Susan Hiller-Tate-Britain
Ada Zanditon A/W 2011 sneak preview by Andrea Peterson. I asked a variety of illustrators to interpret one piece from the new collection… so read on to see what they did!
Ada Zanditon looks somewhat confused as I pile into her live/workspace at the same time as the morning influx of interns – maybe I’m a new, about it rather overgrown one? She is still in her pyjamas, recipe having recently emerged from the space beneath a cutting table that currently serves as her bed.
This season Ada will not be putting on a catwalk show; instead she will show a film presentation alongside the collection on mannequins. “What you can do on a catwalk is dictated by how big your budget is, ailment ” she explains. “Lagerfield puts on amazing shows but the cost of production is huge. One reason why everyone loved McQueen was because he put on an event; a moment that could be referenced from then on.” Ada feels that a film or presentation can offer a much more immersive experience on a tight budget.
Ada Zanditon A/W 2011 LFW Preview by Danielle Shepherd.
Last season’s show at Victoria House was intended to be interactive, with people circulating around the models. In fact it became more like a salon show as soon as the pesky photographers formed a bank across the room that guests were afraid to cross. “But the fact that it wasn’t a normal catwalk set was exciting – now it’s time to go to the next stage.” This season movement will be shown on a screen and the audience will be able to feel the details up close without fear of interaction with any live humans. “I’ve learnt that people won’t walk up to a model when they are in full hair and make up because it is too daunting.”
The night before our interview Ada was filming the A/W 2011 presentation at Netil House just off Broadway Market. On the wall above the table where the interns are busy cutting out invitations there is a model – I correctly deduce that Georgiana from Bulgaria is in fact the star of her new film. “It’s much better to fit a narrative around one person,” she says. Ada was able to exactly fit the garments to Georgiana, chosen because of an active interest in her concept and aesthetic. “She also has ability to act and move elegantly and gracefully. I feel she embodies the aspirations of my customers.”
Ada Zanditon A/W 2011 by Yelena Bryksenkova.
Ada’s great grandparents were from Ukraine and Lithuania, but her mother was born and grew up in America, with the result that Ada has dual nationality and got to spend holidays in fashionable Martha’s Vineyard, where her parents bought a house before it became popular. “Of course now it’s full of rich yuppies… which in a way is good because they look after the beautiful landscape.” Ada herself was born in Crouch End in north London before the family moved south of the river. Secondary school was by all accounts not a fun experience – even though she knew she wanted to be a fashion designer from the age of 5 her school pushed her in an academic direction that she felt uneasy with. As a result she didn’t do art A-level but instead took photography GCSE and attended life drawing classes.
With the encouragement of an art teacher who spotted her potential she went to Morley College to produce a self generated portfolio which she took to her Art Foundation interview at Kingston University. She was promptly offered an unconditional offer. “They were so warm and impressed that I cried in the interview – I was just so happy that someone finally understood my work.” Afterwards she did a degree at London College of Fashion and then embarked an internship with McQueen where she learnt “a hell of a lot”. She was there for a total of four seasons, working almost all of the time. “It’s a tough industry – you can work 9-5 and achieve something mediocre or you can put 100% in and achieve something beautiful.”
Ada Zanditon A/W 2011 by Dee Andrews.
The new A/W 2011 collection is called The Cryoflux, embodying in its name frozen landscapes and the idea of change. It was inspired by the polar regions, mainly Antarctica, but also the climatic changes experienced by people living in the Arctic. Ada became fascinated by the ice cores that are pulled up to show our climate history in intimate detail, and extremophiles, mostly microscopic organisms which exist in extreme conditions such as the polar regions. “But I didn’t want to be too literal in my translation – after all we’re experiencing extreme conditions both politically and economically as well.”
For further inspiration she looked at the doomed Robert Scott expedition of the early 1900s, for which the explorers were clothed in heritage clothing from great British brands like Mulberry. “I combined the romantic world of beautiful tailoring with an icy modern aesthetic. For instance I looked at broken ice floes in a constant state of flux.”
Ada Zanditon in her studio in Whitechapel.
I wonder if Ada will model a bit of clothing from the collection so that I can get it illustrated but she baulks at the suggestion because she doesn’t design for herself. “I’m quite scruffy… but my designs always come out elegant and polished,” she says. “I want to create wearable stuff for my customer and not myself because I am quite a specific market of one.” Her collections are instead inspired by an interest in architectural design and illustration. She likens it to the work of Monet. “He doesn’t look like a waterlily. And lots of male designers don’t wear the frocks that they design.” As part of the designing process she loves meeting and learning more about her customers although she’s eager to assure me she’s not a slave to them, and concepts will always be important.
Ada Zanditon in her studio by Donya Todd, who chose to put her in one of her S/S 2011 designs anyway.
The collection features lots of British wool but the silk is not organic because it is much harder to source than good quality organic fair-trade cotton. “Most silk is Chinese even though it often claims to be Indian. I’ve looked into using Peace Silk [which doesn’t kill the silk worms in the process of manufacture] but the trouble is that you only get a smooth continuous unbroken fibre if the worm is killed. My customers want quality and I don’t want to compromise that.” At present Ada feels it is more important to focus on the bigger picture when it comes to sustainability.
There are only a few print designs in the new collection, which were printed locally in Bermondsey. “I feel that winter is usually more about sculptural details, so I tend to explore the cut. Print tends to be for S/S. But you can get sick of tailoring!” Ada can’t imagine living somewhere where the climate doesn’t change on a regular basis and she is looking forward to designing for the next S/S season: think big and loose, “like a million layers of air”.
Ada Zanditon S/S 2011 by Maria del Carmen Smith.
This season Ada had her choice of slot at LFW, so naturally she chose to show on the first day. The main theme of her presentation remains firmly under wraps but expect a narrative inspired by the solar system and in particular by Europa, which is a moon of Jupiter that experiences particularly extreme conditions. “I like the outside perspective; seeing things from the viewpoint of the other. So I imagined a superwoman extremophile who evolved under the surface of Europa and goes on an exploration of Antarctica.” The film is directed by twins Andrew and William Ho, who had lots of passion and enthusiasm for her subject. “I love their elegant aesthetic.” As well as an “interesting” soundtrack guests can expect a surprise immediately as they enter the venue between 1-2pm on Friday 18th February. I can’t wait… and I shall report back on my findings.
Ada Zanditon features in my new book: Amelia’s Compendium of Fashion Illustration. Part two of this interview will go online tomorrow and digs deeper into Ada’s theories on sustainable practice.
Ada looks somewhat confused as I pile into her live/workspace at the same time as the morning influx of interns – maybe I’m a new, for sale rather overgrown one? She is still in her pyjamas, more about having recently emerged from the space beneath a cutting table that currently serves as her bed.
This season Ada will not be putting on a catwalk show, instead she will show a film presentation alongside the collection on mannequins. “What you can do on a catwalk is dictated by how big a budget a brand has,” she explains. “For instance Lagerfield puts on amazing shows… but the cost to produce his concepts is huge. One reason why everyone loved McQueen was because he put on an event; a moment that could be referenced from then on.” Ada feels that a film or presentation can offer a much more immersive experience.
Last season’s show at Victoria House was intended to be interactive, with people circulating around the models. In fact it became more like a salon show as soon as the pesky photographers formed a bank across the room that guests were afraid to cross. “But the fact that it wasn’t a normal catwalk set was exciting – now it’s time to go to the next stage.” This season movement will be shown on a screen and the audience will be able to feel the details up close without fear of interaction with any live humans. “I’ve learnt that people won’t walk up to a model when they are in full hair and make up because it is too daunting.”
http://www.netilhouse.com/spaces/4/4
The night before our interview Ada was filming the A/W 2011 presentation at Netil House just off Broadway Market. On the wall above the table where the interns are busy cutting out invitations there is a model – I correctly deduce that Georgiana from Bulgaria is in fact the star of her new film. “It’s much better to fit a narrative around one person.” This time Ada was able to exactly fit the garments to Georgiana, who was chosen because of an active interest in her concept and aesthetic. “She also has ability to act and move elegantly and gracefully. I feel she embodies the aspirations of my customers.”
Ada’s great grandparents were from Ukraine and Lithuania, but her mother was born and grew up in America, with the result that Ada has dual nationality and got to spend holidays in fashionable Martha’s Vineyard, where her parents bought a house before it became popular. “Of course now it’s full of rich yuppies… which in a way is good because they look after the beautiful landscape.” Ada herself was born in Crouch End in north London before the family moved south of the river. Secondary school was by all accounts not a fun experience – even though she knew she wanted to be a fashion designer from the age of 5 her school pushed her in an academic direction that she felt uneasy with. As a result she didn’t do art A-level but instead took photography GCSE and attended life drawing classes. With the encouragement of an art teacher who spotted her potential she went to Morley College to produce a self generated portfolio which she took to her Art Foundation interview at Kingston University. She was promptly offered an unconditional offer. “They were so warm and impressed that I cried in the interview – I was just so happy that someone finally understood my work.” Afterwards she did a degree at London College of Fashion and then embarked an internship with McQueen where she learnt “a hell of a lot”. She was there for a total of four seasons, working almost all of the time. “It’s a tough industry – you can work 9-5 and achieve something mediocre or you can put 100% in and achieve something beautiful.”
http://en.wikipedia.org/wiki/Extremophile
The new A/W 2011 collection is called The Cryoflux, embodying in its name frozen landscapes and the idea of change. It was inspired by the polar regions, mainly Antarctica, but also the climatic changes experienced by people living in the Arctic. Ada became fascinated by the ice cores that are pulled up to show our climate history in intimate detail, and extremophiles, mostly microscopic organisms which exist in extreme conditions such as the polar regions. “But I didn’t want to be too literal in my translation – after all we’re experiencing extreme conditions both politically and economically as well.”
http://www.eyewitnesstohistory.com/scott.htm
For further inspiration she looked at the doomed Robert Scott expedition of the early 1900s, for which the explorers were clothed in heritage clothing from great British brands like Mulberry. “I combined the romantic world of beautiful tailoring with an icy modern aesthetic. For instance I looked at broken ice floes in a constant state of flux.”
I wonder if Ada will model a bit of clothing from the collection so that I can get it illustrated but she baulks at the suggestion because she doesn’t design for herself. “I’m quite scruffy… but my designs always come out elegant and polished.” Her collections are inspired by an interest in architectural design and illustration. “I want to create wearable stuff for my customer and not myself because I am quite a specific market [of one].” As part of the designing process she loves meeting and learning more about her customers although she’s eager to assure me she’s not a slave to them, and concepts will always be important. She likens it to the work of Monet. “He doesn’t look like a waterlily. And lots of male designers don’t wear the frocks that they design.”
The collection features lots of British wool but the silk is not organic because it is much harder to source than good quality organic fair-trade cotton. “Most silk is Chinese even though it often claims to be Indian. I’ve looked into using Peace Silk [which doesn’t kill the silk worms in the process of manufacture] but the trouble is that you only get a smooth continuous unbroken fibre if the worm is killed. My customers want quality and I don’t want to compromise that.” At present Ada feels it is more important to focus on the bigger picture when it comes to sustainability.
All of the silk prints in the new collection were done locally in Bermondsey. “I feel that winter is usually more about sculptural details, so I tend to explore the cut. Print tends to be for S/S. But you can get sick of tailoring!” Ada can’t imagine living somewhere where the climate doesn’t change at all and she is looking forward to designing for the next S/S season and is thinking big and loose, “like a million layers of air”.
This season Ada had her choice of slot at LFW, so naturally she chose to show on the first day. The main theme of her presentation remains firmly under wraps but expect a narrative inspired by the solar system and in particular by Europa, which is a moon of Jupitor that experiences particularly extreme conditions. “I like the outside perspective; seeing things from the viewpoint of the other. So I imagined a superwoman extremophile who evolved under the surface of Europa and goes on an exploration of Antarctica.” The film is directed by twins Andrew and William Ho, who had lots of passion and enthusiasm for her subject. “I love their elegant aesthetic.” As well as an “interesting” soundtrack guests can expect a surprise immediately when they enter the venue between 1-2pm on Friday 18th February. I can’t wait… and I shall report back on my findings.
Ada looks somewhat confused as I pile into her live/workspace at the same time as the morning influx of interns – maybe I’m a new, shop rather overgrown one? She is still in her pyjamas, look having recently emerged from the space beneath a cutting table that currently serves as her bed.
This season Ada will not be putting on a catwalk show, instead she will show a film presentation alongside the collection on mannequins. “What you can do on a catwalk is dictated by how big a budget a brand has,” she explains. “For instance Lagerfield puts on amazing shows… but the cost to produce his concepts is huge. One reason why everyone loved McQueen was because he put on an event; a moment that could be referenced from then on.” Ada feels that a film or presentation can offer a much more immersive experience.
Last season’s show at Victoria House was intended to be interactive, with people circulating around the models. In fact it became more like a salon show as soon as the pesky photographers formed a bank across the room that guests were afraid to cross. “But the fact that it wasn’t a normal catwalk set was exciting – now it’s time to go to the next stage.” This season movement will be shown on a screen and the audience will be able to feel the details up close without fear of interaction with any live humans. “I’ve learnt that people won’t walk up to a model when they are in full hair and make up because it is too daunting.”
http://www.netilhouse.com/spaces/4/4
The night before our interview Ada was filming the A/W 2011 presentation at Netil House just off Broadway Market. On the wall above the table where the interns are busy cutting out invitations there is a model – I correctly deduce that Georgiana from Bulgaria is in fact the star of her new film. “It’s much better to fit a narrative around one person.” This time Ada was able to exactly fit the garments to Georgiana, who was chosen because of an active interest in her concept and aesthetic. “She also has ability to act and move elegantly and gracefully. I feel she embodies the aspirations of my customers.”
Ada’s great grandparents were from Ukraine and Lithuania, but her mother was born and grew up in America, with the result that Ada has dual nationality and got to spend holidays in fashionable Martha’s Vineyard, where her parents bought a house before it became popular. “Of course now it’s full of rich yuppies… which in a way is good because they look after the beautiful landscape.” Ada herself was born in Crouch End in north London before the family moved south of the river. Secondary school was by all accounts not a fun experience – even though she knew she wanted to be a fashion designer from the age of 5 her school pushed her in an academic direction that she felt uneasy with. As a result she didn’t do art A-level but instead took photography GCSE and attended life drawing classes. With the encouragement of an art teacher who spotted her potential she went to Morley College to produce a self generated portfolio which she took to her Art Foundation interview at Kingston University. She was promptly offered an unconditional offer. “They were so warm and impressed that I cried in the interview – I was just so happy that someone finally understood my work.” Afterwards she did a degree at London College of Fashion and then embarked an internship with McQueen where she learnt “a hell of a lot”. She was there for a total of four seasons, working almost all of the time. “It’s a tough industry – you can work 9-5 and achieve something mediocre or you can put 100% in and achieve something beautiful.”
http://en.wikipedia.org/wiki/Extremophile
The new A/W 2011 collection is called The Cryoflux, embodying in its name frozen landscapes and the idea of change. It was inspired by the polar regions, mainly Antarctica, but also the climatic changes experienced by people living in the Arctic. Ada became fascinated by the ice cores that are pulled up to show our climate history in intimate detail, and extremophiles, mostly microscopic organisms which exist in extreme conditions such as the polar regions. “But I didn’t want to be too literal in my translation – after all we’re experiencing extreme conditions both politically and economically as well.”
http://www.eyewitnesstohistory.com/scott.htm
For further inspiration she looked at the doomed Robert Scott expedition of the early 1900s, for which the explorers were clothed in heritage clothing from great British brands like Mulberry. “I combined the romantic world of beautiful tailoring with an icy modern aesthetic. For instance I looked at broken ice floes in a constant state of flux.”
I wonder if Ada will model a bit of clothing from the collection so that I can get it illustrated but she baulks at the suggestion because she doesn’t design for herself. “I’m quite scruffy… but my designs always come out elegant and polished.” Her collections are inspired by an interest in architectural design and illustration. “I want to create wearable stuff for my customer and not myself because I am quite a specific market [of one].” As part of the designing process she loves meeting and learning more about her customers although she’s eager to assure me she’s not a slave to them, and concepts will always be important. She likens it to the work of Monet. “He doesn’t look like a waterlily. And lots of male designers don’t wear the frocks that they design.”
The collection features lots of British wool but the silk is not organic because it is much harder to source than good quality organic fair-trade cotton. “Most silk is Chinese even though it often claims to be Indian. I’ve looked into using Peace Silk [which doesn’t kill the silk worms in the process of manufacture] but the trouble is that you only get a smooth continuous unbroken fibre if the worm is killed. My customers want quality and I don’t want to compromise that.” At present Ada feels it is more important to focus on the bigger picture when it comes to sustainability.
All of the silk prints in the new collection were done locally in Bermondsey. “I feel that winter is usually more about sculptural details, so I tend to explore the cut. Print tends to be for S/S. But you can get sick of tailoring!” Ada can’t imagine living somewhere where the climate doesn’t change at all and she is looking forward to designing for the next S/S season and is thinking big and loose, “like a million layers of air”.
This season Ada had her choice of slot at LFW, so naturally she chose to show on the first day. The main theme of her presentation remains firmly under wraps but expect a narrative inspired by the solar system and in particular by Europa, which is a moon of Jupitor that experiences particularly extreme conditions. “I like the outside perspective; seeing things from the viewpoint of the other. So I imagined a superwoman extremophile who evolved under the surface of Europa and goes on an exploration of Antarctica.” The film is directed by twins Andrew and William Ho, who had lots of passion and enthusiasm for her subject. “I love their elegant aesthetic.” As well as an “interesting” soundtrack guests can expect a surprise immediately when they enter the venue between 1-2pm on Friday 18th February. I can’t wait… and I shall report back on my findings.
Ada Zanditon features in my new book: Amelia’s Compendium of Fashion Illustration.
Rachel Freire S/S 2011, doctor illustrated by Krister Selin
Illustration by Karolina Burdon
Young designer Flik Hall may have only set up her eponymous label in 2009, click but she has already gained a following for her bold silhouettes and eye-popping prints. About to showcase her fourth collection at LFW, web we caught up with Flik to hear all about working with Henry Holland, her fashion predictions for the new season, and why she thinks print design is having ‘a moment’.
You worked with Henry Holland and Giles Deacon – what did you learn from your time there, and do you think their design aesthetic has influenced yours?
I learnt very different things from each of them. Henry taught me how to structure a business and working there opened my eyes to all the other things that that go into making a successful career in fashion design. He showed me you have to focus on so many different angles and that you should not cultivate an exact path for yourself and instead be open to new ideas and projects.
Working at Giles I learnt a lot about formulating prints and attention to detail. I think because we used to experiment with so many materials or objects that one would not directly associate with fashion, it helped to broaden my fundamental associations of what we can draw from. I wouldn’t however say they’ve influenced my design aesthetic directly.
Illustration by LJG Art and Illustration
What inspired your latest collection?
I took inspiration from looking into the lives of Mexican families and the altars that they display in their homes. The altars would appear chaotic, but seemed very beautiful to me at the same time. Many are juxtapositions of items such as family memorabilia – they would be filled with dolls of all description in various outfits, some bigger and smaller than others. I was drawn to the interesting spaces shaped in-between the dolls in some of the altars, which was what led me to experiment with porcelain doll arms for my prints.
The hessian I used in the collection is a fabric that plays a great part in (the Mexican families) lives – used as table clothes, clothing and even as bags for collecting sweet corn.
How much do you think you’ve come on since your first collection?
I still have so much to learn, I’m still a novice in many respects – but sometimes that can work as an advantage. I feel as though with every season I manage to channel my ideas that little bit better; I’m also imbued with all that happened in the previous season, and that little bit more capable and confident.
Illustration by Christina Cerosio
Do you have any advice for aspiring designers – where to get started, and how to set up your own label?
Stay focused, work hard, be open-minded and get carried away.
How do you create a print – what is the process behind each one?
With the baby arm prints for my S/S 2011 collection, I found a box of old porcelain limbs at a flea market – I think they were previously used for set design. I arranged them in heaps of different variations on the floor on a white background and took photos. I then cut the images up, put them together like a puzzle, and ended up trying to form abstract shapes to replicate semantic signals, crosses, sound waves, and stained glass windows.
With the rise of designers like Erdem and Peter Pilotto, do you think print design is having a moment?
Yes, I totally think the relationship between print and fashion is very prominent at the moment. I especially think with the scope of so much new technology available, the way we understand print is challenged all the time. I digitally print on leather and until fairly recently only traditional methods were available. These kinds of changes mean there is a lot more to experiment with, and a greater variation in the style of work print designers are creating. I think that both Erdem and Peter Pilotto fuse their cut with colour and print really well, they both treat print so differently.
Illustration by Danni Bradford
What are your plans for the label?
To continue with the label, consistent with the ethos with which I started it. I’m expanding the size of my collection this season which is exciting because I normally have about three times more looks that don’t make the final collection. It’s nice because there are always two or three pieces I regret not including – there’s less scope for regret this time around!
Any New Year’s resolutions?
I want to learn something totally new. I still haven’t worked out what it is yet though. I would quite like to learn how to restore antique jewellery.
London Fashion Week is just around the corner – what are your fashion predictions for A/W 2011, or what would you like to see people wearing?
Firstly I would like to see people investing in well made designer pieces that they love, independent of them been ‘on trend’ or throw away fashion. I would like to see more people wearing turtle-necks, vintage undergarments and garments with more heavy duty embellishments.
Name the most inspiring place or person in London…
Victor Wynd’s little shop of horrors The Last Tuesday Society on Mare Street.
Any other new designers you think are ‘one’s to watch’?
I love Lily Heine’s MA collection; the building up of layers is beautiful like an intricate carving. I also really like Scott Arnold’s contrasting use of fabrics in his BA show. I think there will be interesting things to come from him.
How would you describe the archetypal ‘Flik Hall girl’, or is there anyone in particular you design for?
She has a lot of conviction and marches to her own drum.
Find Flik Hall at Not Just a Label
The brutality of boredom
Harry Malt requires a little suspension of disbelief, viagra 100mg I think is the right way to put it. The artwork gracing the walls of the Print House Gallery right now is almost naïve in style, drawn in coloured pencils on rough sheets of paper. There’s a pair of pants next to a cigarette butt and a porn mag, advice a scooter, a helmet, stuff like that. But then you read the picture titles, and the image in front of you takes on a whole new dimension. ‘Fruit of a summer hedge romance’, is the title of the pants, butt and magazine drawing. ’86 miles per gallon + girlfriend (kudos)’ is the scooter. Then the helmet: ‘On robbing the local post office wearing your own crash helmet’. … See?
Left: 86 miles per gallon + girlfriend (kudos) / Right: Fruit of summer hedge romance
The effect is a feeling that the drawings are somehow more than the sums of their parts. There’s an itch about it too, like you’re on to something but you can’t put your finger on it. I think this is what Harry means when he talks about ‘the collective otherness felt when looking at high altitude jet planes’ in the exhibition literature. ‘The grass is always greener,’ he says – maybe referring to that restless whisper in your ear sometimes, insisting that life is happening elsewhere.
Left: Their numbers led to our contempt (eels and fireworks mix by the edge of the Yare) / Right: On robbing the local post office wearing your own crash helmet
It’s funny too, though – like the piece called ‘Four possible demises of John, small ads (bus stop archaeology)’. Looking at the image it becomes clear John is a cat, and the other elements of the artwork suggest what may have befallen John: a rifle, a chimney sweep, a burger … Poor John.
Four possible demises of John, small ads (bus stop archaeology)
We get a bit of poetry too, which gives us a little insight into the world of Harry Malt. Imagine it as scratchy handwriting in a notebook: “Sitting in the bus stop waiting for the bus that comes once a day, reading the marks left by previous waiters, building a picture of passing time, imagined journeys, reminiscences, stories true and half true, the epicentre of parochial life. A means of escape, a ferry to the wider world, some buy return tickets some buy singles, some never get on the bus. All life works its way outwards from this slatted wooden hut. Spidery, smelling of creosote, the DNA of previous occupants, Embassy 10 pack, cans of cider, carvings on the walls, a broken lighter. After the bus has been the shelter takes on its secondary function, a meeting point for owners of 50cc and 1.1l. (Heroes of a fleeting age, girls, hash, cherry bombs, bass bins, back seat blow jobs.)”
Maybe this is, as the artist warns, just ‘other forms of boredom advertised as poetry’ – after all, bus stops are never that interesting regardless of how creative you get. But I’m thinking Harry Malt may well be the one exception to that rule.
Harry Malt appeared in the first ever print issue of Amelia’s Magazine. ‘Until that day I love you anyway’ runs until 7th March at the Print House Gallery in Dalston, at 18 Ashwin Street, London E8 3DL. For more information see our listing.
Categories ,dalston, ,Harry Malt, ,london, ,Print House Gallery, ,Tales from the bus stop, ,Until that day I love you anyway
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