had since. ‘Pop Life’ will focus on how artists have inflitrated and been invloved in the mass media since the 1980′s including Damien Hirst, Jeff Koons, Tracey Emin, Richard Prince and Keith Haring. We are also asked to be aware that some works in this exhibition are of a challenging and sexual nature and admission to three of the rooms is restricted to over-18s only. You have been warned!
Tate Modern
October 1 2009 – January 17 2010
Green Day Presents: ‘The Art of Rock’
A celebration of art and music has come to Brick Lane this week. To coincide with the release of their new album Green Day have commissioned a selection of artists to produce work for a travelling exhibition that will also accompany them on their world tour. The artists, who include curator Logan Hicks, Ron English, Sixten, Will Barras and The London Police were asked to make work in reaction to their latest album, 21st Century Breakdown.
StolenSpace Gallery Brick Lane
October 23 – November 11
Drawing Attention
The Dulwich Picture Gallery has been graced with a showcase of 100 master drawings from the Art Gallery of Ontario. The great masters from Picasso and Matisse, viagra to Rembrandt and Van Gogh are here and movements including Renaissance Italy and German Expressionism. An unmissable opportunity to witness arguably the greatest collection of master drawings in one space, this exhibition will be undoubtedly compelling and astounding. The gallery have already received a record amount of bookings so join the crowds to see one of this year’s must see exhibitions.
Dulwich Picture Gallery
October 21st 2009 – January 27th 2010
Veolia Wildlife Photographer Of The Year
Perhaps a tad too excited about this exhibition, The Veolia Wildlife Photographer Of The Year is at the top of my to-do list this week. Held in the wonderous Natural History Museum, the competition handpicks a selection of the finest wildlife photographs from professional and amateur photographers and have received an astounding 43,000 entries. The candidates aim to produce work that is original, creative and inspired and many of this year’s entries will prove to exceed these expectations. None more so in fact than the winner, Jose Luis Rodriguez’ piece ‘The Storybook Wolf’ alone, makes this exhibition worth going to.
Natural History Museum
October 23 2009 – April 11 2010
Phaidon Pop-Up Shop
The world renowned publisher Phaidon have just opened their first UK pop up book shop in Piccadilly. Famous for superior quality books on visual arts, culture and creativity, you will be able to buy from categories such as design, photography, architecture, fashion, travel and now new editions, cookery and children’s books. Be sure to make a visit soon to get your mits on any of the beautifully crafted publications as it won’t be around forever. The store will be gone again in the January of next year.
Phaidon Store 173 Piccadilly London W1
Pop Life:Art In A Material World
Based on Andy Warhol’s notorious quote ‘good business is the best art’ the exhibition considers the legacy Pop Art left behind and the influence it has had since. ‘Pop Life‘ will focus on how artists have inflitrated and been invloved in the mass media since the 1980′s including Damien Hirst, Jeff Koons, Tracey Emin, Richard Prince and Keith Haring. We are also asked to be aware that some works in this exhibition are of a challenging and sexual nature and admission to three of the rooms is restricted to over-18s only. You have been warned!
Tate Modern
October 1 2009 – January 17 2010
Green Day Presents: ‘The Art of Rock’
A celebration of art and music has come to Brick Lane this week. To coincide with the release of their new album Green Day have commissioned a selection of artists to produce work for a travelling exhibition that will also accompany them on their world tour. The artists, who include curator Logan Hicks, Ron English, Sixten, Will Barras and The London Police were asked to make work in reaction to their latest album, 21st Century Breakdown.
StolenSpace Gallery Brick Lane
October 23 – November 11
Elaine developed Real People do the Catwalk after hosting a fashion show which included both dancers and models on stage. “I asked my customers about it and they said they related to the dancers and not the models”.
Spurred by this Elaine set about putting together a pioneering show to further the arguement that replacing super-thin models with people who reflect society could lead to increased sales for the fashion industry.
The show opened in silence with the models resembling extras from Scream in their attire of long black robes and white masks. Each model first vocalised how they felt the fashion industry related to them, cheap followed by revealing their beautifully styled outfits and their real identities.
The driving force behind the model casting to show the fashion industry that different body shapes can be celebrated in fashion shows and advertising campaigns.
“It is about not creating an elite world where no one else can join in, adiposity ” Explained Elaine. “So many people want a chance, generic but know that because they are five foot tall, or a size 14-16, they never will have.” The models featured within the show ranged from a 6’1” Drag Artiste to a 5’4” male; dress sizes 8 to 20 and ages between 25 to 60+.
What I enjoyed most about the show was the diversity and celebration of the models differences. It was fresh and modern with all the models having poise, confidence and importantly a great sense of humour. Their
good spirits and sense of fun gave the show an electric atmosphere.
The models’ charismatic personalities brought out something unique in the clothes that might not have been projected if worn by a ‘normal’ model. Whether this is because they were real people displaying how the clothes would fit on our own bodies or down to their insurmountable energy and passion for highlighting an issue intricately linked to the size zero debate.
The debate began by Dariush Alavi somewhat controversially enquiring as to why Real People do the Catwalk
was produced to “enact a traditional fashion show.” Suggesting that by keeping the traditional format, could anything change by replacing the models with real people as it is not the models who are at fault but the stage on which they stand. Alavi suggested doing away with the catwalk altogether.
This prompted both Hilary Alexander and a member of the audience to defend the catwalk as “fashion’s world stage” and looked back to a John Galliano show where the entire collection was presented on an overhead track of basic clothes hangers. Dariush’s response suggested making models obsolete and displaying clothes on a fashion conveyer belt went down like a lead balloon. The audience and the rest of the panel remained sceptical of high fashion designers considering a presentation that in a format is more commonly associated with The Generation Game.
Questions were raised about the morality of the fashion industry and the spotlight on the size zero debate intensified. Hilary spoke about the Telegraph not facing the same constraints from advertisers as glossy fashion titles and said that the newspaper’s “aim to strike a balance between real people and models and actively try to include both types of woman in spreads… the oldest woman we’ve ever featured was 94.”
Panellist Eleni Renton mentioned that the Editor of UK Vogue Alexandra Shulman spoke out against size zero in June accusing designers of making magazines hire models with “jutting bones and no breasts or hips” by supplying them with “minuscule” garments for their photo shoots. She claimed that Vogue frequently “retouched” photographs to make models look larger. In response Hilary questioned whether things had begun to change at UK Vogue as they still fail to represent body diversity within their pages, suggesting it would become apparent what their real stance on size zero is over the coming months.
Elaine added that whilst magazine images are not healthy for women, they have a considerable impact on impressionable teenagers who start to believe they need to emulate perfect bodies in order to be considered beautiful and successful.
“Look around, everything we see is airbrushed… these aren’t real images.”
To emphasise her point Elaine spoke of teenagers being more body conscious than any generation before citing her own children as an example: “I have a six-year-old daughter and 11 and 15-year-old stepdaughters who are constantly looking in the mirror. My stepdaughters are so skinny and so conscious about what they eat and what they see in the media. They are constantly aware of body image issues. It is a big issue for adolescent girls and boys.”
The panel and audience agreed that the media are responsible for putting different demographics into the mainstream and popularising diversity, and that they have a moral responsibility to society to not glamorise super skinny body shapes. Elaine believes that there has “been a spike in our body consciousness” in recent years and we have turned into a society “afraid of flesh, hair and wrinkles”.
Eleni, director of Leni’s Model Management only works with girls “who are sizes 8 to 12… They are the type of girls you see in the street and think, ‘I would like a body like hers.”
As the debate drew to a close the supermodel era was discussed, with Hilary citing that the greats in the industry: Linda, Kate and Naomi all had personality, and that was what made them famous, rather than their figures. On the flip side other great supermodels such as Cindy Crawford, Christy Turlington and Sophie Dahl were celebrated for having curves.
Through the conversations it became apparent that the only modern day equivalent of a curvaceous celebrity pushing the boundaries of what is acceptable in mainstream is Beth Ditto, who won LOVE magazine a prestigious industry award for her iconic nude cover
The overall outcome was for women to take responsibility for themselves and their bodies and actively promote positive body attitudes to their daughters, friends and grandchildren. Everyone agreed that while it is easy to blame the media for the size zero trend, consumers need to use our buying power to actively challenge the fashion industry into reconsidering their design practices and elitism.
I left the ICA feeling very empowered, wanting to help revolutionise the fashion industry from the outside in.
Home to canals and cannabis, case dams, discount diamonds and professional damsels Holland is an entirely civilized and modern society. But one Dutch girl’s gaze is fixed on another civilization entirely. The first one. The grains of thought for designer Iris Van Herpen’s A/W ’09 collection sprouted from the fertile banks of the River Nile in ancient Egypt. The young designer found inspiration in the post humous labor of love by which the ancient Egyptians sent their nearest and dearest off to the beyond. Forsaking strips of linen in favor of intricate leather lacework, search her garments carefully envelop the body like grandiose and elegant mummies.
“Egyptians considered the ‘reality’ that they created for their deaths as the reality, while their daily life was an illusion. In other words, don’t believe everything that looks obvious, but create your own reality…”
When asked how she might adapt this philosophy to her modern hectic life Iris supposes “give more and another way of attention to everything around me and everything I do, making choices in another way and giving more space to the unexpected”
Sounds simple enough, coming from someone whose intense focus has yielded garments requiring the better part of a month and 4 assistants to complete, resulting in complex one-off works of art that are impossible to duplicate. That singularity is what lends these pieces much of their ephemeral quality.
Clearly passionate about fabrics Iris relishes the “challenge to look further than fabrics… to find interesting materials and get them out of their ‘reality’ or fuction.” She accomplishes this by “giv(ing) them another life” by creating her own function for them.
Iris has shown in both Amsterdam and Tokyo Fashion Week where her A/W ’08 collection Chemical Crows ruffled more than a few feathers. The designer toys with the idea of juxtaposing industrial and traditional materials she has explored everything from radiating umbrella spoke dresses to lace facemasks (which I imagine go over very well with the female mexican wrestler set).
Pointing out that maths were her forte (as opposed to languages) Iris welcomes the structural challenges posed by the unique materials and her ambitious ideas. Confronted with endless recalculations in an effort to retain the delicate symmetry of her handmade pieces she admits the small, 10 piece collection, would be impossible to reproduce. A process which would, she admits, would surely drive her to madness.
With stints at Alexander McQueen and Victor & Rolf Iris emerged with with additional technical know-how and perhaps a clearer sense of purpose. “I learned… that I get restless if I cannot express myself and not do my own thing.”
Not having specifically intended to venture out on her own so quickly, Iris recalls launching herself into the creation of new designs the day after her graduation from Artez School of Arts. to the amazement, and at times concern, of friends.
The Ancient Egyptians believed that when someone died their soul left their body. It would then return and be reunited with the body after it was buried. However the soul needed to find and recognize the body in order to live forever. Hence the decadently decorative sarcophagi. Figuring we won’t be here forever….how would you design yours?
This weeks listings; arts, salve training, films and festivals. Make sure you check out C words at some point, where Platform are putting on 50 events in the run-up to COP 15.
Embedded! Arts, Energy and Climate Change
Wednesday 28th October 2009
Another event in the programme C Words: Carbon, Climate, Capital, Culture. This day conference is aimed at arts and cultural organisations facing up to the challenge of moving towards low impact and carbon neutral operations. Looking at the investment structure of the arts into funding into climate change as well as discussions into a radical reduction in dependency on carbon and on fossil fuel based economics
3rd Native Spirit Festival
Friday 30th October 2009?
The 3rd Native Spirit Festival will be held in London, it is held to promote the Cultures of Indigenous people. The annual season will include films, talks and performances. All proceedings made at the festival will go towards educational resources for schools in indigenous communities.
Venue: London, Amnesty International Human Rights Action Centre
Website: http://www.nativespiritfestival.com/
Healing the wound: the struggle for truth and justice in Mexico
Friday 30th October 2009 ?
Film screening of 12.511 Rosendo Radilla case: An open wound from Mexico’s Dirty War. Q&A follows the film showing with human rights defender Tita Radilla to discuss the struggle in Mexico over the past decades.
CAAT National Gathering 2009
Saturday 31st October 2009 ?
Join Campaign Against Arms Trade (CAAT) supporters from around the country for a day of speakers, discussion and inspiration!
There will be an array of workshops on topics from arms fairs to corporate mercenaries to challenging the arms industry’s jobs argument. The event will have opportunities to hone your skills in making the most of the media.
With an election looming and BAE Systems taking advantage of the recession to claim it invests ‘more and more in UK manufacturing’, this year’s event will provide the facts, skills and passion you need to challenge government support for the arms trade and tackle the arms industry’s spin.
Training for Gaza Freedom March
Saturday 31st October 2009
Seeds for Change are putting on training for those interested in taking part in the Gaza Freedom march. There is a central London venue, crash-pad accommodation available on Fri and Sat evenings.
The Croydon Eco Veggie Fayre is a superb day out for the whole family and is the perfect introduction into an eco friendly veggie friendly Fair Trade way of life. Over 50 stalls now allocated, to browse, buy and
Venue: Fairfield Halls, Park Lane, Croydon, Surrey CR9 1DG
Admission £3 for adults, £1 for Kids under 14
Website: http://croydon.ecoveggiefayre.co.uk/
Written by Adam S on Monday October 26th, 2009 2:01 pm
