Amelia’s Magazine | 6 Day Riot Album Launch at the Jazz Cafe

Long Story Short, erectile look 2010

Since graduating from Wimbledon College of Art in 2009, Alice Browne has exhibited her paintings at Foremans Smokehouse Gallery’s Divergence exhibition and opened her shared studio to the public during the recent installament of Hackney Wicked. In 2010 Alice Browne was selected to participate in Bloomberg New Contempories, which is currently at the ICA. Earlier this week, Amelia’s Magazine had the pleasure of interviewing Alice Browne.

How did it feel to be selected for New Contemporaries?

Very exciting, and it really boosted my confidence in the studio. It has been great to meet other artists through the show.

What attracts you to the medium of paint?

I think, I’ve always found that paint was the medium which allowed me, the most experimentation. It involves more collaboration than mastering.

Production Still, 2010

What were you first experiences of art or if you had to, which artist(s) have had the greatest effect on your work to date?

Early experiences of art included the Greek and Roman pottery and sculpture in the Ashmolean and treasure trove of oddities at the Pitt Rivers in Oxford. I was introduced to painting through trips to the National Gallery. I was very influenced by an exhibition of Max Beckmann’s work which I saw in New York when I was at school. Artists who have had the greatest effect on my work include Francis Bacon, Pieter Claesz, Philip Guston and Prunella Clough.

Club, 2009

What are the financial implications after the decision has been made to start out as a painter?

It’s a constant weighing up of time, really. I need a studio – so that increases costs, so I need to work more to pay for it, but have less time to spend in there! Eventually I hope it will pay for itself.

Do you work in a gallery or maintain a part time job?

I work at Jerwood Space part time and worked at the National Gallery until recently.

The paintings submitted to Bloomberg New Contemporaries will almost be a year old, by the time the exhibition opens, what are your thoughts and these paintings now and what are their relation to the works you are producing today?

Some of the paintings in the show were made at the end of my degree and represent the focus of a very intense studio-time, so they are quite important and I think about them often. Pink Black Pink is one of the most confident paintings I’ve made. I’m very much still exploring the grounds in which they operate, though I understand it better now.

Pink Black Pink, 2009

What’s an average day in your studio?

I try to keep lots of paintings on the go (10-20 or more) so that I don’t get bogged down in the appearance of any particular painting. I expect a fair few to fail- which usually comes from overworking. I tend to go from one to the next, putting things away after I’ve worked on them. The less confident I feel, the longer I spend on each so on a really good day I could work on up to 10 paintings.

What type of paint (oil, acrylic) do you use and why?

I mostly use oil as it is so flexible and sometimes un-predictable. I use a lot of transparent colours which oil is very suited for. I do also use acrylic but usually for the more predictable priming and under-painting. If I’m not painting, my favourite medium is colouring pencils and paper.

Hellion II, 2009

Your statement discusses your paintings relation to “historical notions of depth relating to the flat painting surface and depth that we relate to visual experience” was there a particular painting or text which sparked your playful exploration?

My exploration was really fuelled by an interest in the range of ways that painters have represented visual space across history; from Masaccio to the trompe l’oeil of Gijsbrechts and still life painters such as Claesz, Cotan and Morandi, to de Hooch and Vermeer to Francis Bacon, Mary Heilmann and Phoebe Unwin.

I’m also interested in the way that photography and moving image represents visual space and how it changes our first hand experience of looking.

Day In, 2010

What was your relation to painting objects during your time at Wimbledon?

At Wimbledon I made quite a few paintings and photographs which described still life objects. Eventually I found that the objects got in the way; they were always charged with associations. I wanted to explore the space of the canvas or photograph rather than create an image.

How do you name your paintings?

I start with a sort of word association game and go from there.

Obstacle No. 2 2010

What does the sub-title of the exhibition “painting between representation and abstraction” mean to you?

For a while I’ve felt uncomfortable with using these terms – I don’t find it so useful to be defined as ‘representational’ or ‘abstract’, so being somewhere in-between sounds about right.

Had you met any artists before deciding to be one?

A family friend is a photographer who works in Hong Kong, taking pictures of the landscape. I always thought it was amazing that anyone could do something so beautiful for a job.

What was it like to study at Wimbledon?

Very supportive with a real sense of community. I loved being in a green and quite residential part of London.

Watch Me, 2010

Favourite contemporary painters?

Lots! I enjoyed Caragh Thuring’s recent exhibition at Thomas Dane gallery and Robert Holyheads show at Karsten Schubert.

How did you become to be involved in Transition Gallery’s exhibition Fade Away?

Alli Sharma curated the exhibition. Its great to be included in such an amazing selection of paintings.

Alice Browne’s paintings will be on display as part of Bloomberg New Contemporaries 2010 at the ICA until January 23rd 2011 and Transition Gallery’s Group Show: Fade Away until the 24th December, 2010.

The Compass Road by Iain Sinclair illustrated by Faye West

The decision to wear one of Mr Jones’ Watches is to accept the designer’s challenge to a modern concept of time being a series of fixed units, more about through which the day is neatly compartmentalised. A concept most succinctly visualised by the watch The Average Day watch. This piece was originally produced for The Muses. The watch-face illustrates the average activities undertaken at particular points throughout the day. The information was digested from sources researching how time is spent by an average person throughout the day. The hours are replaced by words, recipe for example 6pm becomes social life and 11 am becomes work.

The Average Day, Photograph by Chris Overend. The Muse for this particular watch was Jonathan Gershuny, Director of the Centre for Time Use Research and who Mr Jones stipulates has “750,000 time-use diaries.”

Continuing to dispense with Western Modernity’s accepted measurement of time, Mr Jones developed Cyclops, a watch with no hour, minute or second hands. Instead a circular disk mimics the movement of shadows across a sundial, as the passage of time is meditatively documented. Encouraging the wearer to reevaluate their relationship to capitalist time in which every precious second counts.

Cyclops

On Wednesday 3rd November 2010 Mr Jones’ Watches launched The Masters of Time a collaboration with five unique professionals who share an unique and personal concept of time.

During the launch Iain Sinclair, author and psycho-geographer, Greame Obree, record breaking cyclist and artist Brian Catling discussed the ideas behind their watches and the process of negotiating whilst collaborating with Mr Jones. The final two watches were developed with Comedian William Andrews, and DJ Tom Middleton.

Iain Sinclair Photograph by Emilie Sandy

Iain Sinclair’s (Author of Hackney That Red Rose Empire) Compass Watch relates to 90 minutes of film time, rather than your usual TV time of 60 minutes. Sinclair discussed the relation of time to walking, the layers created as time passes both between an event and the walker’s presence, within the walker’s own time.

Iain Sinclair – Compass Road interview from Mr Jones on Vimeo.

Fittingly Sinclair’s watch replaces the units of time with authors whose experience was shaped both by the influence of both geographic location and a complex understanding of time. In his 15 minutes Sinclair discussed the breakdown of the poet John Clare after the enclosure of the landscape to JG Ballard’s experiences as a prisoner of war before his arrival in Suburban England.

Compass Road by Iain Sinclair and Mr Jones Watches

The performance artist and sculptor Brian Catling, introduced the ideas behind Dawn West Dusk East via an art historical slide show. Original paintings and performances explored and expanded on the concept of ‘the Cyclops’. The watch –in the words of the artist- was designed to be “enigmatic, subtle and poetic.” The single rotation of this exquisite design is a silent request to return to a slower pace. The dial gradually measures the 12 hours between Dawn and Dusk.

Brian Catling Photograph by Emilie Sandy

The final speaker of the evening was the twice claimant of the toughest cycling challenge The Hour – a race between the cyclist, distance and the clock. Fittingly the title chosen for Graeme Obree’s timepiece is The Hour. As the hand rotates each hour reveals a different word encouraging the wearer to question emotions experienced during a variety of daily activities. Obree described The Hour as the best, worst, most exhilaratingly painful amount of time imaginable, each second a step closer to achieving or failing a lifelong obsession.

The Masters of Time launch was a fantastic introduction to an individuals complex relation to time. Sadly William Andrews and Tom Middleton were unable to attend, their watches The Last Hour and BPM played with the idea of ‘death’ on stage and a DJ’s relation to the beats per minute respectively. BPM comes complete with a specifically designed animation to help the nocturnal DJ keep count of each record’s BPM prior to the moment of a live mix.

Tom Middleton Photograph by Emilie Sandy

William Andrews Photograph by Emilie Sandy

William Andrews The Last Laugh functions as a symbol of the performer’s need for the last laugh and a momento mori, a reminder that life is brief as time flashes past on the moving teeth of the skull illustrated watchface

The Last Laugh by William Andrews and Mr Jones Watches

Mr Jones Watches are available from the website or you can visit Mr Jones Design, Unit 1.11 Oxo Tower Wharf?Southbank London SE1 9PH.
Compass Road and The Last Laugh are available today.

The Compass Road by Iain Sinclair illustrated by Faye West

The decision to wear one of Mr Jones’ Watches is to accept the designer’s challenge to a modern concept of time being a series of fixed units, adiposity through which the day is neatly compartmentalised. A concept most succinctly visualised by the watch The Average Day watch. This piece was originally produced for The Muses. The watch-face illustrates the average activities undertaken at particular points throughout the day. The information was digested from sources researching how time is spent by an average person throughout the day. The hours are replaced by words; 6pm becomes social life and 11am becomes work.

The Average Day, patient Photograph by Chris Overend. The Muse for this particular watch was Jonathan Gershuny, buy information pills Director of the Centre for Time Use Research and who Mr Jones stipulates has “750,000 time-use diaries.”

Continuing to dispense with Western Modernity’s accepted measurement of time, Mr Jones developed Cyclops, a watch with no hour, minute or second hands. Instead a circular disk mimics the movement of shadows across a sundial, as the passage of time is meditatively documented. Encouraging the wearer to reevaluate their relationship to capitalist time in which every precious second counts.

Cyclops

On Wednesday 3rd November 2010 Mr Jones’ Watches launched The Masters of Time a collaboration with five unique professionals who share an unique and personal concept of time.

During the launch Iain Sinclair, author and psycho-geographer, Greame Obree, record breaking cyclist and artist Brian Catling discussed the ideas behind their watches and the process of negotiating whilst collaborating with Mr Jones. The final two watches were developed with Comedian William Andrews, and DJ Tom Middleton.

Iain Sinclair Photograph by Emilie Sandy

Iain Sinclair’s (Author of Hackney That Red Rose Empire) Compass Watch relates to 90 minutes of film time, rather than your usual TV time of 60 minutes. Sinclair discussed the relation of time to walking, the layers created as time passes both between an event and the walker’s presence, within the walker’s own time.

Iain Sinclair – Compass Road interview from Mr Jones on Vimeo.

Fittingly Sinclair’s watch replaces the units of time with authors whose experience was shaped both by the influence of both geographic location and a complex understanding of time. In his 15 minutes Sinclair discussed the breakdown of the poet John Clare after the enclosure of the landscape to JG Ballard’s experiences as a prisoner of war before his arrival in Suburban England.

Compass Road by Iain Sinclair and Mr Jones Watches

The performance artist and sculptor Brian Catling, introduced the ideas behind Dawn West Dusk East via an art historical slide show. Original paintings and performances explored and expanded on the concept of ‘the Cyclops’. The watch –in the words of the artist- was designed to be “enigmatic, subtle and poetic.” The single rotation of this exquisite design is a silent request to return to a slower pace. The dial gradually measures the 12 hours between Dawn and Dusk.

Brian Catling Photograph by Emilie Sandy

The final speaker of the evening was the twice claimant of the toughest cycling challenge The Hour – a race between the cyclist, distance and the clock. Fittingly the title chosen for Graeme Obree’s timepiece is The Hour. As the hand rotates each hour reveals a different word encouraging the wearer to question emotions experienced during a variety of daily activities. Obree described The Hour as the best, worst, most exhilaratingly painful amount of time imaginable, each second a step closer to achieving or failing a lifelong obsession.

The Masters of Time launch was a fantastic introduction to an individuals complex relation to time. Sadly William Andrews and Tom Middleton were unable to attend, their watches The Last Hour and BPM played with the idea of ‘death’ on stage and a DJ’s relation to the beats per minute respectively. BPM comes complete with a specifically designed animation to help the nocturnal DJ keep count of each record’s BPM prior to the moment of a live mix.

Tom Middleton Photograph by Emilie Sandy

William Andrews Photograph by Emilie Sandy

William Andrews The Last Laugh functions as a symbol of the performer’s need for the last laugh and a momento mori, a reminder that life is brief as time flashes past on the moving teeth of the skull illustrated watchface

The Last Laugh by William Andrews and Mr Jones Watches

Mr Jones Watches are available from the website or you can visit Mr Jones Design, Unit 1.11, Oxo Tower Wharf? Southbank London SE1 9PH.
Compass Road and The Last Laugh are available today.

6 Day Riot by Karina Yarv
6 Day Riot by Karina Yarv.

We arrived at the Jazz Cafe just in time to catch the promising tail end of blues infused folk maestro Ian King, medicine who was followed by a set from comedian Richard Herring, trudging out the same old jokes (last heard at Latitude this summer) about his sad child less bachelor life. Is he in fact happily married, I wonder? Is it all just part of the comic schtick? He had clearly come prepared for a slightly more rowdy pre gig audience, with some poetry that he had written as an 18 year old virgin during his gap year “they called it a year out in those days”. Lines such as “The only water that was pure was from an orphan’s tears,” elicited plenty of giggles.

6 Day Riot-Tamara Schlesinger photo by Amelia Gregory
Tamara Schlesinger. All photography by Amelia Gregory.

6 Day Riot songstress Tamara Schlesinger bounced on stage in a huge red and purple feathered headdress, explaining that she’d had to do a whole rehearsal to check she could get her various instruments over her head without pulling it off. Because of course Tamara is the antithesis to your showgirl Kylies and Rhiannas, adeptly playing a plethora of instruments whilst singing up a storm in a stage grabbing outfit.

6 Day Riot-Tamara Schlesinger photo by Amelia Gregory

Also on stage were an energetic double bass played by Edd Harwood, the talented strains of Rachel Coleshill on violin, Gabriel Lucena on guitar, and at times two trumpeters, one of whom was indeed Rowan Porteous, the very same who has played with my band and who persuaded 6 Day Riot to play an intimate gig for Climate Camp at Glastonbury last year.

6 Day Riot-Tamara and Edd photo by Amelia Gregory

From introspectful to energetic 6 Day Riot swung through a great selection of tracks from the new album On This Island plus some older crowd pleasers, Tamara nimbly swapping between the various stringed instruments slung from her gold flower bedecked mike stand, including a sleek black electric ukelele. At one point the rest of the band left the stage whilst she dueted with her drummer Daniel Deavin, who paused to accompany her with the lightest of strums on his banjolele.

6 Day Riot  photo by Amelia Gregory
6 Day Riot-Tamara S photo by Amelia Gregory

For the finale 6 Day Riot pulled out their bestest klezmer influenced tunes, Tamara twirling her arms like a Notting Hill Carvinal dervish. It was a delightful end to a joyous launch, marred only by the loss of my favourite red sparkly scarf. Still, a small price to pay for a much needed dose of quality live music.

Tamara spoke excitedly of some recently confirmed dates with her favourite band, Belle and Sebastian, but in the meantime you can catch 6 Day Riot at a few remaining shows if you’re fast. Full listing info here. Read my review of new album On This Island here.

6 Day Riot-Edd Harwood photo by Amelia Gregory
Edd Harwood.

6 Day Riot-Rachel Coleshill photo by Amelia Gregory
Rachel Coleshill.

6 Day Riot-Gabriel Lucena photo by Amelia Gregory
Gabriel Lucena.

6 Day Riot-Ian King photo by Amelia Gregory
Ian King.

6 Day Riot-Richard Herring photo by Amelia Gregory
Richard Herring.

Categories ,6 Day Riot, ,Album Launch, ,Alex Bezzina, ,belle and sebastian, ,Daniel Deavin, ,Edd Harwood, ,Gabriel Lucena, ,Ian King, ,Jazz Cafe, ,Karina Yarv, ,klezmer, ,Kylie, ,latitude, ,On This Island, ,Rachel Coleshill, ,Rhianna, ,Richard Herring, ,Rowan Porteous, ,Tamara Schlesinger

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Amelia’s Magazine | Latitude Festival 2010: A Review of the Comedy Arena, and more.

aomi law-joan-of-arc
the-dying-swan-Joby Talbot by jenny-goldstone
The Dying Swan by Jenny Goldstone.

When I was watching Dr Jekyll and Mr Hyde set to the soundtrack of Warp artist Scanner at the Purcell Rooms a few months back I had no idea I was witnessing part of an avante garde phenomenon. But it seems there’s nothing more of the moment than the setting of a silent film to a modern day musical score. At Latitude I laid back on the black carpeted floor of the Film and Music Arena (one of the only places not blighted by the incessant dust) to enjoy two silent movies given this most trendy of treatments.

the-dying-swan-Joby Talbot by jenny-goldstone
the-dying-swan-Joby Talbot by jenny-goldstone
Illustrations by Jenny Goldstone.

On Saturday long lost Russian movie The Dying Swan was set to a live string arrangement from composer Joby Talbot. This 1916 classic was only rediscovered as the communist regime went into decline, purchase and director Evgenii Bauer has since been described as “the greatest filmmaker you’ve never heard of.” The mournful violin and chello were a perfect foil to the downfall of a lovelorn mute who finds solace in ballet.

On Sunday we once more lay amongst the detritus (the South Bank this wasn’t) to watch the cinematic genius of The Passion of Joan of Arc set to a live score by Adrian Utley of Portishead and Will Gregory of Goldfrapp. The film was made in 1928, case shortly after the discovery of the original transcripts of the trial, imprisonment, torture and final execution of Joan of Arc. To convey maximum emotion it utilises mainly close up shots of the actors, a technique that has inspired many filmmakers since. With strings, horns, percussion, keys and the voices of the Monteverdi choir this was one of my absolute highlights of this year’s Latitude Festival. It’s discoveries like this that make the Latitude experience a tough act to follow.

the-dying-swan-Joby Talbot by jenny-goldstone
The Dying Swan by Jenny Goldstone.

When I was watching Dr Jekyll and Mr Hyde set to the soundtrack of Warp artist Scanner at the Purcell Rooms a few months back I had no idea I was witnessing part of an avante garde phenomenon. But it seems there’s nothing more of the moment than the setting of a silent film to a modern day musical score. At Latitude I laid back on the black carpeted floor of the Film and Music Arena (one of the only places not blighted by the incessant dust) to enjoy two silent movies given this most trendy of treatments.

the-dying-swan-Joby Talbot by jenny-goldstone
the-dying-swan-Joby Talbot by jenny-goldstone
Illustrations by Jenny Goldstone.

On Saturday long lost Russian movie The Dying Swan was set to a live string arrangement from composer Joby Talbot. This 1916 classic was only rediscovered as the communist regime went into decline, stuff and director Evgenii Bauer has since been described as “the greatest filmmaker you’ve never heard of.” The mournful violin and chello were a perfect foil to the downfall of a lovelorn mute who finds solace in ballet.

naomi law-joan-of-arc
Illustration by Naomi Law.

On Sunday we once more lay amongst the detritus (the South Bank this wasn’t) to watch the cinematic genius of The Passion of Joan of Arc set to a live score by Adrian Utley of Portishead and Will Gregory of Goldfrapp. The film was made in 1928, more about shortly after the discovery of the original transcripts of the trial, imprisonment, torture and final execution of Joan of Arc. To convey maximum emotion it utilises mainly close up shots of the actors, a technique that has inspired many filmmakers since. With strings, horns, percussion, keys and the voices of the Monteverdi choir this was one of my absolute highlights of this year’s Latitude Festival. It’s discoveries like this that make the Latitude experience a tough act to follow.

the-dying-swan-Joby Talbot by jenny-goldstone
The Dying Swan by Jenny Goldstone.

When I was watching Dr Jekyll and Mr Hyde set to the soundtrack of Warp artist Scanner at the Purcell Rooms a few months back I had no idea I was witnessing part of an avante garde phenomenon. But it seems there’s nothing more of the moment than the setting of a silent film to a modern day musical score. At Latitude I laid back on the black carpeted floor of the Film and Music Arena (one of the only places not blighted by the incessant dust) to enjoy two silent movies given this most trendy of treatments.

the-dying-swan-Joby Talbot by jenny-goldstone
the-dying-swan-Joby Talbot by jenny-goldstone
Illustrations by Jenny Goldstone.

On Saturday long lost Russian movie The Dying Swan was set to a live string arrangement from composer Joby Talbot. This 1916 classic was only rediscovered as the communist regime went into decline, diagnosis and director Evgenii Bauer has since been described as “the greatest filmmaker you’ve never heard of.” The mournful violin and cello were a perfect foil to the downfall of a lovelorn mute who finds solace in ballet.

naomi law-joan-of-arc
Illustration by Naomi Law.

On Sunday we once more lay amongst the detritus (the South Bank this wasn’t) to watch the cinematic genius of The Passion of Joan of Arc set to a live score by Adrian Utley of Portishead and Will Gregory of Goldfrapp. The film was made in 1928, viagra 40mg shortly after the discovery of the original transcripts of the trial, ampoule imprisonment, torture and final execution of Joan of Arc. To convey maximum emotion it utilises mainly close up shots of the actors, a technique that has inspired many filmmakers since. With strings, horns, percussion, keys and the voices of the Monteverdi choir this was one of my absolute highlights of this year’s Latitude Festival. It’s discoveries like this that make the Latitude experience a tough act to follow.

the-dying-swan-Joby Talbot by jenny-goldstone
The Dying Swan by Jenny Goldstone.

When I was watching Dr Jekyll and Mr Hyde set to the soundtrack of Warp artist Scanner at the Purcell Rooms a few months back I had no idea I was witnessing part of an avante garde phenomenon. But it seems there’s nothing more of the moment than the setting of a silent film to a modern day musical score. At Latitude I laid back on the black carpeted floor of the Film and Music Arena (one of the only places not blighted by the incessant dust) to enjoy two silent movies given this most trendy of treatments.

the-dying-swan-Joby Talbot by jenny-goldstone
the-dying-swan-Joby Talbot by jenny-goldstone
Illustrations by Jenny Goldstone.

On Saturday long lost Russian movie The Dying Swan was set to a live string arrangement from composer Joby Talbot. This 1916 classic was only rediscovered as the communist regime went into decline, order and director Evgenii Bauer has since been described as “the greatest filmmaker you’ve never heard of.” The mournful violin and cello were a perfect foil to the downfall of a lovelorn mute who finds solace in ballet.

naomi law-joan-of-arc
Illustration by Naomi Law.

On Sunday we once more lay amongst the detritus (the South Bank this wasn’t) to watch the cinematic genius of The Passion of Joan of Arc set to a live score by Adrian Utley of Portishead and Will Gregory of Goldfrapp. The film was made in 1928, approved shortly after the discovery of the original transcripts of the trial, imprisonment, torture and final execution of Joan of Arc. To convey maximum emotion it utilises mainly close up shots of the actors, a technique that has inspired many filmmakers since. With strings, horns, percussion, keys and the voices of the Monteverdi choir this was one of my absolute highlights of this year’s Latitude Festival. It’s discoveries like this that make the Latitude experience a tough act to follow.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

On Friday afternoon I nestled in rushes amongst the clacking grasshoppers and giggling tweenies to watch the Latitude graduate fashion shows, discount played out along a catwalk linked to the Waterfront Stage. A selection of new faces from Elite Models formed a somewhat confusing parade between two stop offs on either side of the lake, not helped by a complete lack of clarity in announcements of each designer – What follows is the best of what I managed to catch, so if I’ve got any wrong please or not labelled your designs at all do let me know. It was near on impossible to find out who was who. Ahem, lack of individual designer websites ahoy!

Latitude 2010-kids Amelia gregory
Latitude 2010-happy teen by Amelia Gregory
Photography by Amelia Gregory.

First up came the students from Chelsea College of Art and Design:

Latitude 2010-Ellen Chatelain by Amelia Gregory
Latitude 2010-Ellen Chatelain by Amelia Gregory
Ellen Chatelain didn’t disappoint with her patchwork knitwear.

Abby-Wright-Latitude-Fashion Ellen Chatelain
Ellen Chatelain by Abby Wright.

Latitude 2010-Sorcha Herbert by Amelia Gregory
More colourful weave, from Sorcha Herbert.

Latitude 2010 fashion by Amelia Gregory
Gorgeous printed textiles by Charmaine Dresser worked perfectly shooting into the sun.

Latitude 2010 fashion by Amelia Gregory
Spectacular lasercut tailoring.

Latitude fashion Michelle Urvall Nyrén
Latitude fashion Michelle Urvall Nyrén
Ruched swimwear in mustard and greens. Illustration by Michelle Urvall Nyrén.

Latitude 2010 fashion by Amelia Gregory
More patchworked style.

Latitude 2010 fashion by Amelia Gregory
Subtle tones of caramel and slate.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-fashion by Amelia Gregory
Padded and stitched capes combined with strange animal and psychedelic prints.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.
Sadly the wonderful creations of Bethan Smith never crossed the lake – I guess the models were worried they might fall in. Fair play.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-Helen Lawrence
More monochrome geometrics and slate shades from Helen Lawrence.

Latitude 2010-Shawana Grosvenor by Amelia Gregory
Latitude 2010-Shawana Grosvenor by Amelia Gregory
For Shawana Grosvenor creamy circular layers rule.

Alexis-West-Latitude-Graduate-Fashion-Matthew Inett
Matthew Inett by Alexis West.

Latitude 2010-Matthew Inett by Amelia Gregory
Latitude 2010-Matthew Inett by Amelia gregory
Tagged onto the end of the first half Matthew Inett reprised his 2008 London College of Fashion catwalk show, which featured almighty curved shoulders and exaggerated hips in pastel checks.

Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Matthew Inett by Natasha Thompson.

Next up, my review of the Central Saint Martins show.
Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

On Friday afternoon I nestled in rushes amongst the clacking grasshoppers and giggling tweenies to watch the Latitude graduate fashion shows, tadalafil played out along a catwalk linked to the Waterfront Stage. A selection of new faces from Elite Models formed a somewhat confusing parade between two stop offs on either side of the lake, not helped by a complete lack of clarity in announcements of each designer – What follows is the best of what I managed to catch, so if I’ve got any wrong please or not labelled your designs at all do let me know. It was near on impossible to find out who was who. Ahem, lack of individual designer websites ahoy!

Latitude 2010-kids Amelia gregory
Latitude 2010-happy teen by Amelia Gregory
Photography by Amelia Gregory.

First up came the students from Chelsea College of Art and Design:

Latitude 2010-Ellen Chatelain by Amelia Gregory
Latitude 2010-Ellen Chatelain by Amelia Gregory
Ellen Chatelain didn’t disappoint with her patchwork knitwear.

Abby-Wright-Latitude-Fashion Ellen Chatelain
Ellen Chatelain by Abby Wright.

Latitude 2010-Sorcha Herbert by Amelia Gregory
More colourful weave, from Sorcha Herbert.

Latitude 2010 fashion by Amelia Gregory
Gorgeous printed textiles by Charmaine Dresser worked perfectly shooting into the sun.

Latitude 2010 fashion by Amelia Gregory
Spectacular lasercut tailoring by Francesca Prudente.

Latitude fashion Michelle Urvall Nyrén
Latitude fashion Michelle Urvall Nyrén
Ruched swimwear in mustard and greens. Illustration by Michelle Urvall Nyrén.

Latitude 2010 fashion by Amelia Gregory
More patchworked style.

Latitude 2010 fashion by Amelia Gregory
Subtle tones of caramel and slate.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-fashion by Amelia Gregory
Padded and stitched capes combined with strange animal and psychedelic prints.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.
Sadly the wonderful creations of Bethan Smith never crossed the lake – I guess the models were worried they might fall in. Fair play.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-Helen Lawrence
More monochrome geometrics and slate shades from Helen Lawrence.

Latitude 2010-Shawana Grosvenor by Amelia Gregory
Latitude 2010-Shawana Grosvenor by Amelia Gregory
For Shawana Grosvenor creamy circular layers rule.

Alexis-West-Latitude-Graduate-Fashion-Matthew Inett
Matthew Inett by Alexis West.

Latitude 2010-Matthew Inett by Amelia Gregory
Latitude 2010-Matthew Inett by Amelia gregory
Tagged onto the end of the first half Matthew Inett reprised his 2008 London College of Fashion catwalk show, which featured almighty curved shoulders and exaggerated hips in pastel checks.

Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Matthew Inett by Natasha Thompson.

Next up, my review of the Central Saint Martins show.
Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

On Friday afternoon I nestled in rushes amongst the clacking grasshoppers and giggling tweenies to watch the Latitude graduate fashion shows, buy more about played out along a catwalk linked to the Waterfront Stage. A selection of new faces from Elite Models formed a somewhat confusing parade between two stop offs on either side of the lake, order not helped by a complete lack of clarity in announcements of each designer – What follows is the best of what I managed to catch, so if I’ve got any wrong please or not labelled your designs at all do let me know. It was near on impossible to find out who was who. Ahem, lack of individual designer websites ahoy!
Luckily I have now found out all the right names, but really girls, you gotta get yourselves a much better presence on the web… it’s a mantra I seem to find myself repeating quite a lot.

Latitude 2010-kids Amelia gregory
Latitude 2010-happy teen by Amelia Gregory
Photography by Amelia Gregory.

First up came the students from Chelsea College of Art and Design:

Latitude 2010-Ellen Chatelain by Amelia Gregory
Latitude 2010-Ellen Chatelain by Amelia Gregory
Ellen Chatelain didn’t disappoint with her patchwork knitwear.

Abby-Wright-Latitude-Fashion Ellen Chatelain
Ellen Chatelain by Abby Wright.

Latitude 2010-Sorcha Herbert by Amelia Gregory
More colourful weave, from Sorcha Herbert.

Latitude 2010 fashion by Amelia Gregory
Gorgeous printed textiles by Charmaine Dresser worked perfectly shooting into the sun.

Latitude 2010 fashion by Amelia Gregory
Spectacular lasercut tailoring by Francesca Prudente.

Latitude fashion Michelle Urvall Nyrén
Latitude fashion Michelle Urvall Nyrén
Ruched swimwear in mustard and greens from Alice Powell. Illustration by Michelle Urvall Nyrén.

Latitude 2010 fashion by Amelia Gregory
More patchworked style courtesy of Cat Finch.

Latitude 2010 fashion by Amelia Gregory
Felicity McDonald-Bing does subtle tones of caramel and slate.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-fashion by Amelia Gregory
Padded and stitched capes combined with strange animal and psychedelic prints by Sophie Parker.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.
Sadly the wonderful creations of Bethan Smith never crossed the lake – I guess the models were worried they might fall in. Fair play.

Latitude 2010-fashion by Amelia Gregory
Triangle wooden panels by Lauren T-Franks.

Latitude 2010-Helen Lawrence
More monochrome geometrics and slate shades from Helen Lawrence.

Latitude 2010-Shawana Grosvenor by Amelia Gregory
Latitude 2010-Shawana Grosvenor by Amelia Gregory
For Shawana Grosvenor creamy circular layers rule.

Alexis-West-Latitude-Graduate-Fashion-Matthew Inett
Matthew Inett by Alexis West.

Latitude 2010-Matthew Inett by Amelia Gregory
Latitude 2010-Matthew Inett by Amelia gregory
Tagged onto the end of the first half Matthew Inett reprised his 2008 London College of Fashion catwalk show, which featured almighty curved shoulders and exaggerated hips in pastel checks.

Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Matthew Inett by Natasha Thompson.

Next up, my review of the Central Saint Martins show.
James Acaster by Kathryn Jones
James Acaster by Kathryn Jones.

Over the course of Latitude I saw numerous comedians, approved some of whom appeared as comperes on other stages when not performing to surely one of their biggest ever audience (of thousands) in the Comedy Arena. The Cabaret Arena was much favoured, and as of course was the Literary Arena – hanging out with Robin Ince and his fabled posse.

Kevin Eldon, clinic Phil Jupitas, Josie Long… they all dropped by, frequently.

Latitude 2010-Phil Jupitas by Amelia Gregory
Phil Jupitas. Photography by Amelia Gregory.

Robin Ince by Stacie Swift
Robin Ince by Stacie Swift.

My favourite part of the longstanding Book Club was a guide to one of Robin Ince’s favourite bad books: Mens’ Secrets, set to a duelling musical accompaniment.

Latitude 2010 James Acaster by Amelia Gregory
James Acaster.

James Acaster was one such novice who I saw happily entertaining pre-act literary crowds with clever improv. Teenage wonder Ivo Graham kept the Cabaret crowd thoroughly entertained with his impromptu rendition of Blind Date – amusingly he is so young he had to be told of Cilla’s name. Weird to think of Blind Date already consigned to ancient TV history.

Latitude 2010-Ivo Graham Blind Date by Amelia Gregory
Latitude 2010-Ivo Graham Blind Date by Amelia Gregory
Ivo Graham improvises a round of Blind Date in the Cabaret Arena.

The main Comedy Arena was my favourite place to hang out in 2007, and it’s popularity continues to grow. Despite additional wing tents on each side of the huge central marquee, the arena remained unable to contain the enthusiastic crowds, who kicked up huge volumes of dust with every new exodus and influx.

Abi Daker - Ivo Graham
Ivo Graham by Abigail Daker.
YouTube Preview Image

One of the biggest draws of Latitude is the chance to discover new talent. Ivo Graham is a mere 19 years old, which made his ability to engage a massive audience all the more impressive. With jokes centred around Facebook, pesky younger brothers and getting in trouble with mum, he still struck a chord with the older folks.

Eric Lambert by Gareth A Hopkins
Eric Lambert by Gareth A Hopkins.

Eric Lambert was winner of the Latitude New Act of the Year 2010, although from what I heard Ivo would have been way more deserving…. or James. Eric’s winning performance centred around an improv routine that wasn’t always quite up to scratch.

Latitude 2010-Eric Lambert by Amelia Gregory
Eric Lambert.

He was cheeky and sexual, no doubt a hit with the ladies. It’s proved nigh on impossible to do any research into Eric since he seems to have zero internet presence… but I would guess from his demeanour that he’s a big fan of Russell Brand.

docbrown_by_iamanoctopus
Doc Brown by Iamanoctopus.

Of the better known comedians I really enjoyed the guide to slang courtesy of Doc Brown, who was formerly a rapper and just happens to be younger brother of Zadie Smith. Sucking snot out of his small child and inappropriate comments on packed buses define his descent towards the normality of family life.

stephen-k-amos-suziewinsor
Stephen K. Amos by Suzie Winsor.

Following him on Friday South Londoner Stephen K. Amos was suitably un-PC, berating his previous Yorkshire audience for its lack of diversity, ripping the piss out of posh people, bemoaning his old age (he’s 35. there’s no hope for me) and generally causing loud if somewhat uncomfortable chuckles across the arena.

On Sunday we caught the tail end of Rufus Hound, who was indeed face-painted up like a dog, if somewhat lacking of a tail. He spoke of the trials and tribulations of marriage and babies… which led onto the misogynistic diatribe of Richard Herring, a 43 year old singleton who made jokes about tit wanks and gay sex, accompanied by a signer for those hard of hearing. Or perhaps just to afford the opportunity to make yet more lewd jokes.

Richard Herring by Sine Skau
Richard Herring by Sine Skau.

He also over-milked an incredibly tedious tirade about Mars Bars that met with a fairly frosty reception… that became part of the act… that increased it’s tediousity. I think he was my least favourite comedian at Latitude.

ANDREW LAWRENCE Faye Skinner
Andrew Lawrence by Faye West.

Next up Andrew Lawrence was really quite sinister but also strangely endearing, geared as his jokes were around his all round lack of appeal. Hey, why the sadness? I’ve always had a soft spot for scrawny gingers! Leaning back at a jaunty angle and grinning demonically he spoke of his semi-autistic relationship with his current (long-suffering) girlfriend. Hey, doesn’t that cover most men?

Latitude 2010- Deborah Francis White by Amelia Gregory
Deborah Francis White.

Lastly, Deborah Francis White put on her genius show How To Get Almost Anyone To Want To Sleep With You on Sunday in the Cabaret Arena. “Every actor wants to be in a sitcom, every man wants to be in a woman,” she informed us, talking us through a series of pie charts that showed the different state of mind for women. Whilst we’d like practically every man we meet to want to sleep with us (approximately 95% according to Deborah) the reverse is true when it comes to the amount of men we actually want to sleep with.

Deborah Francis White Oversees a Bra Fight by Gareth A Hopkins
Deborah Francis White Oversees a Bra Fight by Gareth A Hopkins.

To a chorus of knowing laughter from women, slightly nervous laughter from the men, she talked us through the best way to pull the opposite sex. “Be a Scorsese movie!” she opined, extolling the virtues of confidence. “You’re probably not going to get a part in me…” But the point is that every man should want to. Even if the reason they’re so fixated on lesbian porn is simply “two tits good, four tits better.”

Latitude 2010- Deborah Francis White by Amelia Gregory
Women stroking themselves to much amusement.

Latitude 2010- Deborah Francis White by Amelia Gregory
Tube-hanging.

She persuaded the women in the audience to stroke themselves on the breast to turn the men on, pulled people out of the audience to follow her instructions on how to tell a girl on the tube she’s gorgeous, and finished with a bra wrestling match between two men. Because who wants to sleep with a man who can’t get a bra off with one hand?

The comedy at Latitude Festival is undeniably one of its biggest selling points… now if only they could figure out how to accommodate the heaving numbers of people that yearn to be amused.

Categories ,Abigail Daker, ,Andrew Lawrence, ,Blind Date, ,Cabaret Arena, ,Comedy Arena, ,Deborah Francis White, ,Eric Lambert, ,Faye Skinner, ,Faye West, ,Gareth Hopkins, ,Iamanoctopus, ,Ivo Graham, ,James Acaster, ,Josie Long, ,Kathryn Jones, ,Kevin Eldon, ,Latitude Festival, ,Literary Arena, ,Phil Jupitas, ,Richard Herring, ,Robin Ince, ,Rufus Hound, ,Russell Brand, ,Sine Skau, ,Stacie Swift, ,Stephen K. Amos, ,Suzie Winsor, ,Zadie Smith

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Amelia’s Magazine | Latitude Festival 2010: A Review of the Comedy Arena, and more.

aomi law-joan-of-arc
the-dying-swan-Joby Talbot by jenny-goldstone
The Dying Swan by Jenny Goldstone.

When I was watching Dr Jekyll and Mr Hyde set to the soundtrack of Warp artist Scanner at the Purcell Rooms a few months back I had no idea I was witnessing part of an avante garde phenomenon. But it seems there’s nothing more of the moment than the setting of a silent film to a modern day musical score. At Latitude I laid back on the black carpeted floor of the Film and Music Arena (one of the only places not blighted by the incessant dust) to enjoy two silent movies given this most trendy of treatments.

the-dying-swan-Joby Talbot by jenny-goldstone
the-dying-swan-Joby Talbot by jenny-goldstone
Illustrations by Jenny Goldstone.

On Saturday long lost Russian movie The Dying Swan was set to a live string arrangement from composer Joby Talbot. This 1916 classic was only rediscovered as the communist regime went into decline, purchase and director Evgenii Bauer has since been described as “the greatest filmmaker you’ve never heard of.” The mournful violin and chello were a perfect foil to the downfall of a lovelorn mute who finds solace in ballet.

On Sunday we once more lay amongst the detritus (the South Bank this wasn’t) to watch the cinematic genius of The Passion of Joan of Arc set to a live score by Adrian Utley of Portishead and Will Gregory of Goldfrapp. The film was made in 1928, case shortly after the discovery of the original transcripts of the trial, imprisonment, torture and final execution of Joan of Arc. To convey maximum emotion it utilises mainly close up shots of the actors, a technique that has inspired many filmmakers since. With strings, horns, percussion, keys and the voices of the Monteverdi choir this was one of my absolute highlights of this year’s Latitude Festival. It’s discoveries like this that make the Latitude experience a tough act to follow.

the-dying-swan-Joby Talbot by jenny-goldstone
The Dying Swan by Jenny Goldstone.

When I was watching Dr Jekyll and Mr Hyde set to the soundtrack of Warp artist Scanner at the Purcell Rooms a few months back I had no idea I was witnessing part of an avante garde phenomenon. But it seems there’s nothing more of the moment than the setting of a silent film to a modern day musical score. At Latitude I laid back on the black carpeted floor of the Film and Music Arena (one of the only places not blighted by the incessant dust) to enjoy two silent movies given this most trendy of treatments.

the-dying-swan-Joby Talbot by jenny-goldstone
the-dying-swan-Joby Talbot by jenny-goldstone
Illustrations by Jenny Goldstone.

On Saturday long lost Russian movie The Dying Swan was set to a live string arrangement from composer Joby Talbot. This 1916 classic was only rediscovered as the communist regime went into decline, stuff and director Evgenii Bauer has since been described as “the greatest filmmaker you’ve never heard of.” The mournful violin and chello were a perfect foil to the downfall of a lovelorn mute who finds solace in ballet.

naomi law-joan-of-arc
Illustration by Naomi Law.

On Sunday we once more lay amongst the detritus (the South Bank this wasn’t) to watch the cinematic genius of The Passion of Joan of Arc set to a live score by Adrian Utley of Portishead and Will Gregory of Goldfrapp. The film was made in 1928, more about shortly after the discovery of the original transcripts of the trial, imprisonment, torture and final execution of Joan of Arc. To convey maximum emotion it utilises mainly close up shots of the actors, a technique that has inspired many filmmakers since. With strings, horns, percussion, keys and the voices of the Monteverdi choir this was one of my absolute highlights of this year’s Latitude Festival. It’s discoveries like this that make the Latitude experience a tough act to follow.

the-dying-swan-Joby Talbot by jenny-goldstone
The Dying Swan by Jenny Goldstone.

When I was watching Dr Jekyll and Mr Hyde set to the soundtrack of Warp artist Scanner at the Purcell Rooms a few months back I had no idea I was witnessing part of an avante garde phenomenon. But it seems there’s nothing more of the moment than the setting of a silent film to a modern day musical score. At Latitude I laid back on the black carpeted floor of the Film and Music Arena (one of the only places not blighted by the incessant dust) to enjoy two silent movies given this most trendy of treatments.

the-dying-swan-Joby Talbot by jenny-goldstone
the-dying-swan-Joby Talbot by jenny-goldstone
Illustrations by Jenny Goldstone.

On Saturday long lost Russian movie The Dying Swan was set to a live string arrangement from composer Joby Talbot. This 1916 classic was only rediscovered as the communist regime went into decline, diagnosis and director Evgenii Bauer has since been described as “the greatest filmmaker you’ve never heard of.” The mournful violin and cello were a perfect foil to the downfall of a lovelorn mute who finds solace in ballet.

naomi law-joan-of-arc
Illustration by Naomi Law.

On Sunday we once more lay amongst the detritus (the South Bank this wasn’t) to watch the cinematic genius of The Passion of Joan of Arc set to a live score by Adrian Utley of Portishead and Will Gregory of Goldfrapp. The film was made in 1928, viagra 40mg shortly after the discovery of the original transcripts of the trial, ampoule imprisonment, torture and final execution of Joan of Arc. To convey maximum emotion it utilises mainly close up shots of the actors, a technique that has inspired many filmmakers since. With strings, horns, percussion, keys and the voices of the Monteverdi choir this was one of my absolute highlights of this year’s Latitude Festival. It’s discoveries like this that make the Latitude experience a tough act to follow.

the-dying-swan-Joby Talbot by jenny-goldstone
The Dying Swan by Jenny Goldstone.

When I was watching Dr Jekyll and Mr Hyde set to the soundtrack of Warp artist Scanner at the Purcell Rooms a few months back I had no idea I was witnessing part of an avante garde phenomenon. But it seems there’s nothing more of the moment than the setting of a silent film to a modern day musical score. At Latitude I laid back on the black carpeted floor of the Film and Music Arena (one of the only places not blighted by the incessant dust) to enjoy two silent movies given this most trendy of treatments.

the-dying-swan-Joby Talbot by jenny-goldstone
the-dying-swan-Joby Talbot by jenny-goldstone
Illustrations by Jenny Goldstone.

On Saturday long lost Russian movie The Dying Swan was set to a live string arrangement from composer Joby Talbot. This 1916 classic was only rediscovered as the communist regime went into decline, order and director Evgenii Bauer has since been described as “the greatest filmmaker you’ve never heard of.” The mournful violin and cello were a perfect foil to the downfall of a lovelorn mute who finds solace in ballet.

naomi law-joan-of-arc
Illustration by Naomi Law.

On Sunday we once more lay amongst the detritus (the South Bank this wasn’t) to watch the cinematic genius of The Passion of Joan of Arc set to a live score by Adrian Utley of Portishead and Will Gregory of Goldfrapp. The film was made in 1928, approved shortly after the discovery of the original transcripts of the trial, imprisonment, torture and final execution of Joan of Arc. To convey maximum emotion it utilises mainly close up shots of the actors, a technique that has inspired many filmmakers since. With strings, horns, percussion, keys and the voices of the Monteverdi choir this was one of my absolute highlights of this year’s Latitude Festival. It’s discoveries like this that make the Latitude experience a tough act to follow.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

On Friday afternoon I nestled in rushes amongst the clacking grasshoppers and giggling tweenies to watch the Latitude graduate fashion shows, discount played out along a catwalk linked to the Waterfront Stage. A selection of new faces from Elite Models formed a somewhat confusing parade between two stop offs on either side of the lake, not helped by a complete lack of clarity in announcements of each designer – What follows is the best of what I managed to catch, so if I’ve got any wrong please or not labelled your designs at all do let me know. It was near on impossible to find out who was who. Ahem, lack of individual designer websites ahoy!

Latitude 2010-kids Amelia gregory
Latitude 2010-happy teen by Amelia Gregory
Photography by Amelia Gregory.

First up came the students from Chelsea College of Art and Design:

Latitude 2010-Ellen Chatelain by Amelia Gregory
Latitude 2010-Ellen Chatelain by Amelia Gregory
Ellen Chatelain didn’t disappoint with her patchwork knitwear.

Abby-Wright-Latitude-Fashion Ellen Chatelain
Ellen Chatelain by Abby Wright.

Latitude 2010-Sorcha Herbert by Amelia Gregory
More colourful weave, from Sorcha Herbert.

Latitude 2010 fashion by Amelia Gregory
Gorgeous printed textiles by Charmaine Dresser worked perfectly shooting into the sun.

Latitude 2010 fashion by Amelia Gregory
Spectacular lasercut tailoring.

Latitude fashion Michelle Urvall Nyrén
Latitude fashion Michelle Urvall Nyrén
Ruched swimwear in mustard and greens. Illustration by Michelle Urvall Nyrén.

Latitude 2010 fashion by Amelia Gregory
More patchworked style.

Latitude 2010 fashion by Amelia Gregory
Subtle tones of caramel and slate.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-fashion by Amelia Gregory
Padded and stitched capes combined with strange animal and psychedelic prints.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.
Sadly the wonderful creations of Bethan Smith never crossed the lake – I guess the models were worried they might fall in. Fair play.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-Helen Lawrence
More monochrome geometrics and slate shades from Helen Lawrence.

Latitude 2010-Shawana Grosvenor by Amelia Gregory
Latitude 2010-Shawana Grosvenor by Amelia Gregory
For Shawana Grosvenor creamy circular layers rule.

Alexis-West-Latitude-Graduate-Fashion-Matthew Inett
Matthew Inett by Alexis West.

Latitude 2010-Matthew Inett by Amelia Gregory
Latitude 2010-Matthew Inett by Amelia gregory
Tagged onto the end of the first half Matthew Inett reprised his 2008 London College of Fashion catwalk show, which featured almighty curved shoulders and exaggerated hips in pastel checks.

Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Matthew Inett by Natasha Thompson.

Next up, my review of the Central Saint Martins show.
Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

On Friday afternoon I nestled in rushes amongst the clacking grasshoppers and giggling tweenies to watch the Latitude graduate fashion shows, tadalafil played out along a catwalk linked to the Waterfront Stage. A selection of new faces from Elite Models formed a somewhat confusing parade between two stop offs on either side of the lake, not helped by a complete lack of clarity in announcements of each designer – What follows is the best of what I managed to catch, so if I’ve got any wrong please or not labelled your designs at all do let me know. It was near on impossible to find out who was who. Ahem, lack of individual designer websites ahoy!

Latitude 2010-kids Amelia gregory
Latitude 2010-happy teen by Amelia Gregory
Photography by Amelia Gregory.

First up came the students from Chelsea College of Art and Design:

Latitude 2010-Ellen Chatelain by Amelia Gregory
Latitude 2010-Ellen Chatelain by Amelia Gregory
Ellen Chatelain didn’t disappoint with her patchwork knitwear.

Abby-Wright-Latitude-Fashion Ellen Chatelain
Ellen Chatelain by Abby Wright.

Latitude 2010-Sorcha Herbert by Amelia Gregory
More colourful weave, from Sorcha Herbert.

Latitude 2010 fashion by Amelia Gregory
Gorgeous printed textiles by Charmaine Dresser worked perfectly shooting into the sun.

Latitude 2010 fashion by Amelia Gregory
Spectacular lasercut tailoring by Francesca Prudente.

Latitude fashion Michelle Urvall Nyrén
Latitude fashion Michelle Urvall Nyrén
Ruched swimwear in mustard and greens. Illustration by Michelle Urvall Nyrén.

Latitude 2010 fashion by Amelia Gregory
More patchworked style.

Latitude 2010 fashion by Amelia Gregory
Subtle tones of caramel and slate.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-fashion by Amelia Gregory
Padded and stitched capes combined with strange animal and psychedelic prints.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.
Sadly the wonderful creations of Bethan Smith never crossed the lake – I guess the models were worried they might fall in. Fair play.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-Helen Lawrence
More monochrome geometrics and slate shades from Helen Lawrence.

Latitude 2010-Shawana Grosvenor by Amelia Gregory
Latitude 2010-Shawana Grosvenor by Amelia Gregory
For Shawana Grosvenor creamy circular layers rule.

Alexis-West-Latitude-Graduate-Fashion-Matthew Inett
Matthew Inett by Alexis West.

Latitude 2010-Matthew Inett by Amelia Gregory
Latitude 2010-Matthew Inett by Amelia gregory
Tagged onto the end of the first half Matthew Inett reprised his 2008 London College of Fashion catwalk show, which featured almighty curved shoulders and exaggerated hips in pastel checks.

Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Matthew Inett by Natasha Thompson.

Next up, my review of the Central Saint Martins show.
Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

On Friday afternoon I nestled in rushes amongst the clacking grasshoppers and giggling tweenies to watch the Latitude graduate fashion shows, buy more about played out along a catwalk linked to the Waterfront Stage. A selection of new faces from Elite Models formed a somewhat confusing parade between two stop offs on either side of the lake, order not helped by a complete lack of clarity in announcements of each designer – What follows is the best of what I managed to catch, so if I’ve got any wrong please or not labelled your designs at all do let me know. It was near on impossible to find out who was who. Ahem, lack of individual designer websites ahoy!
Luckily I have now found out all the right names, but really girls, you gotta get yourselves a much better presence on the web… it’s a mantra I seem to find myself repeating quite a lot.

Latitude 2010-kids Amelia gregory
Latitude 2010-happy teen by Amelia Gregory
Photography by Amelia Gregory.

First up came the students from Chelsea College of Art and Design:

Latitude 2010-Ellen Chatelain by Amelia Gregory
Latitude 2010-Ellen Chatelain by Amelia Gregory
Ellen Chatelain didn’t disappoint with her patchwork knitwear.

Abby-Wright-Latitude-Fashion Ellen Chatelain
Ellen Chatelain by Abby Wright.

Latitude 2010-Sorcha Herbert by Amelia Gregory
More colourful weave, from Sorcha Herbert.

Latitude 2010 fashion by Amelia Gregory
Gorgeous printed textiles by Charmaine Dresser worked perfectly shooting into the sun.

Latitude 2010 fashion by Amelia Gregory
Spectacular lasercut tailoring by Francesca Prudente.

Latitude fashion Michelle Urvall Nyrén
Latitude fashion Michelle Urvall Nyrén
Ruched swimwear in mustard and greens from Alice Powell. Illustration by Michelle Urvall Nyrén.

Latitude 2010 fashion by Amelia Gregory
More patchworked style courtesy of Cat Finch.

Latitude 2010 fashion by Amelia Gregory
Felicity McDonald-Bing does subtle tones of caramel and slate.

Latitude 2010-fashion by Amelia Gregory
Latitude 2010-fashion by Amelia Gregory
Padded and stitched capes combined with strange animal and psychedelic prints by Sophie Parker.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.
Sadly the wonderful creations of Bethan Smith never crossed the lake – I guess the models were worried they might fall in. Fair play.

Latitude 2010-fashion by Amelia Gregory
Triangle wooden panels by Lauren T-Franks.

Latitude 2010-Helen Lawrence
More monochrome geometrics and slate shades from Helen Lawrence.

Latitude 2010-Shawana Grosvenor by Amelia Gregory
Latitude 2010-Shawana Grosvenor by Amelia Gregory
For Shawana Grosvenor creamy circular layers rule.

Alexis-West-Latitude-Graduate-Fashion-Matthew Inett
Matthew Inett by Alexis West.

Latitude 2010-Matthew Inett by Amelia Gregory
Latitude 2010-Matthew Inett by Amelia gregory
Tagged onto the end of the first half Matthew Inett reprised his 2008 London College of Fashion catwalk show, which featured almighty curved shoulders and exaggerated hips in pastel checks.

Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Natasha-Thompson-Matthew-Inett-Fashion-Latitude-2010
Matthew Inett by Natasha Thompson.

Next up, my review of the Central Saint Martins show.
James Acaster by Kathryn Jones
James Acaster by Kathryn Jones.

Over the course of Latitude I saw numerous comedians, approved some of whom appeared as comperes on other stages when not performing to surely one of their biggest ever audience (of thousands) in the Comedy Arena. The Cabaret Arena was much favoured, and as of course was the Literary Arena – hanging out with Robin Ince and his fabled posse.

Kevin Eldon, clinic Phil Jupitas, Josie Long… they all dropped by, frequently.

Latitude 2010-Phil Jupitas by Amelia Gregory
Phil Jupitas. Photography by Amelia Gregory.

Robin Ince by Stacie Swift
Robin Ince by Stacie Swift.

My favourite part of the longstanding Book Club was a guide to one of Robin Ince’s favourite bad books: Mens’ Secrets, set to a duelling musical accompaniment.

Latitude 2010 James Acaster by Amelia Gregory
James Acaster.

James Acaster was one such novice who I saw happily entertaining pre-act literary crowds with clever improv. Teenage wonder Ivo Graham kept the Cabaret crowd thoroughly entertained with his impromptu rendition of Blind Date – amusingly he is so young he had to be told of Cilla’s name. Weird to think of Blind Date already consigned to ancient TV history.

Latitude 2010-Ivo Graham Blind Date by Amelia Gregory
Latitude 2010-Ivo Graham Blind Date by Amelia Gregory
Ivo Graham improvises a round of Blind Date in the Cabaret Arena.

The main Comedy Arena was my favourite place to hang out in 2007, and it’s popularity continues to grow. Despite additional wing tents on each side of the huge central marquee, the arena remained unable to contain the enthusiastic crowds, who kicked up huge volumes of dust with every new exodus and influx.

Abi Daker - Ivo Graham
Ivo Graham by Abigail Daker.
YouTube Preview Image

One of the biggest draws of Latitude is the chance to discover new talent. Ivo Graham is a mere 19 years old, which made his ability to engage a massive audience all the more impressive. With jokes centred around Facebook, pesky younger brothers and getting in trouble with mum, he still struck a chord with the older folks.

Eric Lambert by Gareth A Hopkins
Eric Lambert by Gareth A Hopkins.

Eric Lambert was winner of the Latitude New Act of the Year 2010, although from what I heard Ivo would have been way more deserving…. or James. Eric’s winning performance centred around an improv routine that wasn’t always quite up to scratch.

Latitude 2010-Eric Lambert by Amelia Gregory
Eric Lambert.

He was cheeky and sexual, no doubt a hit with the ladies. It’s proved nigh on impossible to do any research into Eric since he seems to have zero internet presence… but I would guess from his demeanour that he’s a big fan of Russell Brand.

docbrown_by_iamanoctopus
Doc Brown by Iamanoctopus.

Of the better known comedians I really enjoyed the guide to slang courtesy of Doc Brown, who was formerly a rapper and just happens to be younger brother of Zadie Smith. Sucking snot out of his small child and inappropriate comments on packed buses define his descent towards the normality of family life.

stephen-k-amos-suziewinsor
Stephen K. Amos by Suzie Winsor.

Following him on Friday South Londoner Stephen K. Amos was suitably un-PC, berating his previous Yorkshire audience for its lack of diversity, ripping the piss out of posh people, bemoaning his old age (he’s 35. there’s no hope for me) and generally causing loud if somewhat uncomfortable chuckles across the arena.

On Sunday we caught the tail end of Rufus Hound, who was indeed face-painted up like a dog, if somewhat lacking of a tail. He spoke of the trials and tribulations of marriage and babies… which led onto the misogynistic diatribe of Richard Herring, a 43 year old singleton who made jokes about tit wanks and gay sex, accompanied by a signer for those hard of hearing. Or perhaps just to afford the opportunity to make yet more lewd jokes.

Richard Herring by Sine Skau
Richard Herring by Sine Skau.

He also over-milked an incredibly tedious tirade about Mars Bars that met with a fairly frosty reception… that became part of the act… that increased it’s tediousity. I think he was my least favourite comedian at Latitude.

ANDREW LAWRENCE Faye Skinner
Andrew Lawrence by Faye West.

Next up Andrew Lawrence was really quite sinister but also strangely endearing, geared as his jokes were around his all round lack of appeal. Hey, why the sadness? I’ve always had a soft spot for scrawny gingers! Leaning back at a jaunty angle and grinning demonically he spoke of his semi-autistic relationship with his current (long-suffering) girlfriend. Hey, doesn’t that cover most men?

Latitude 2010- Deborah Francis White by Amelia Gregory
Deborah Francis White.

Lastly, Deborah Francis White put on her genius show How To Get Almost Anyone To Want To Sleep With You on Sunday in the Cabaret Arena. “Every actor wants to be in a sitcom, every man wants to be in a woman,” she informed us, talking us through a series of pie charts that showed the different state of mind for women. Whilst we’d like practically every man we meet to want to sleep with us (approximately 95% according to Deborah) the reverse is true when it comes to the amount of men we actually want to sleep with.

Deborah Francis White Oversees a Bra Fight by Gareth A Hopkins
Deborah Francis White Oversees a Bra Fight by Gareth A Hopkins.

To a chorus of knowing laughter from women, slightly nervous laughter from the men, she talked us through the best way to pull the opposite sex. “Be a Scorsese movie!” she opined, extolling the virtues of confidence. “You’re probably not going to get a part in me…” But the point is that every man should want to. Even if the reason they’re so fixated on lesbian porn is simply “two tits good, four tits better.”

Latitude 2010- Deborah Francis White by Amelia Gregory
Women stroking themselves to much amusement.

Latitude 2010- Deborah Francis White by Amelia Gregory
Tube-hanging.

She persuaded the women in the audience to stroke themselves on the breast to turn the men on, pulled people out of the audience to follow her instructions on how to tell a girl on the tube she’s gorgeous, and finished with a bra wrestling match between two men. Because who wants to sleep with a man who can’t get a bra off with one hand?

The comedy at Latitude Festival is undeniably one of its biggest selling points… now if only they could figure out how to accommodate the heaving numbers of people that yearn to be amused.

Categories ,Abigail Daker, ,Andrew Lawrence, ,Blind Date, ,Cabaret Arena, ,Comedy Arena, ,Deborah Francis White, ,Eric Lambert, ,Faye Skinner, ,Faye West, ,Gareth Hopkins, ,Iamanoctopus, ,Ivo Graham, ,James Acaster, ,Josie Long, ,Kathryn Jones, ,Kevin Eldon, ,Latitude Festival, ,Literary Arena, ,Phil Jupitas, ,Richard Herring, ,Robin Ince, ,Rufus Hound, ,Russell Brand, ,Sine Skau, ,Stacie Swift, ,Stephen K. Amos, ,Suzie Winsor, ,Zadie Smith

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Amelia’s Magazine | A review of Ctrl.Alt.Shift’s latest venture, “Dear Diary”


Dan Eldon’s visual diaries; courtesy of Kathy Eldon

At some point in your life, cost you may have kept a diary, capsule pouring into it all of your deepest and darkest thoughts; the ones that you felt were too embarrassing or inappropriate to say aloud. My experience of reading old diaries is always toe-curling, but amusing as I struggle to make sense of why I cared so much about some things to write about them (for example, “loaf of bread head guy” who I adored from afar featured regularly in my diaries for a while – don’t ask!). As much as I would like to say that my diary entries were highly interesting, intelligent, deep and profound, most of them are sleep-inducing and consist of a type of written diarrhea. Thankfully, this is not the case at Cltr.Alt.Shift’s new exhibition, “Dear Diary”.

Dear Diary” is a new project launched by the youth anti-poverty charity to explore the art of diary keeping, taking participants on an inspirational and reflective journey, through the private pages of young individuals across the globe. The exhibition is housed under a funky t-shirt shop in Covent Garden in an intimate space, bringing together several diary collections ranging from Nirvana frontman and lyricist Kurt Cobain, to the stunning visual diaries of Dan Eldon, a young and promising photojournalist who was killed on the front line by an angry mob in Mogadishu, aged only 22.


Dan Eldon’s visual diaries; courtesy of Kathy Eldon

The room is divided into seven exhibits where on entry, you are confronted by four portraits of Eldon’s work, each infused with vivid, bold colours; a stark contrast to the bare white walls. The first image I encountered was the profile of a young, elegant looking tribeswoman wearing an intricate-looking traditional headdress, set against a backdrop of vibrant oranges and pinks. What I found most intriguing about this visual is that it had been signed with “Love and kisses, Angela” and “Love Maria”, and I was curious to know who these woman were. Had they been part of Eldon’s life at some stage and if so, how would their own diaries have read after his death?

Another one of Eldon’s portraits which had a gripping effect on me was that of four faded pictures in what appears to be a group of friends on a camping trip, smiling and chatting happily amongst each other, mounted on a map of Tanzania’s national parks. On closer viewing, the outlines of what appears to be three people – sketched with thick graphite pencil onto grainy beige/orange-coloured paper – are superimposed onto each of the original photos, as if they are joining the group but are separated through their apparent difference in physicality. A sentence is scrawled across the bottom of the map reading: “Dedicated to all 3 who lost their lives during the dramatic escape from Mikumi Nat Park”, providing us with a glimpse of the harsh reality of civil warfare, to which Eldon perished.


Kenya to the UK: Secrets and Struggles Diary Wall (photography by George Ramsay)

I was deeply moved by some of the diary excerpts displayed on the diary wall, written by teenage Kenyans living in extreme poverty and political instability. Although many of the entries were simplistic and occasionally poorly structured, the diarists’ basic descriptions painted a vivid and poignant image of the future that they longed for: “It’s also my hope in future this kind of thing will never happen again coz it also took death to many of my friends and also the separation of my beau and since then we have never communicated which made me so lonely”. Other diary entries detail the violence around elections and the hardship that economic deprivation brings: “…Our family made up of 11, it was hard to grow up due to poverty. It was hard and difficult to study”.


Audio diaries with images above audio decks by Kenyan conservationalist and playboy diarist, Peter Beard (photography by George Ramsay)

Aware that I am painting quite a grim and depressing picture of the exhibition, I assure you that this exhibition is not just a collection of doom and gloom. The audio diaries present a more eclectic mix of personal accounts, ranging from the inspirational to hilarious. Of these, the most compelling piece was of a courageous 19 year old South African girl called Thembi who broke the silence about living with AIDS at a time when it was still a taboo subject in South Africa; she eventually went on to share her story with more than 50 million people. A highly amusing reading from comedian Richard Herring about his painful years as a chubby brainiac, who at the time believed he would be a virgin forever, also makes for an entertaining listen.


Diary library with comfy sofa chair (photography by George Ramsay)

In a far corner of the show room, there is an area for quiet reflection with an extremely comfortable chair which I made my home for a good part of the evening, taking advantage of the diary library, which included entries belonging to Samuel Pepys, Frida Kahlo, Kurt Cobain, Courtney Love and several volumes of Anaïs Nin’s journals. On the top shelf (no, not what you are thinking), there were two books available for documenting your own thoughts, which people had written in throughout the course of the evening, with one refined gentleman expressing that he was looking forward to going home and banging his wife! Nice.


Irving Finkel’s collection of diaries (photography by George Ramsay)

Other exhibition highlights include the unpublished diaries of ordinary people from the 19th century displayed in a glass case, collected by the British Library’s Irving Finkel over the years. Finkel would often search for these items at secondhand shops and house clearances, believing that they hold the key to our histories through the casual documentation of one’s environment at the time. The child in me gravitated towards the Children’s Pocket Annual and Birthday Book of an eight year old girl and scouts’ diaries with stained pages and frayed edges, detailing the mundane routines of school work, bath days and playing with wolf cubs (well maybe playing with wolf cubs wouldn’t have been so mundane).

Ctrl.Alt.Shift’sDear Diary” is an intelligent and thought-provoking initiative, which takes a concept that we are all familiar with to help us understand and relate with others. Through encountering a range of diaries, including that of Mexican artist Frida Kahlo, a boy living with Tourette’s in the US and teenagers living in the slums in Kenya, our attention converges on the fact that whatever our language and ethnicity, the expression of thought transcends cultural boundaries. Although we may be divided geographically and by our heritage, fundamentally the feelings that we experience are the same.


Limited edition diary with cover illustrated by Alexa Chung

As part of the project, Ctrl.Alt.Shift have also launched a limited edition diary, with a cover illustrated by Alexa Chung featuring extracts from Courtney Love, Daniel Johnson and Anaïs Nin, which you can buy here. All proceeds raised from the ‘Dear Diary’ project go towards Maji Na Ufanisi, working with young people from the slums of Nairobi.

For more information about location and opening times, check out our listings here.


Excerpt from Courtney Love’s diaries; courtesy of Courtney Love

Categories ,Anais Nin, ,British Library, ,Cltr.Alt.Shift, ,Courtney Love, ,Covent Garden, ,Dan Eldon, ,Daniel Johnston, ,Dear Diary, ,Frida Kahlo, ,Gallery Seven, ,Irving Finkel, ,Kat Phan, ,Kenya, ,Kurt Cobain, ,Maji Na Ufanisi, ,Mikumi National Park, ,Mogadishu, ,Nairobi, ,nirvana, ,Richard Herring, ,Samuel Pepys, ,Scouts, ,South Africa, ,Super Superficial, ,Thembi, ,Tourettes

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Amelia’s Magazine | Festival Preview: Latitude

Alternative Fashion Week Day 5 2010 Viveka Goyanes
Alternative Fashion Week Day 5 2010 Kim Seoghee
All photography by Amelia Gregory.

Kim Seoghee may not be Flemish (I’m gonna bet he isn’t) but his work sure as hell feels the touch of Belgium. With a team of skinny stoney faced pretty boy models and ethereal girls, visit web Kim showed us a classic example of the sulky European genre. Eyes emphasised with kohl, visit this the models lined up to show Another 7th Day, prescription a pick ‘n’ mix collection in black, grey and cream. Amongst the upbeat surroundings of Alternative Fashion Week their cool collective attitude stood right out, but they’d fit right in at Paris or London fashion weeks proper.

Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim
Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim Seoghee
Kim Seoghee with his models.

Laura Panter showed a clever collection – ‘This collection cries adolescent’ – God knows what being a teenager had to do with it though. The clothes were a curve enhancing mix of pastel chiffon and wool with bondage inspired straps and belt features.

Alternative Fashion Week Day 5 2010 Laura Panter
Alternative Fashion Week Day 5 2010 Laura Panter
Alternative Fashion Week Day 5 2010 Laura Panter
Alternative Fashion Week Day 5 2010 Laura Panter
Laura Panter.

She was followed swiftly by the work of another Laura. Laura Fox had put together a cute series of outfits inspired by ‘British Heritage, Harris Tweed and Oilskin’ – with the aim of promoting manufacturing in the UK. Her love for classic British designers such as Christopher Bailey for Burberry were clear in what I thought was a sweet and mature collection, and that was before I discovered that Laura is wheelchair bound. She has a good web presence with a Carbonmade website and a twitter feed so she clearly hasn’t let a little thing like a disability stop her from keeping busy. And my friends over at Creative Boom have also blogged on her here. Dead impressed.

Alternative Fashion Week Day 5 2010 Laura Fox
Alternative Fashion Week Day 5 2010 Laura Fox
Alternative Fashion Week Day 5 2010 Laura Fox
Alternative Fashion Week Day 5 2010 Laura Fox
Alternative Fashion Week Day 5 2010 Laura Fox
Laura Fox had business cards to hand: the way it should be done!

Sarina Hosking showed a couple of pieces titled Beauty and the Beast. I have to say I’m not surprised by the title – during a week when titles often bore abstract relevance to the collections they were attached to (at best), this did exactly what it said on the tin. The girl that really got all the photographers salivating was a sexy grown-up version of Little Red Riding Hood, complete with red lacy veil. An elegant gent in wolf mask looked on. They were a distraction from the rest of the collection but heck, why not mix and match your fairytale references? According to her myspace Sarina is principally a theatrical designer, so it all begins to make sense.

Transform by Elizabeth Wilcox was described as ‘Sportswear creating capsule wardrobe’. It was certainly sporty but I am not sure I was feeling the marl grey highlighted with neon sculptural thing.

Viveka Goyanes put together cutesy cream printed shirts with carefully styled black and white tailoring to present a mature collection called Brummella the Dandella. I particularly loved all the little touches, like the ripped and accessorised socks. It always pays to look down!

The first festival I ever had the fortune to attend was Latitude 2007. Still a fresher at university, page still fresh-faced and just a little naïve; a small hatchback, viagra order four friends, and every nook and cranny jammed with our camping equipment. We were green, and we didn’t know that you wouldn’t need six sets of clothes, nor a full foldable mattress, nor (as one of our group, bizarrely, thought) a full set of crockery. It was only due to our general keenness that left us arriving early and managing to snag a camping spot both close to the site entrance and (crucially) within 600 yards of the car park. That was, I discovered, exactly the limit of my stamina for being able to carry my own weight in paperbacks and camping stoves (three!) and several pairs of shoes. Oh, idle youth! These days I can take five nights of living in muddy squalor like a medieval serf in my stride, but that’s only down to training myself; I had to ween myself off such modern luxuries as soap, razors, and fresh underwear.

But I digress – this is meant to be a preview of Latitude 2010. The background: Latitude occurs every year in July in Southwold in Suffolk, and operates under the banner of Festival Republic (formerly Mean Fiddler), that gargantuan promotions company with fingers in many pies and still perhaps best know for the carnival of the damned that is the Reading and Leeds Weekender. Latitude is something of a pet project for Festival Republic, who felt that British festivals had lost track of what made them so culturally important in the first place – not just the bands but the atmosphere, the vibe, the performers on stilts and the chance meetings in the dark under the boughs of some off-to-the-side willow. Glastonbury has become something of a behemoth, but it used to be a small and intimate affair; Latitude’s raison d’être is to mimic what Glastonbury is suppose to once have been. My verdict, taking my experiences of 2007 into account, is that they have succeeded admirably, though it would be churlish to say that it’s exactly as the same. Many of those ideals that the hippies celebrated at the solstice three decades ago – appreciation of the earth, appreciation of humanity – have arguably seeped into the larger (regular) festival-going public, but these days we’re much, much better at recycling.

Capacity is relatively small, as far as festivals go these days, capped at 25000 since 2008, and the wondrous thing about Latitude is that you can go the whole weekend without seeing a single band. There’s a strong lineup of comedy acts, theatre performances, literature talks and other cultural oddities that mark it out as unique in the British festival scene. I’ll run through some of the things to look forward to this year, for those that are going, and if you’re not then be quick, because it’ll sell out soon.

There are several music stages scattered about the site. The largest is the main Obelisk Arena, this year headlined by Florence & the Machine, Belle & Sebastian, and Vampire Weekend. Other artists worth seeing include folkster Laura Marling, indie legends Spoon, insanely talented Mexican acoustic duo Rodrigo y Gabriela, gorgeous melody act Dirty Projectors, and even a recently-reformed James. They’ll probably sing that song about sitting.

Move across to the second stage and you’ll find the Word Arena, headlined by the National, the xx, and Grizzly Bear. The first is one of the best bands in the world, without question, and if you go you’ll probably find me there too, undergoing some kind of trembling transcendental spasm attack. I love that band. Oh god how I do. The xx are an interesting choice of headliner as their music, so heavy with meaning and yet so utterly minimal, might struggle to hold a headlining slot on a festival stage. I’ve seen them live before and they were bloody fantastic, so I’m sure they’ll be fine; I won’t be seeing them at Latitude, though. My reasons involve a broken heart, a worn mixtape, and shattered promises – I won’t burden you any further than that, but know that it was horrid. Grizzly Bear are sick, and will absolutely suit the beautiful site that Latitude is situated within. Also playing the Word Arena are Wild Beasts, Richard Hawley, the Horrors, and Yeasayer, etc. etc..

Then you’ve got your Lake Stage, which is (no surprises here) situated next to a lake, as well as the Sunrise Arena deep in the woods on the edge of the site. Exactly who shall be playing where on these stages hasn’t been announced yet, but what is know is that artists and bands such as the Big Pink, Black Mountain, Girls, These New Puritans, Tokyo Police Club, and a bunch of others. I’ve been looking back through past years and Latitude 2010 looks like being potentially the best ever with regards to the music acts (though 2009 was also pretty sick – Nick Cave!). But it’s not all about the music, of course, otherwise it wouldn’t be quite as sweetly unique as it is.

In the Comedy tent there are sets from Richard Herring, Emo Philips, Rich Hall, Phill Jupitus, Mark Watson, but also many smaller acts such as Mark Oliver and Doc Brown. In previous years this tent has had a propensity towards overcrowding when the bigger names have appeared, but hopefully they’ll have ironed out the creases there. We’ve already covered the Literature tent on Amelia’s Magazine, somewhat, but I’ll add that Jon McGregor is also giving a talk. He’s the author of If Nobody Speaks Of Remarkable Things, a novel that is in itself extraordinarily remarkable and one of the finest examples of prose-poetry I’ve read in the past decade. Also of note here is that Dan Kitson, who probably blushes when he gets described as, “perhaps the finest standup comic of his generation,” all time, will be telling a story for an hour every night at midnight on the Waterfront Stage. His work is rarely available on video as he doesn’t like the idea of his shows being pirated, so please take this opportunity to see him in the flesh.

John Cooper Clarke is in the Poetry tent – one of the towering figures of modern performance poetry in this country should be reason enough to raise some curiosity there, but there are also appearances from important figures on the British poetry scene like Luke Wright and John Stammers. Eddie Argos, of Art Brut fame, will also be doing a set – if you’re familiar with the man then you’ll know that’s an intriguing prospect.

I’ve barely scratched the surface here – there’s a Cabaret tent that parties on into the early hours of the morning, there’s the Film & Music Arena showcasing some unique new audiovisual shows (as well as more irreverent stuff from the likes of Adam Buxton and the Modern Toss crew), and there’s also a chance to wander into the woods to find both the opera performances and the In The Woods area, a woodland clearing set up for late night raving. There are numerous plays put on at the Theatre Arena, including performances from the Royal Shakespeare Company and Everyman Playhouse. There’s a huge childrens’ area that’s almost like a playground.

Hell, the whole thing is like some gaudy carnival from the middle ages transported through time for our enjoyment. There’s a parade at some point, there’s giant painting projects, you can row boats in the lake, you can watch a jazz band play all day on a floating stage on the lake, and so on, and so on. The beauty of the site just completes the package, and thankfully the Latitude team are very good at maintaining it. They’ve got a well-developed set of environmentally-friendly policies that have managed to recycle most of the waste from past festivals, including designated recycling bins, bags handed out to campers for sorting their recycling, and everything you can buy on site is sourced so that it won’t damage the environment both getting there and if it’s thrown away. Sorted.

So that’s Latitude 2010. Three days almost doesn’t seem enough, does it?

Categories ,2010, ,Adam Buxton, ,Art Brut, ,Arts, ,Belle & Sebastian, ,Black Mountain, ,Cabaret, ,comedy, ,Dan Kitson, ,dirty projectors, ,Doc Brown, ,Eddie Argos, ,Emo Philips, ,environment, ,Everyman Playhouse, ,festival, ,film, ,Florence & the Machine, ,girls, ,glastonbury, ,grizzly bear, ,ian steadman, ,James, ,John Cooper Clarke, ,John Stammers, ,Jon McGregor, ,latitude, ,Latitude Festival, ,Laura Marling, ,leeds, ,Luke Wright, ,Mark Oliver, ,Mark Watson, ,Modern Toss, ,music, ,Nick Cave, ,opera, ,Phill Jupitus, ,rave, ,Reading, ,Rich Hall, ,richard hawley, ,Richard Herring, ,rodrigo y gabriela, ,Royal Shakespeare Company, ,Spoon, ,Standup, ,the big pink, ,the horrors, ,The National, ,The XX, ,These New Puritans, ,Tokyo Police Club, ,Vampire Weekend, ,Wild Beasts, ,Yeasayer

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