Amelia’s Magazine | Triton AW10 at Sao Paulo Fashion Week- Exclusive Report

Angel3Courtesy of George and Betty Woodman and Marian Goodman Gallery, case New York

When I hear the word Surrealism, instantly the likes of Salvador Dali, André Breton, André Masson and Max Ernst come to my mind. Well I can now add Frida Khalo, Leonora Carrington, Eileen Agar and many more female Surrealist artists to that male dominated list, thanks to Manchester’s Art Gallery! Their current exhibition, Angels of Anarchy, sets out to not only celebrate the works of female artists but to educate and inform those who know little (people like me) or nothing at all about the important role females played in the Surrealist movement. How about that?

Angel Courtesy Private collection, Dilbeek, Belgium © DACS 2009

The exhibition covers five main categories within Surrealism – Portrait/Self-Portrait, Landscape, Interior, Still Life and Fantasy; the medium used ranges from sculpture to photography to film and the more traditional oil on canvas. Thanks to Salma Hayek’s performance in the eponymous film, Frida Khalo -who features in both Portrait/Self Portrait and Interior – is probably the name most will recognise but you will not be disappointed with the other lesser-known artists on display.

Angel2

Courtesy ADAGP Paris, Musée National d’Art Modern – Centre Georges Pompidou. Courtesy Photo CNAC / MNAM, Dis. RMN / courtesy  Jacques Faujour

The most interesting piece comes in the form of film by photographer/filmmaker Lola Alvarez Bravo -who incidentally went to school with Frida and was one of her closest friends. The 30 seconds (approx) of rare footage is left untitled but is captivating from start to end, not least thanks to the presence of Frida herself; the artist is more stunning on film that I had imagined. There is no audio in this eerie film and it’s quite foretelling that Frida is welcoming death into her home in the shape of an innocent looking girl; this was shot when Frida was in ill health and I thought this was one of many nice surprises within the exhibition. Bravo documented much of Frida’s life and she went on documenting even after her death; there is a poignant shot of Frida’s room after her death (Frida’s Room 1954), where her wheelchair, paintbrushes, a self-portrait and a picture of her husband are strategically placed in order to sum up her life. This particular scene left a lump in your throat!

Fini_Le-Bout-du-MondeCourtesy Manchester Gallery

Another big name featured in the exhibition is Eileen Agar – whose Angel of Anarchy (1936-1940) mixed media head dress is featured alongside its opposite number Angels of Mercy (1936-1940) – only two surviving pieces of four, are portraits of Joseph Bard (her husband) and to see them both is quite magical. Angel of Anarchy is wrapped in rich African bark cloth decorated in Chinese silk, beads and osprey and ostrich feathers and has a decadent aura about it. Angel of Mercy is quite the opposite but none less impressive to its corresponding part, using only her skills to sculpt the piece and her hand to paint it.

Agar_Angel-of-AnarchyCourtesy Manchester Gallery

Whist big names like Kahlo, Agar, Oppenheim and Cahun are used to encourage people to visit the exhibition the lesser known artists really do shine and in some cases surpass their well known counterparts. Kay Sage’s beautiful black and white, landscape photography will lead you into the word of the extra-ordinary within the ordinary – her vision of seeing something interesting within what seems to be an ordinary landscape impressed me a great deal! Leonora Carrington’s self portrait (1937-1938) will immediately grab your attention as it did mine; I faced this one particular piece for a good10 minutes and I must admit I was truly transfixed and consumed in my trail of thought! This, in my opinion, is by far was the best self portrait (oil on canvas) in the entire show. I felt deep sympathy for Carrington and I was left wondering and wanting to know more about this wonderful talent.

Angel1

Courtesy Banco de Mexico Deigo Rivera & Frida Kahlo Museums Trust, Mexico DF / DACS 2009

The exhibition is over teeming with beautiful oils on canvas and sculptures that include a rarely seen Lee Miller torso cast that has only even been exhibited once before. Surrealist literature is present in the form of Leonora Carrington’s En Bas ( Down Below 1945) a memoir of her emotional journey after Max Ernst is arrested by the Nazis which leads her to being institutionalized in a mental hospital in Spain. There are video instillations by Francesca Woodman documenting herself exploring the female form and a beautiful interpretation of ‘There was a Miller on a River’ (1971), by Eva Svankmajerova. This old folk song tells the story of a young soldier returning home after 20 years. His parents do not recognise him, rob and murder him; once they realise it was their son they take their own lives. Such a brutal act is given a beautiful lease of life in Svankmajerova’s gorgeous illustrations.

Oppenheim_SquirrelCourtesy Manchester Gallery

Another nice surprise is the room ‘Teenangels’ in which the Manchester Art gallery has teamed up with art students from Levenshulme High School who have came up with their own Surrealist inspired artwork. I would have happily been left to think they were part of the Angels of Anarchy exhibition had I not seen the sign! Seeing interaction between a prestigious art gallery like Manchester’s and GCSE art students topped the exhibition off perfectly.

All in all this was a good exhibition which ran from the 26th of December 2009 to the 10th of January 2010. Penny Slinger describes her work as ‘a protest against females being seen as mere objects at a male’s disposal’. This exhibition sets out to break the notion that Surrealism is a male dominated movement and it does so successfully. Without the likes of Frida Kahlo, Claude Cahun, Edith Rimmington, Meret Oppenheim and the rest of the female Surrealist featured in the exhibition I doubt very much that women in art would be where they are today. They helped the female cause for decades to come and paved the way for equality in Art. They proved that chicks can do what guys do… and dare I say in some cases even better? If you were one of the lucky few who visited the show then you surely came away enlightened, informed and inspired by those surrealist amazons…just like I did.

Visit www.manchesterartgalleries.org/angelsofanarchy for more information.
Angel3Courtesy of George and Betty Woodman and Marian Goodman Gallery, cure New York

When I hear the word Surrealism, this instantly the likes of Salvador Dali, André Breton, André Masson and Max Ernst come to my mind. Well I can now add Frida Khalo, Leonora Carrington, Eileen Agar and many more female Surrealist artists to that male dominated list, thanks to Manchester’s Art Gallery! Their current exhibition, Angels of Anarchy, sets out to not only celebrate the works of female artists but to educate and inform those who know little (people like me) or nothing at all about the important role females played in the Surrealist movement. How about that?

Angel Courtesy Private collection, Dilbeek, Belgium © DACS 2009

The exhibition covers five main categories within Surrealism – Portrait/Self-Portrait, Landscape, Interior, Still Life and Fantasy; the medium used ranges from sculpture to photography to film and the more traditional oil on canvas. Thanks to Salma Hayek’s performance in the eponymous film, Frida Khalo -who features in both Portrait/Self Portrait and Interior – is probably the name most will recognise but you will not be disappointed with the other lesser-known artists on display.

Angel2

Courtesy ADAGP Paris, Musée National d’Art Modern – Centre Georges Pompidou. Courtesy Photo CNAC / MNAM, Dis. RMN / courtesy  Jacques Faujour

The most interesting piece comes in the form of film by photographer/filmmaker Lola Alvarez Bravo -who incidentally went to school with Frida and was one of her closest friends. The 30 seconds (approx) of rare footage is left untitled but is captivating from start to end, not least thanks to the presence of Frida herself; the artist is more stunning on film that I had imagined. There is no audio in this eerie film and it’s quite foretelling that Frida is welcoming death into her home in the shape of an innocent looking girl; this was shot when Frida was in ill health and I thought this was one of many nice surprises within the exhibition. Bravo documented much of Frida’s life and she went on documenting even after her death; there is a poignant shot of Frida’s room after her death (Frida’s Room 1954), where her wheelchair, paintbrushes, a self-portrait and a picture of her husband are strategically placed in order to sum up her life. This particular scene left a lump in your throat!

Fini_Le-Bout-du-MondeCourtesy Manchester Gallery

Another big name featured in the exhibition is Eileen Agar – whose Angel of Anarchy (1936-1940) mixed media head dress is featured alongside its opposite number Angels of Mercy (1936-1940) – only two surviving pieces of four, are portraits of Joseph Bard (her husband) and to see them both is quite magical. Angel of Anarchy is wrapped in rich African bark cloth decorated in Chinese silk, beads and osprey and ostrich feathers and has a decadent aura about it. Angel of Mercy is quite the opposite but none less impressive to its corresponding part, using only her skills to sculpt the piece and her hand to paint it.

Agar_Angel-of-AnarchyCourtesy Manchester Gallery

Whist big names like Kahlo, Agar, Oppenheim and Cahun are used to encourage people to visit the exhibition the lesser known artists really do shine and in some cases surpass their well known counterparts. Kay Sage’s beautiful black and white, landscape photography will lead you into the word of the extra-ordinary within the ordinary – her vision of seeing something interesting within what seems to be an ordinary landscape impressed me a great deal! Leonora Carrington’s self portrait (1937-1938) will immediately grab your attention as it did mine; I faced this one particular piece for a good10 minutes and I must admit I was truly transfixed and consumed in my trail of thought! This, in my opinion, is by far was the best self portrait (oil on canvas) in the entire show. I felt deep sympathy for Carrington and I was left wondering and wanting to know more about this wonderful talent.

Angel1

Courtesy Banco de Mexico Deigo Rivera & Frida Kahlo Museums Trust, Mexico DF / DACS 2009

The exhibition is over teeming with beautiful oils on canvas and sculptures that include a rarely seen Lee Miller torso cast that has only even been exhibited once before. Surrealist literature is present in the form of Leonora Carrington’s En Bas ( Down Below 1945) a memoir of her emotional journey after Max Ernst is arrested by the Nazis which leads her to being institutionalized in a mental hospital in Spain. There are video instillations by Francesca Woodman documenting herself exploring the female form and a beautiful interpretation of ‘There was a Miller on a River’ (1971), by Eva Svankmajerova. This old folk song tells the story of a young soldier returning home after 20 years. His parents do not recognise him, rob and murder him; once they realise it was their son they take their own lives. Such a brutal act is given a beautiful lease of life in Svankmajerova’s gorgeous illustrations.

Oppenheim_SquirrelCourtesy Manchester Gallery

Another nice surprise is the room ‘Teenangels’ in which the Manchester Art gallery has teamed up with art students from Levenshulme High School who have came up with their own Surrealist inspired artwork. I would have happily been left to think they were part of the Angels of Anarchy exhibition had I not seen the sign! Seeing interaction between a prestigious art gallery like Manchester’s and GCSE art students topped the exhibition off perfectly.

All in all this was a good exhibition which ran from the 26th of December 2009 to the 10th of January 2010. Penny Slinger describes her work as ‘a protest against females being seen as mere objects at a male’s disposal’. This exhibition sets out to break the notion that Surrealism is a male dominated movement and it does so successfully. Without the likes of Frida Kahlo, Claude Cahun, Edith Rimmington, Meret Oppenheim and the rest of the female Surrealist featured in the exhibition I doubt very much that women in art would be where they are today. They helped the female cause for decades to come and paved the way for equality in Art. They proved that chicks can do what guys do… and dare I say in some cases even better? If you were one of the lucky few who visited the show then you surely came away enlightened, informed and inspired by those surrealist amazons…just like I did.

Visit www.manchesterartgalleries.org/angelsofanarchy for more information.
Thumb
The third day at the Sao Paulo Fashion Week saw the show of one of the hippest brands among Brazilian youngsters. Triton has been showing at the biggest fashion week in Brazil for a while now, visit this site with the main inspiration behind their designs having always been music, here technology and a cool lifestyle.

trit_i10_093_altaImages throughout courtesy of Triton

For AW10 they invited CSS‘s lead singer Lovefoxxx (who used to work for the brand before becoming famous) to design not only some of the prints, but also the show’s soundtrack, which started dense and melancholic, with the sound of Crystalised, by English band The XX.

trit_i10_063_altaPrimarily inspired by the trendy Japanese area of Harajuku, Lovefoxxx, together with Triton’s designer Karen Fuke, created one of the most playful scenarios seen on the runways of Sao Paulo. With models made up to look like Gothic Lolita’s taking to the runway Triton superbly illustrated the epicentre of Japanese excesses to a Brazilian audience.

trit_i10_001_altaThere were so many patterns, so many shapes, so many references, that it was impossible to sort the designs in any distinct trend. The kooky prints referenced everything from spider webs and owls to mushrooms, teamed with heavy boots with super high heels which broke the romantic vibe. It couldn’t have ended better than with a rainbow coloured jumpsuit, making Luisa Lovefoxxx’s input and presence clear to all.

trit_i10_084_altaTriton’s AW10 show was a great example of creativity and coherence, from a brand to its public. No wonder it had one of the most amazing finales so far; with a standing ovation from the fashion-hungry crowd.

trit_i10_015_alta

Categories ,Barbara Mattivy, ,css, ,harajuku, ,Karen Fuke, ,lovefoxxx, ,Sao Paulo Fashion Week, ,The XX, ,Triton

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Amelia’s Magazine | Neon AW10 at Sao Paulo Fashion Week- Exclusive Report

neon_i10_056_altaPhotography throughout courtesy of Raymond Chan /Ag. Fotosite

If one took a time machine wanting to meet his or her favourite 1940’s diva in a distant tropical forest, viagra order they would surely have been transported to Thursday’s Neon fashion show. Playing with our notions of glamour in a shiny, information pills yet colourful way, viagra the brand presented an exotic yet elegant and wearable collection.

neon_i10_051_alta

neon_i10_098_altaNeon was born as a side project of college friends Dudu Bertholini and Rita Comparato in 2002. When photographer J.R. Duran invited Dudu to create a swimwear story, Rita was invited to collaborate and the results were so thrilling they decided to keep going. As the demand for their specially handcrafted one-piece bathing suits grew, the brand began to mass produce and commission different artists to create explosive colourful graphic signature prints every season. In 2004, Caca Ribeiro joined them in collaboration.

neon_i10_049_altaThursday’s AW10 collection had the hunter and the hunted as a theme. Wool, tweed, leather, silk, chiffon, felt, flannel, tricot, faux-fur and African cotton were some of the materials sampled to build upon the already traditional loose silhouettes and feminine shapes such as pencil skirts, tailleurs, imponent coats and bodies. The combination of duck and butterfly prints and handcrafts of Kuna Indians from Panama was hugely successful and with a giant lion placed in the middle of the runway Neon built up a dreamy illusion of being in a modern jungle, where both animals and the clothing come to life.

Categories ,Caca Ribeiro, ,Dudu Bertholini and Rita Comparato, ,J.R. Duran, ,Mariana Guimaraes, ,Neon, ,Sao Paulo Fashion Week

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Amelia’s Magazine | OESTUDIO AW10 at Sao Paulo Fashion Week- Exclusive Report

 patchinvite-image22

Artist Alan Kane’s series of photographs exhibited within the hallowed walls of LCF display a collection of embroidered patches more traditionally seen sewn on to leather jackets, approved rucksacks and denim.

Describing these patches as “stitched tokens of defiance”, salve Kane explores how the patches represent a sense of rebellion and “non-conformity”. Kane exhibits the latest in his ‘quasi-anthropologic’ practice by sharing his interest in “what the wild things wear”. The traditionally rebellious aesthetic Kane favours is portrayed through his collection of patches, medications picture skulls, roses and military imagery. This aesthetic has arguably now become mainstream within fashion, media and music. Interestingly the aesthetic contrasts with the softer, stitched and tactile material composition. Each patch was photographed at a magnified size of 668% (the number being significant as ‘the neighbour of the beast’, yes, even more rebellion). The depth of texture displayed at this magnification gave the patches a beauty that is unable to be appreciated at their traditional size. The occasional loose thread or stitched imperfection became beautiful.

The exhibition’s title ‘Vanitas Vanitatum Omnia Vanitas :)’ translates to “Vanity, vanity, all is vanity.” (Ecclesiastes 1:2). The title along with the addition of the typographical sign for a smile injects us with a sense of the artists humour.
The exhibition concludes Kane’s one-year residency at London College of Fashion and will be open until January 29th.
Fashion Space Gallery
London College of Fashion
20 John Princes Street
W1G OBJ
Open Monday-Friday 12-6pm
DSC_1206Imagery throughout courtesy of Natalia Kneen

Artist Alan Kane’s series of photographs exhibited within the hallowed walls of LCF display a collection of embroidered patches more traditionally seen sewn on to leather jackets, page rucksacks and denim.

DSC_1195Describing these patches as “stitched tokens of defiance”, more about Kane explores how the patches represent a sense of rebellion and “non-conformity”. Kane exhibits the latest in his ‘quasi-anthropologic’ practice by sharing his interest in “what the wild things wear”. The traditionally rebellious aesthetic Kane favours is portrayed through his collection of patches, picture skulls, roses and military imagery. This aesthetic has arguably now become mainstream within fashion, media and music. Interestingly the aesthetic contrasts with the softer, stitched and tactile material composition. Each patch was photographed at a magnified size of 668% (the number being significant as ‘the neighbour of the beast’, yes, even more rebellion). The depth of texture displayed at this magnification gave the patches a beauty that is unable to be appreciated at their traditional size. The occasional loose thread or stitched imperfection became beautiful.

DSC_1191The exhibition’s title ‘Vanitas Vanitatum Omnia Vanitas :)’ translates to “Vanity, vanity, all is vanity.” (Ecclesiastes 1:2). The title along with the addition of the typographical sign for a smile injects us with a sense of the artists humour.
The exhibition concludes Kane’s one-year residency at London College of Fashion and will be open until January 29th.
Fashion Space Gallery
London College of Fashion
20 John Princes Street
W1G OBJ
Open Monday-Friday 12-6pm
DSC_1206Imagery throughout courtesy of Natalia Kneen

Artist Alan Kane’s series of photographs exhibited within the hallowed walls of LCF display a collection of embroidered patches more traditionally seen sewn on to leather jackets, generic rucksacks and denim.

DSC_1195Describing these patches as “stitched tokens of defiance”, Kane explores how the patches represent a sense of rebellion and “non-conformity”. Kane exhibits the latest in his ‘quasi-anthropologic’ practice by sharing his interest in “what the wild things wear”. The traditionally rebellious aesthetic Kane favours is portrayed through his collection of patches, picture skulls, roses and military imagery. This aesthetic has arguably now become mainstream within fashion, media and music. Interestingly the aesthetic contrasts with the softer, stitched and tactile material composition. Each patch was photographed at a magnified size of 668% (the number being significant as ‘the neighbour of the beast’, yes, even more rebellion). The depth of texture displayed at this magnification gave the patches a beauty that is unable to be appreciated at their traditional size. The occasional loose thread or stitched imperfection became beautiful.

DSC_1191The exhibition’s title ‘Vanitas Vanitatum Omnia Vanitas :)’ translates to “Vanity, vanity, all is vanity.” (Ecclesiastes 1:2). The title along with the addition of the typographical sign for a smile injects us with a sense of the artists humour.
The exhibition concludes Kane’s one-year residency at London College of Fashion and will be open until January 29th.
Fashion Space Gallery
London College of Fashion
20 John Princes Street
W1G OBJ
Open Monday-Friday 12-6pm
DSC_1206Imagery throughout courtesy of Natalia Kneen

Artist Alan Kane’s series of photographs exhibited within the hallowed walls of LCF display a collection of embroidered patches more traditionally seen sewn on to leather jackets, no rx rucksacks and denim.

DSC_1195Describing these patches as “stitched tokens of defiance”, page Kane explores how the patches represent a sense of rebellion and “non-conformity”. Kane exhibits the latest in his ‘quasi-anthropologic’ practice by sharing his interest in “what the wild things wear”. The traditionally rebellious aesthetic Kane favours is portrayed through his collection of patches, picture skulls, roses and military imagery. This aesthetic has arguably now become mainstream within fashion, media and music. Interestingly the aesthetic contrasts with the softer, stitched and tactile material composition. Each patch was photographed at a magnified size of 668% (the number being significant as ‘the neighbour of the beast’, yes, even more rebellion). The depth of texture displayed at this magnification gave the patches a beauty that is unable to be appreciated at their traditional size. The occasional loose thread or stitched imperfection became beautiful.

DSC_1191The exhibition’s title ‘Vanitas Vanitatum Omnia Vanitas :)’ translates to “Vanity, vanity, all is vanity.” (Ecclesiastes 1:2). The title along with the addition of the typographical sign for a smile injects us with a sense of the artists humour.
The exhibition concludes Kane’s one-year residency at London College of Fashion and will be open until January 29th.
Fashion Space Gallery
London College of Fashion
20 John Princes Street
W1G 0BJ
Open Monday-Friday 12-6pm
DSC_1206Imagery throughout courtesy of Natalia Kneen

Artist Alan Kane’s series of photographs exhibited within the hallowed walls of LCF display a collection of embroidered patches more traditionally seen sewn on to leather jackets, decease rucksacks and denim.

DSC_1195Describing these patches as “stitched tokens of defiance”, decease Kane explores how the patches represent a sense of rebellion and “non-conformity”. Kane exhibits the latest in his ‘quasi-anthropologic’ practice by sharing his interest in “what the wild things wear”. The traditionally rebellious aesthetic Kane favours is portrayed through his collection of patches, picture skulls, roses and military imagery. This aesthetic has arguably now become mainstream within fashion, media and music. Interestingly the aesthetic contrasts with the softer, stitched and tactile material composition. Each patch was photographed at a magnified size of 668% (the number being significant as ‘the neighbour of the beast’, yes, even more rebellion). The depth of texture displayed at this magnification gave the patches a beauty that is unable to be appreciated at their traditional size. The occasional loose thread or stitched imperfection became beautiful.

DSC_1191The exhibition’s title ‘Vanitas Vanitatum Omnia Vanitas :)’ translates to “Vanity, vanity, all is vanity.” (Ecclesiastes 1:2). The title along with the addition of the typographical sign for a smile injects us with a sense of the artists humour.
The exhibition concludes Kane’s one-year residency at London College of Fashion and will be open until January 29th.
Fashion Space Gallery
London College of Fashion
20 John Princes Street
W1G 0BJ
Open Monday-Friday 12-6pm
DSC_1206Imagery throughout courtesy of Natalia Kneen

Artist Alan Kane’s series of photographs exhibited within the hallowed walls of LCF display a collection of embroidered patches more traditionally seen sewn on to leather jackets, more about rucksacks and denim.

DSC_1195Describing these patches as “stitched tokens of defiance”, rx Kane explores how the patches represent a sense of rebellion and “non-conformity”. Kane exhibits the latest in his ‘quasi-anthropologic’ practice by sharing his interest in “what the wild things wear”. The traditionally rebellious aesthetic Kane favours is portrayed through his collection of patches, this picture skulls, roses and military imagery. This aesthetic has arguably now become mainstream within fashion, media and music. Interestingly the aesthetic contrasts with the softer, stitched and tactile material composition. Each patch was photographed at a magnified size of 668% (the number being significant as ‘the neighbour of the beast’, yes, even more rebellion). The depth of texture displayed at this magnification gave the patches a beauty that is unable to be appreciated at their traditional size. The occasional loose thread or stitched imperfection became beautiful.

DSC_1191The exhibition’s title ‘Vanitas Vanitatum Omnia Vanitas :)’ translates to “Vanity, vanity, all is vanity.” (Ecclesiastes 1:2). The title along with the addition of the typographical sign for a smile injects us with a sense of the artists humour.
The exhibition concludes Kane’s one-year residency at London College of Fashion and will be open until January 29th.
Fashion Space Gallery
London College of Fashion
20 John Princes Street
W1G 0BJ
Open Monday-Friday 12-6pm
OESTUDIO is not just a fashion brand, more about it’s also an uber-cool collective specializing in creative design. Maybe that’s why they have such an open mind with regards to new technologies and were able to innovate and execute something never seen before in a Brazilian fashion week.

look_25_finalImages courtesy of OESTUDIO

“We are the last generation to be born in analog with the talent to produce digital. That’s why our work is based on the principle that any type of existence must tune in to itself from time to time. In the future, adiposity to generate development, pharmacy brands will need to have the humility to practice involvement.”

look5_dancerWith this inspiring sentence they opened their A/W10 show at Sao Paulo Fashion Week. And it wasn’t just any show; this season they chose to have a virtual fashion show. They actually hosted the show to press and guests, but instead of having models and all the team sweating to make everything perfect live, all the production was done way in advance, with no waste of time, money or energy. Everything was projected onto massive screens on the runway, and comprised of a great film that told, from many angles, the story behind their newest collection.

look_dance8As FFW website says, “Fashion for OESTUDIO never comes down to mere items of clothing, or to vague desires. For them, the clothes play a key role in how we see and relate to the world.”

And that’s exactly what they’ve done. By showing a clean and sober collection they left interpretations open for the audience to find his/her true identity within the brand’s designs. See the original catwalk video for yourself – and join the fashion elite on the front row.

Categories ,Barbara Mattivy, ,FFW, ,OESTUDIO, ,Sao Paulo Fashion Week

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Amelia’s Magazine | Osklen at Sao Paulo Fashion Week- Exclusive Report

Copenhagen-COP15-16122009-Dec-09-300Reclaim Power Climate Justice Action at Cop15

On Wednesday the 16th of December the Reclaim Power! demo was due to hit the streets surrounding the Bella Centre (where the Cop15 was being held). The highlight of the Climate Justice Action calendar, here visit it was towards this that the majority of British activists who had travelled as part of Climate Camp were working over the preceding days and with this in mind we retired to bed in a slightly wary frame of mind the night before. I’ve been the subject of a midnight raid before, and let me tell you, it’s pretty discombobulating to be woken by someone screaming in your ear “POLIIIIIIIIICE” as you scramble to take stock of the situation whilst pulling together some decent happy-to-be-arrested-in clothing (I was one of the 114 people arrested in the Iona School in Nottingham last April). This time I wasn’t so worried as we’d seen nothing of the police out at Voldparken, but when I awoke before daybreak and wandered bleary eyed betwixt bed and portaloo in my sexy checked pyjamas I was greeted by some friendly coppers at the exit, who had been sent to search everyone as they left the building. “Where are you going today?” “Oh, you know, just off to hang out in Copenhagen for a bit.” At 6am. There were plenty of ways we could have escaped without being checked if we’d wanted to, but it seems that coppers everywhere are, well, just a bit thick really.

Copenhagen-COP15-16122009-Dec-09-261Being searched before leaving Voldparken school on December 16th

It was a long cold ride into Copenhagen with my Bike Bloc affinity group (a trusted collective of people who have agreed to stick together and look after one another through an action), and from there onwards to the island where the Bella Centre is located. Unfortunately part of our group had decided to go on ahead without us and whilst we were waiting for them on a corner in a vaguely interest-arousing manner we were stopped and searched. This was not exactly unexpected, but one of our members had rather stupidly brought a map with him that had segments drawn onto it around the Centre, and for this he was detained immediately – a short day for him, straight to the holding cells.

Copenhagen-COP15-16122009-Dec-09-278Being searched on the way to the Bella Centre

Copenhagen-COP15-16122009-Dec-09-280Definitely not a suspicious map officer, definitely not.

The rest of us quickly cycled onwards and were soon turning in circuits around the residential backstreets near the Bella Centre, at first trying to evade the many many police vans patrolling the streets (a Netto supermarket proved a good venue to hide in at one point, the bemused staff unsure how to react), but eventually just giving ourselves up to the patrols – thereby delaying the police and hopefully preventing them from harassing other activists, particularly those in the Green Block who would be using more direct means to scale the fences of the centre. (So the theory went, we later learned they were all arrested long before they got anywhere near the perimeter.) One *lovely* officer even offered to kiss me, as you can hear in my audiocast here.

Just as the police decided that they had had enough of our tactics the Blue March drew up to the main gates and suddenly the Bike Block was there to get ahead of them and blockade the road, giving them space to breath on one side. It’s quite hard to provide an overall analysis of what happened next as there was so much going on at once and even though I did my usual mad dashing about the place, of course I couldn’t cover it all. As the marchers formed a blockade and attempted to breach the gates we continued to hold the space on one side. I witnessed a man climb on top of a police van, only to be beaten with a baton then hauled down, and I repeatedly saw people being pulled from the crowd with reddened faces, weeping from the pepper spray that was being squirted with abandon at peaceful protestors on the front line. At our end there was far less aggression from the police, who seemed fairly bemused by our tactics, especially the ‘Santa Block’ who cycled in circles chanting “ho ho ho”. Between this a group of Climate Camp activists launched what looked like a large inflatable lilo over their heads towards the Bella Centre perimeter and indeed there was soon a ‘lilo bridge’ angled across the moat into the scrubland surrounding the Bella Centre. Unfortunately this highly inventive approach to getting inside was destined to be thwarted by circumstances, as those who reached the other side were promptly arrested by a squad of riot cops. There was poetry, dancing in the street and even a call for the cops to give an activist a hug – all as we waited (since we couldn’t get in ourselves) to hear whether the delegates inside the Cop15 would be able to march out and join us for the planned Peoples’ Assembly. It looked increasingly unlikely that they would be able to do so: we were later to find out the extreme lengths to which the police went to prevent them from leaving the Bella Centre – for shocking footage of the bassist in my band Green Kite Midnight being beaten with a baton see this Guardian video. At about 7 minutes in Tim can clearly be seen mouthing the words “peaceful protest” as he is whacked. He has had his fractured arm in a cast since then.

Instead activists from all over the world sat in circles on the cold road, discussing in groups of a dozen or so, how real life grassroots solutions could be applied to the crises that we face. For video footage of this see here. But the light was failing and all too soon it was over and the decision made to march back into central Copenhagen. By this point I was seriously cold and had a very wet foot due to running around in the scrubland and stepping into an icy cold bog. As the sky turned into a beautiful orange haze over the Bella Centre the Bike Block attempted to decide on a course of action, but a lack of clarity about how or what we should do led to a random diversion for some back onto the scrubland where we were immediately met by police on horseback. I decided to call it a day and together with Dave headed back towards the Klimaforum in search of a hot cup of tea and a radiator on which to dry my socks and shoes.

The following day a few Climate Campers decided that we should not leave Copenhagen without holding some kind of camp (since that’s what we’ve become so well known for), so in the evening about 50 of us rocked up to Hopenhagen, where we popped open a few tents and stood around thinking, ho hum, what shall we do next? Having been autonomously organised it wasn’t exactly the most considered of actions, but it was an interesting experiment in seeing how the police would react to a completely impromptu non-violent occupation. They started off on quite an aggressive footing, with one snatching a tent and ineffectually putting it into the bin, from whence it was speedily retrieved. The brainchild of the action declared his ambition to stay put through the entire night (before popping open a can of beer) – not a desire shared by the majority present, what with the sub zero temperatures and lack of planning. However first there was some fun to be had in disrupting a television programme being broadcast from inside one of the alien green boxes – where a smarmy looking presenter caked in make up with slicked back hair (a man, I might add) steadfastly ignored the Caution: Greenwash banner being held up behind his head. I wasn’t sure what exactly this action was meant to achieve but was assured that this particular TV channel had been misrepresenting activists in its coverage, and that since they were talking about the Cop15 it was an ideal place to get our message across. By this point the cops had relaxed and we got into some entertaining conversations with them about the efficacy of our actions. Suddenly Tim was at my shoulder, one-handedly suggesting that we do a ceilidh, since Green Kite Midnigh has always held ceilidhs at Climate Camp actions. But, there was only the two of us out of a band of six, no instruments and no amplification. Not a problem. Tim whipped out his harmonica, and laughing, I managed to call several dances, yelling from atop concrete pillar holding aloft the giant Hopenhagen balloon above our heads. You can see footage here, but be warned, I’m loud – filming whilst calling being an up close and personal affair.

It was then back to an amusing last evening at the Voldparken School, what with an impromptu music video shot in one of the disused laboratories and a full on rave held in one of the air-locked antechambers far into the night, where I espied our ambitious young activist in the wee hours. The police gave him a lift all the way back to the school, keen to see both him and his tents dispatched safely back to the far reaches of the suburbs!

One of the final things I did in Copenhagen was to visit their most famous landmark; the mermaid, of course. It was beyond bitingly cold, and as I admired her temporary cohorts, some frozen penguins, I considered the probability of losing both my fingers and my toes to frostbite. Visitors from all over the world clearly saw this spot as the most emblematic place to stage a protest and during the short time we were there they came in their dozens with placards held aloft, cameras at the ready. Behind the Little Mermaid another special Cop15 sculpture reared out of the grey waves, a grotesquely oversized woman sat astride the shoulders of a skinny little man – the ‘Survival of the Fattest’ by Jens Galschiot and Lars Calmar.

The coach ride home from Copenhagen was, how shall I put it… interesting. Even though I decided early on (as we sat delayed, due to snow, in a traffic jam into Calais) to practice the art of zen, I, along with everyone else, was starting to lose the will to live by the time we had sat in a car park in Dover for several hours whilst our increasingly irate drivers tried to figure out where their relief drivers were to ferry us the last hour home to London, eventually both completely losing their rag and threatening to kill their employers.

Since I got home there has been plenty of editorial commentary on what happened inside the Cop15 summit and what exactly our actions did or didn’t achieve. From my point of view (and maybe I should keep this to myself), I didn’t ever for one moment think that we would actually get into the Bella Centre – it was immensely well fortified and we didn’t have the strength in numbers or ability to get inside – so I wasn’t exactly surprised when we didn’t. As a whole it was quite hard to take part in the Climate Justice Action pre-planning meetings because of the distance between activist venues, which I think resulted in many people thinking that others would be more organised than themselves and lead the way. The Bike Block felt a bit disparate – we lost half our affinity group, split up and regrouped several times – taking our lead from the people around us rather than from the pre-planned messages that I was expecting to be sent out via text. It was a shame that Double Trouble (confiscated earlier in the week by the police looking for our fictional “machine of resistance”) and the Sound Swarm never made it to the gates, (at least not to my knowledge). As usual we were underprepared to make fast decisions, which led to a confused ending to the Bike Block during the final march away from the Bella Centre. On the plus side the Bike Block was massively effective in blockading the street and confusing the police, and was a beautifully mobile way to take part in the action – I think it will lead to further creative direct action on bikes in the future.

On a wider scope, although many people were seriously disappointed that we were unable to get into the Bella Centre to hold the Peoples’ Assembly as promised, I feel that our very presence served to highlight the inequality of the whole Cop15 process, which has only now begun to filter down to those disappointed NGOs who were so certain they could use the current ways of meeting to facilitate meaningful change. Because I never for one moment believed that any good decisions could come out of the Cop15 I felt more than vindicated by the dismal outcome, but for many of the NGOs who were excluded from the Bella Centre it must have been a wake up call and one can only hope they have been radicalised. We were there to show that there is a strong global grassroots movement ready to challenge the accepted status quo, and those relationships cultivated on the front line will be crucial in taking creative action in 2010. System Change Not Climate Change now feels firmly on the agenda. I feel as though this is just the beginning…

Talking about winter fashion in a tropical country can always be a little tricky, for sale especially in the middle of January. It is oh-so-hot here in Sao Paulo, site where everyone is secretly dreaming of a world where wearing light cotton pyjamas for a day at work wouldn’t be frowned upon. More than making a statement and translating a concept into shapes and silhouettes, pills Brazil champions the intelligent use of fabrics, textures and color is elemental – with today’s designer du jour being no exception.

oskl_i10_029_altaAll imagery courtesy of Osklen

Osklen is a Brazilian brand renowned for its smart eco-friendly stance that finds inspiration in the dynamism of the urban landscape highlighting the exuberance of Brazilian natural beauty. The style cohesively presented in every collection comes directly from Creative Director Oskar Metsavaht’s passions – such as sport and travel. Osklen’s designs always manage to coherently reflect the national structure which successfully integrates nature, culture, society and urbanism. For this, Osklen is considered a “Future Maker” by WWF-UK.

oskl_i10_078_altaMore just a clothing brand, Osklen sell an authentic lifestyle based on their conscientious use of materials that are environmentally friendly and their adoption of green production processes. Genuinely Brazilian in a contemporary urban way, the brand has shown their collection at São Paulo Fashion Week since 2003. On a clean white stage with a smooth backlight, this AW10 men and women’s wear collection was presented using black and beige (or should we say nude?) as the main colours with accents of bright pop colours; pink, orange and yellow, which were cleverly used to contrast and interrupt the heaviness of the thick, dark felt used within most of the garments. The combination of organic materials juxtaposed with architectural structures resulted in wearable three-dimensional rustic dresses, bodies, coats, pants, shirts and knitted pullovers.

oskl_i10_040_altaIn a sea of geometrical shapes, where the pieces were structured to build beautiful angles instead of a curvy silhouette, it was a surprise to see beautiful organic prints of leaves and flowers were there as well, carried over from the SS10 collections and reissued for the winter in more bright-and-vivacious-neon colors, following the already settled trend of high contrasts of shades and textures. Talk about recycling!

Categories ,brazil, ,Oskar Metsavaht, ,Osklen, ,Sao Paulo Fashion Week, ,WWF-UK

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Amelia’s Magazine | Ronaldo Fraga AW10 at Sao Paulo Fashion Week- Exclusive Report

The third day at the Sao Paulo Fashion Week saw the show of one of the hippest brands among Brazilian youngsters. Triton has been showing at the biggest fashion week in Brazil for a while now, prostate with the main inspiration behind their designs having always been music, technology and a cool lifestyle.

trit_i10_093_altaImages throughout courtesy of Triton

For AW10 they invited CSS‘s lead singer Lovefoxxx (who used to work for the brand before becoming famous) to design not only some of the prints, but also the show’s soundtrack, which started dense and melancholic, with the sound of Crystalised, by English band The XX.

trit_i10_063_altaPrimarily inspired by the trendy Japanese area of Harajuku, Lovefoxxx, together with Triton’s designer Karen Fuke, created one of the most playful scenarios seen on the runways of Sao Paulo. With models made up to look like Gothic Lolita’s taking to the runway Triton superbly illustrated the epicentre of Japanese excesses to a Brazilian audience.

trit_i10_001_altaThere were so many patterns, so many shapes, so many references, that it was impossible to sort the designs in any distinct trend. The kooky prints referenced everything from spider webs and owls to mushrooms, teamed with heavy boots with super high heels which broke the romantic vibe. It couldn’t have ended better than with a rainbow coloured jumpsuit, making Luisa Lovefoxxx’s input and presence clear to all.

trit_i10_084_altaTriton’s AW10 show was a great example of creativity and coherence, from a brand to its public. No wonder it had one of the most amazing finales so far; with a standing ovation from the fashion-hungry crowd.

trit_i10_015_alta
The third day at the Sao Paulo Fashion Week saw the show of one of the hippest brands among Brazilian youngsters. Triton has been showing at the biggest fashion week in Brazil for a while now, visit this with the main inspiration behind their designs having always been music, ask technology and a cool lifestyle.

trit_i10_093_altaImages throughout courtesy of Triton

For AW10 they invited CSS‘s lead singer Lovefoxxx (who used to work for the brand before becoming famous) to design not only some of the prints, approved but also the show’s soundtrack, which started dense and melancholic, with the sound of Crystalised, by English band The XX.

trit_i10_063_altaPrimarily inspired by the trendy Japanese area of Harajuku, Lovefoxxx, together with Triton’s designer Karen Fuke, created one of the most playful scenarios seen on the runways of Sao Paulo. With models made up to look like Gothic Lolita’s taking to the runway Triton superbly illustrated the epicentre of Japanese excesses to a Brazilian audience.

trit_i10_001_altaThere were so many patterns, so many shapes, so many references, that it was impossible to sort the designs in any distinct trend. The kooky prints referenced everything from spider webs and owls to mushrooms, teamed with heavy boots with super high heels which broke the romantic vibe. It couldn’t have ended better than with a rainbow coloured jumpsuit, making Luisa Lovefoxxx’s input and presence clear to all.

trit_i10_084_altaTriton’s AW10 show was a great example of creativity and coherence, from a brand to its public. No wonder it had one of the most amazing finales so far; with a standing ovation from the fashion-hungry crowd.

trit_i10_015_alta
The third day at the Sao Paulo Fashion Week saw the show of one of the hippest brands among Brazilian youngsters. Triton has been showing at the biggest fashion week in Brazil for a while now, treatment with the main inspiration behind their designs having always been music, information pills technology and a cool lifestyle.

trit_i10_093_altaImages throughout courtesy of Triton

For AW10 they invited CSS‘s lead singer Lovefoxxx (who used to work for the brand before becoming famous) to design not only some of the prints, medicine but also the show’s soundtrack, which started dense and melancholic, with the sound of Crystalised, by English band The XX.

trit_i10_063_altaPrimarily inspired by the trendy Japanese area of Harajuku, Lovefoxxx, together with Triton’s designer Karen Fuke, created one of the most playful scenarios seen on the runways of Sao Paulo. With models made up to look like Gothic Lolita’s taking to the runway Triton superbly illustrated the epicentre of Japanese excesses to a Brazilian audience.

trit_i10_001_altaThere were so many patterns, so many shapes, so many references, that it was impossible to sort the designs in any distinct trend. The kooky prints referenced everything from spider webs and owls to mushrooms, teamed with heavy boots with super high heels which broke the romantic vibe. It couldn’t have ended better than with a rainbow coloured jumpsuit, making Luisa Lovefoxxx’s input and presence clear to all.

trit_i10_084_altaTriton’s AW10 show was a great example of creativity and coherence, from a brand to its public. No wonder it had one of the most amazing finales so far; with a standing ovation from the fashion-hungry crowd.

trit_i10_015_alta
The third day at the Sao Paulo Fashion Week saw the show of one of the hippest brands among Brazilian youngsters. Triton has been showing at the biggest fashion week in Brazil for a while now, abortion with the main inspiration behind their designs having always been music, buy more about technology and a cool lifestyle.

trit_i10_093_altaImages throughout courtesy of Triton

For AW10 they invited CSS‘s lead singer Lovefoxxx (who used to work for the brand before becoming famous) to design not only some of the prints, but also the show’s soundtrack, which started dense and melancholic, with the sound of Crystalised, by English band The XX.

trit_i10_063_altaPrimarily inspired by the trendy Japanese area of Harajuku, Lovefoxxx, together with Triton’s designer Karen Fuke, created one of the most playful scenarios seen on the runways of Sao Paulo. With models made up to look like Gothic Lolita’s taking to the runway Triton superbly illustrated the epicentre of Japanese excesses to a Brazilian audience.

trit_i10_001_altaThere were so many patterns, so many shapes, so many references, that it was impossible to sort the designs in any distinct trend. The kooky prints referenced everything from spider webs and owls to mushrooms, teamed with heavy boots with super high heels which broke the romantic vibe. It couldn’t have ended better than with a rainbow coloured jumpsuit, making Luisa Lovefoxxx’s input and presence clear to all.

trit_i10_084_altaTriton’s AW10 show was a great example of creativity and coherence, from a brand to its public. No wonder it had one of the most amazing finales so far; with a standing ovation from the fashion-hungry crowd.

trit_i10_015_alta
rfra_i10_100_altaImagery throughout courtesy of Marcelo Soubhia / Ag. Fotosite

Being one of the most eagerly-awaited collections of every season of São Paulo Fashion Week, treatment it wouldn’t be inappropriate to think of Ronaldo Fraga’s fashion shows as art installations. Each season, about it the designer brings a new theme to the catwalk and makes up a world of beauty and dreams. His AW10 collection saw the German choreographer Pina Bausch as a muse because, in Ronaldo’s own words, “While you expect of Pina some kind of German discipline, she would put up a circus!”

rfra_i10_005_altarfra_i10_034_alta

Born in Brazil, Ronaldo graduated in Fashion Design and then finished a post graduation course at Parson’s School in NY. From there he travelled to London and undertook another degree at Central Saint Martins. His official debut as a fashion designer was in 1997 and he has been showing his collections at SPFW since 2001.

rfra_i10_020_altaDuring the AW10 men and women’s collection, everyone’s attention was caught by the play with forward and reverse. The models were hiding in their ambiguity having their faces covered with wigs and a mask placed on the back of their heads. They walked around wooden chairs with a purposeful rhythm, as if they were dancing.

rfra_i10_094_altaThe strongest highlights of the collection were the construction of several suits designed back to front, and the intense volume on the frilled shoulders and fringed coats. Silhouettes were loose and there was a clear kaleidoscope of colours that ranged from grey and black to bright warm tones such as yellow, pink, red, and orange. To top off what was a unique show the models came down from the catwalk to shake hands with random people in the audience.

rfra_i10_109_altaPina broke through the boundaries and barriers between dancers and audience and made a revolution in the concept of dancing. Without trying to understand Pina Bausch’s processes, Ronaldo just tried to have fun with it, delivering one the most entertaining show of the season.

rfra_i10_113_altaThe designer himself- Ronaldo Fraga.

Categories ,Central Saint Martins, ,Mariana Guimaraes, ,Parsons The New School for School of Design, ,Pina Bausch, ,Ronaldo Fraga, ,Sao Paulo Fashion Week

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