Illustration by Jenny Robins
So I’m a big fan of Bora Aksu. He’s one of those London Fashion Week underdogs that just has that extra WOW-factor and his show always seems to be the hot ticket on Day One. And with Twiggy and Marina (of The Diamonds) in the front row, advice I don’t think I was the only one with high expectations!??The show was held in the BFC Catwalk Space and, ambulance after being ushered into the line for those with seated tickets, symptoms I found myself standing behind a rather ratty lady from Marie Claire who literally huffed and grumbled even if my bag simply brushed her arm. It’s called a queue, darling.
Illustration by Joe Turvey
Hoards of hipsters then made their way into the line behind me (men in wedges, copious amounts of fur and red lipstick – you know the drill) hence this was the moment I knew I was in the line allocated good seats. Front row was, therefore, choc-a-bloc with extreme scenesters and second row wasn’t bad at all when one clocked onto the masses that were standing in any space available. Fashion Week does seem very busy this time round.
Live catwalk illustration by Jenny Robins
I passed Twiggy’s name on a piece of paper and, upon her arrival moments later, the paps were crazy around her. I could just about see her smile, flashing amidst the flurry. Surrounding her on the front row were the likes of Nicola Roberts and Talulah Harlech.
As the lights were just about to dim, the fierce Marina Diamandis – arms adorned with tumbling knitted mice – was ushered to the seat right in front of me by a crazed front-of-house lady belting ‘Make way! Move along!’, probably resulting in some poor lady writing for Grazia sitting cross-legged on the floor. Fashion, eh?
Show time. Bora Aksu didn’t hang around. Dark music and a-symmetric power dresses immediately stormed the catwalk. It was all about sharp tailoring with wool blazers and-the-like including a reoccurring little bow placed high at the neck, either tied there or on the dress. They were, in fact, appearing everywhere – on belts, the backs of dress and even hanging down from the backs of skirts. Bows are big this season!??One thing was for sure, Aksu was clearly enjoying the green. Shirts and underskirts blazed with a bright emerald hue amidst a largely classic palette of greys, charcoals and, of course, black. Green definitely stood out. And it stole the show.
Illustration by Joe Turvey
The dresses had countless genius intricacies – such is the genius of Aksu himself! Every garment had a mix of textures, fabrics, colours and structures. Hemlines were either short-and-sexy or floor-length – the two trends that seem to be dominating, this season. It’s either one extreme or the other, which I LOVE.
Hemlines are greatly important, often defining a silohette, and they were paid great attention to here creating an imposing, powerful image.
With frizzy back-combing and casual back-dos, the hair was understated messy glam. As was the make-up with pale skin and hints of brown. This natural grooming was a definite side-step away from the often mind-boggling intricate creations of Bora Aksu who, once again, delivered a fashion force to be reckoned with!
Illustration by Jenny Robins
So I’m a big fan of Bora Aksu. He’s one of those London Fashion Week underdogs that just has that extra WOW-factor and his show always seems to be the hot ticket on Day One. And with Twiggy and Marina (of The Diamonds) in the front row, information pills I don’t think I was the only one with high expectations!??The show was held in the BFC Catwalk Space and, rx after being ushered into the line for those with seated tickets, I found myself standing behind a rather ratty lady from Marie Claire who literally huffed and grumbled even if my bag simply brushed her arm. It’s called a queue, darling.
Illustration by Joe Turvey
Hoards of hipsters then made their way into the line behind me (men in wedges, copious amounts of fur and red lipstick – you know the drill) hence this was the moment I knew I was in the line allocated good seats. Front row was, therefore, choc-a-bloc with extreme scenesters and second row wasn’t bad at all when one clocked onto the masses that were standing in any space available. Fashion Week does seem very busy this time round.
Live catwalk illustration by Jenny Robins
Twiggy! All photography by Georgia Takacs
I passed Twiggy’s name on a piece of paper and, upon her arrival moments later, the paps were crazy around her. I could just about see her smile, flashing amidst the flurry. Surrounding her on the front row were the likes of Nicola Roberts and Talulah Harlech.
As the lights were just about to dim, the fierce Marina Diamandis – arms adorned with tumbling knitted mice – was ushered to the seat right in front of me by a crazed front-of-house lady belting ‘Make way! Move along!’, probably resulting in some poor lady writing for Grazia sitting cross-legged on the floor. Fashion, eh?
Marina Diamandis
Show time. Bora Aksu didn’t hang around. Dark music and a-symmetric power dresses immediately stormed the catwalk. It was all about sharp tailoring with wool blazers and-the-like including a reoccurring little bow placed high at the neck, either tied there or on the dress. They were, in fact, appearing everywhere – on belts, the backs of dress and even hanging down from the backs of skirts. Bows are big this season!??One thing was for sure, Aksu was clearly enjoying the green. Shirts and underskirts blazed with a bright emerald hue amidst a largely classic palette of greys, charcoals and, of course, black. Green definitely stood out. And it stole the show.
Illustration by Joe Turvey
The dresses had countless genius intricacies – such is the genius of Aksu himself! Every garment had a mix of textures, fabrics, colours and structures. Hemlines were either short-and-sexy or floor-length – the two trends that seem to be dominating, this season. It’s either one extreme or the other, which I LOVE.
Hemlines are greatly important, often defining a silohette, and they were paid great attention to here creating an imposing, powerful image.
With frizzy back-combing and casual back-dos, the hair was understated messy glam. As was the make-up with pale skin and hints of brown. This natural grooming was a definite side-step away from the often mind-boggling intricate creations of Bora Aksu who, once again, delivered a fashion force to be reckoned with!
You can saw more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.
Illustration by Jenny Robins
So I’m a big fan of Bora Aksu. He’s one of those London Fashion Week underdogs that just has that extra WOW-factor and his show always seems to be the hot ticket on Day One. And with Twiggy and Marina (of The Diamonds) in the front row, stuff I don’t think I was the only one with high expectations!??The show was held in the BFC Catwalk Space and, ed after being ushered into the line for those with seated tickets, I found myself standing behind a rather ratty lady from Marie Claire who literally huffed and grumbled even if my bag simply brushed her arm. It’s called a queue, darling.
Illustration by Joe Turvey
Hoards of hipsters then made their way into the line behind me (men in wedges, copious amounts of fur and red lipstick – you know the drill) hence this was the moment I knew I was in the line allocated good seats. Front row was, therefore, choc-a-bloc with extreme scenesters and second row wasn’t bad at all when one clocked onto the masses that were standing in any space available. Fashion Week does seem very busy this time round.
Live catwalk illustration by Jenny Robins
Twiggy! All photography by Georgia Takacs
I passed Twiggy’s name on a piece of paper and, upon her arrival moments later, the paps were crazy around her. I could just about see her smile, flashing amidst the flurry. Surrounding her on the front row were the likes of Nicola Roberts and Tallulah Harlech.
As the lights were just about to dim, the fierce Marina Diamandis – arms adorned with tumbling knitted mice – was ushered to the seat right in front of me by a crazed front-of-house lady belting ‘Make way! Move along!’, probably resulting in some poor lady writing for Grazia sitting cross-legged on the floor. Fashion, eh?
Marina Diamandis
Show time. Bora Aksu didn’t hang around. Dark music and a-symmetric power dresses immediately stormed the catwalk. It was all about sharp tailoring with wool blazers and-the-like including a reoccurring little bow placed high at the neck, either tied there or on the dress. They were, in fact, appearing everywhere – on belts, the backs of dress and even hanging down from the backs of skirts. Bows are big this season!??One thing was for sure, Aksu was clearly enjoying the green. Shirts and underskirts blazed with a bright emerald hue amidst a largely classic palette of greys, charcoals and, of course, black. Green definitely stood out. And it stole the show.
Illustration by Joe Turvey
The dresses had countless genius intricacies – such is the genius of Aksu himself! Every garment had a mix of textures, fabrics, colours and structures. Hemlines were either short-and-sexy or floor-length – the two trends that seem to be dominating, this season. It’s either one extreme or the other, which I LOVE.
Hemlines are greatly important, often defining a silohette, and they were paid great attention to here creating an imposing, powerful image.
With frizzy back-combing and casual back-dos, the hair was understated messy glam. As was the make-up with pale skin and hints of brown. This natural grooming was a definite side-step away from the often mind-boggling intricate creations of Bora Aksu who, once again, delivered a fashion force to be reckoned with!
You can saw more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.
Illustration by Jenny Robins
So I’m a big fan of Bora Aksu. He’s one of those London Fashion Week underdogs that just has that extra WOW-factor and his show always seems to be the hot ticket on Day One. And with Twiggy and Marina (of The Diamonds) in the front row, recipe I don’t think I was the only one with high expectations!??The show was held in the BFC Catwalk Space and, after being ushered into the line for those with seated tickets, I found myself standing behind a rather ratty lady from Marie Claire who literally huffed and grumbled even if my bag simply brushed her arm. It’s called a queue, darling.
Illustration by Joe Turvey
Hoards of hipsters then made their way into the line behind me (men in wedges, copious amounts of fur and red lipstick – you know the drill) hence this was the moment I knew I was in the line allocated good seats. Front row was, therefore, choc-a-bloc with extreme scenesters and second row wasn’t bad at all when one clocked onto the masses that were standing in any space available. Fashion Week does seem very busy this time round.
Live catwalk illustration by Jenny Robins
Twiggy! All photography by Georgia Takacs
I passed Twiggy’s name on a piece of paper and, upon her arrival moments later, the paps were crazy around her. I could just about see her smile, flashing amidst the flurry. Surrounding her on the front row were the likes of Nicola Roberts and Tallulah Harlech.
Illustration by Joe Turvey
As the lights were just about to dim, the fierce Marina Diamandis – arms adorned with tumbling knitted mice – was ushered to the seat right in front of me by a crazed front-of-house lady belting ‘Make way! Move along!’, probably resulting in some poor lady writing for Grazia sitting cross-legged on the floor. Fashion, eh?
Marina Diamandis
Show time. Bora Aksu didn’t hang around. Dark music and a-symmetric power dresses immediately stormed the catwalk. It was all about sharp tailoring with wool blazers and-the-like including a reoccurring little bow placed high at the neck, either tied there or on the dress. They were, in fact, appearing everywhere – on belts, the backs of dress and even hanging down from the backs of skirts. Bows are big this season!??One thing was for sure, Aksu was clearly enjoying the green. Shirts and underskirts blazed with a bright emerald hue amidst a largely classic palette of greys, charcoals and, of course, black. Green definitely stood out. And it stole the show.
Illustration by Joe Turvey
The dresses had countless genius intricacies – such is the genius of Aksu himself! Every garment had a mix of textures, fabrics, colours and structures. Hemlines were either short-and-sexy or floor-length – the two trends that seem to be dominating, this season. It’s either one extreme or the other, which I LOVE.
Hemlines are greatly important, often defining a silohette, and they were paid great attention to here creating an imposing, powerful image.
With frizzy back-combing and casual back-dos, the hair was understated messy glam. As was the make-up with pale skin and hints of brown. This natural grooming was a definite side-step away from the often mind-boggling intricate creations of Bora Aksu who, once again, delivered a fashion force to be reckoned with!
You can saw more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.
‘I came out of five years of education with a BA and an MA, salve but I still didn’t know where to begin when it came to knowing how the art world works, malady ’ says Rosalind Davis, website like this co-director of the Core Gallery. A lot of people who graduated university with an arts or humanities degree are likely to identify with this sentiment; while art school is good for finding your voice, it’s not so good when it comes to teaching you about running a business. This is where Rosalind, and her fellow Core Gallery artists, hope to be able to help.
The Core Gallery was set up in April 2010, and puts on exhibitions by emerging curators. ‘We want to be a dynamic, exploratory space,’ says Rosalind. Their DIY Educate programme kicks off this spring, focusing firmly on ‘what they don’t teach you in school’: how to apply for an exhibition, how to sell your work, how to approach a gallery. The workshops will also go over how to find grants, or how to find an arts-related side-job to keep food on the table. One-on-one tutorials are also part of the package, with esteemed painter Graham Crowley offering his honest opinion for starters, with more names to be added. ‘There will also be peer critique sessions, and the opportunity to exchange ideas in a friendly place’, says Rosalind, emphasising how the most important thing is to create a space where artists feel nurtured.
‘Lots of art school practice is about the concept and processes of art, and there is less focus on the business side,’ says Rosalind. ‘But artists can be shy about marketing themselves, and they will often need encouragement.’
I ask Rosalind why the business side this isn’t covered better in school, and she says it’s difficult to say, but part of the reason may be that artist teachers in university may not be that great at promoting themselves either. She lectures about the business side of art herself, but she thinks it should be a mandatory subject to better prepare students for what’s to come.
DIY Educate will include talks by curators and artists, plus practical workshops. Membership costs £18 per year, granting free or reduced price access to events. Non-members can attend too, paying full price. DIY Educate is a not-for-profit programme that receives no independent funding, and Rosalind hopes to be able to expand offerings as things get going.
The programme kicks off this Saturday, 26th February, with a peer critique sesson followed by an artist and curator dialogue. On Tuesday night, 1st March, there will be a ‘nuts and bolt’ workshop on how to be an artist. ‘We plan to have one of these ‘nuts and bolts’ workshop every other month or so, plus a series of art workshops through the spring and summer,’ Rosalind explains. Initially the gallery plans to have two tutorials a month, but this could grow as more artists join Graham Crowley in offering them.
All images courtesy of Core Gallery and its resident artists.
The DIY Educate website is here – find the Core Gallery in Deptford: C101 Faircharm Trading Estate, 8-12 Creekside, London SE8 3DX
Categories ,Arnold Borgerth, ,art, ,Core Gallery, ,Deptford, ,DIY Educate, ,Enver Gursev, ,Graham Crowley, ,london, ,Rosalind Davis
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