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Top 25 Art Blog - Creative Tourist

Climate Camp Logo and Poster Callout!

Climate Camp Logo, Design Open Brief

Written by Amelia

Monday 20th

Slow Club is a duo formed by Charles and Rebecca, this web buy information pills who both come from Sheffield. He does the singing and plays the guitar; she deals with the drums and all sorts of weird instruments, from bottles of water to wooden chairs. The result? You can go hear for yourself tonight at Barfly.
7pm. £5.

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Slow Club

Tuesday 21th

We Fell To Earth and special guests at the ICA theatre. Richard File (UNKLE) and PJ Harvey-ish singer/bassist Wendy Rae doing something that they call “sinister and kind of arousing rock music”.
8pm. £10.

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We Fell To Earth

Wednesday 22th
Vessels will be at Buffalo Bar this Wednesday launching “Retreat”, a collection of songs including a single, some remixes and an unreleased track by this Leeds five-piece.
8pm. £6.

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Vessels

Thursday 23th
Camera Obscura make a come back with “My Maudlin Career”, the band’s fourth studio album that is coming out today.
All their sweet freshness that you could feel from the first single out entitled “French Navy” will be performed on the stage of Shepherds Bush Empire next Thursday.
7pm. £13.50.

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Camera Obscura

Friday 24th

Je Suis Animal single launch party for the upcoming release ‘The Mystery of Marie Roget’ 7″ at The Victoria. Support comes from Betty and The Werewolves and Hong Kong In The 60s. People from Twee as F*** also promise free cupcakes for earlybirds so that is a Friday night out you can not miss.
9pm. £6/ 5 concessions.

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Je Suis Animal

Saturday 25th

The Camden Crawl Festival brings the best of Indie to town. Line up for Saturday looks like great performances will be on stage. The Maccabees, Little Boots, Marina And The Diamonds and The Golden Silvers are only a few to be named.
12pm. £32.50 (Saturday only).

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The Golden Silvers

Sunday 26th
Due to the Casiotone for the Painfully Alone‘s sell-out London show on 27th April, a new show has been added on Sunday 26th April – also at The Luminaire. Releasing their fifth album, Vs. Children, the band succeeded to make a record that feels just as warm and intimate as the first.
7:30pm. £8.50, adv £8.

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Casiotone for the Painfully Alone
On the cover of this CD, sickness Caroline Weeks appears to be a healthy, seek pink-skinned young woman. However, sildenafil fill your ears with her music, and you will be in no doubt that she is a ghost. And her clarinettist, too. Ghosts! Caroline has been to the other side, and seen things, and now wanders around my auditory cortex in a Victorian gown, lamenting the moment that life’s glories were cruelly wrenched from her grasp. Maybe Caroline drowned in a lake, or caught one of those Jane Austen chills, or fell under a horse, or was cuddled to death by an overaffectionate simple boy cousin. I can’t begin to imagine what happened to her polter-woodwindist. Probably choked on his reed.

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This is the spookiest music I have heard in a long time. She feels like a sister to SixToes, playing with similar moods, guitar work and larynx-trembling. But much spookier. I can’t help but think of Winona Ryder in Beetlejuice, a morbid teenager rejecting the world from her wilfully glum bedroom. So it’s not a huge surprise to discover that Caroline is also Ginger Lee, colleague of Natasha Khan in Bat For Lashes. Although you can actually dance to some of Natasha’s ditties, there is the moody, brooding moroseness there too. But while Bat For Lashes keeps this in the realm of relationships with sprinklings of dreamy visions, Caroline Weeks takes it to the pure Victorian pre-Pankhurst inner world of reflective femininity.
It turns out that all the lyrics are taken from the poems of Edna St. Vincent Millay, an early Twentieth Century American who was the first woman to win the Pulitzer Prize for poetry. Musically, it is very accomplished. Recorded quite simplistically, with a few dramatic reverb effects, the instrumentation has plenty of room to shine. The guitar gently drifts between dextrous, finger-picked, rhythmic regularity and airy pausing in a lovely, caressy, wavey kind of way. But it’s the tender voice that dominates, or haunts, the album. Caroline sings to you. It’s deeply personal, and unwavering in its humourless, sorrowful plea. And there is much depth of feeling and depth of lyric, which I cannot really do justice to here.
This is simply music to surrender to. Alone. Dim the lights, let the shadows fall across your soul and be utterly, utterly alone with the ghost of Caroline Weeks.

La Weeks is performing at The Good Ship in Kilburn on May 19.
Tuesday 21st April

2pm
Institute of Education?
20 Bedford Way, buy
?London WC1H 0AL?

“How to Educate Children in the UK About Sustainable Development”
discussion with Professor Randall Curren, more about Institute of Education. Info: fbrettell@ioe.ac.uk or call 020 7612 6000

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(Image courtesy of Lea Jaffy, email leajaffy_1@hotmail.com for further illustrations)

Wednesday 22nd April

“The Green Agenda: Are We Engaging The Consumer?”
9:30am

Dorich House Museum
67 Kingston Vale,
London SW15 3RN

The rise and rise of the green agenda is creating an ever increasing number of green initiatives, CSR projects, and local and national government proposals. Almost all organisations – both commercial and non commercial – want to establish their green credentials and communicate them to the consumer.
To explore these issues and to find new ways of engaging the customer, Kingston University has brought together a number of leading experts from a wide range of sectors – manufacturing, retailing, NGO’s, academics and a number of consultancies.
For full programme information and to book please go to http://business.kingston.ac.uk/flavor1.php?id=398.
Contact: Wendy Eatenton
?Tel: 020 8547 2000 ext. 65511
?Email: rm.rettie@kingston.ac.uk

“Can Developing Country Needs For Energy Be Met Without Causing Climate Change”

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(Image courtesy of Lea Jaffy, email leajaffy_1@hotmail.com for further illustrations)

1.00pm
Committee Room 14
Palace of Westminster, London
SW1A 2PW
Recent studies suggest a large potential for clean energy projects in Sub-Saharan Africa; if fully implemented, they could provide more than twice the regions current installed power-generation capacity. It has been posited that Latin America has a comparative advantage in maximizing clean energy opportunities; energy consumption could be reduced by 10 percent over the next decade by investing in energy efficiency. This suggests that the adoption of clean energy technologies typically results in a “win:win” situation for developing countries: reducing costs and emissions.
But many developing countries have been failing to reach their full productive potential for years. Growth diagnostic studies in many developing countries regularly identify constraints such as lack of grid electricity and poor infrastructure. Typically, levels of investment in the electricity sector in developing countries are around 50 percent of needs. Credit constraints mean that the cheapest available options are often chosen as opposed to those that deliver environmental benefits. So can developing country needs for energy be met without causing climate change?  How can developing countries be incentivised to adopt cleaner energy? And what steps do developed countries need to take to facilitate this?

Professor Sir David King, Gordon MacKerron. Info: 7922 0300/ meetings@odi.org.uk/ ODI

Thursday 23rd April

“Financial Meltdown and The End of the Age of Greed”

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(Image courtesy of Aarron Taylor, www.aarrontaylor.com)

7pm
Frontline Club, 13 Norfolk Place, W2 1QJ
Info: 7479 8950
£10 Online booking now available
This event will be moderated by Michael Wilson, Business Editor of Sky News
Paul Mason talks about the ongoing financial crisis that has brough the global economy to the brink of depression. Gordon Brown hailed the result of deregulation as the ‘golden age’ of banking in the UK. Mason will give insights into how deregulation is at the heart of the collapse of the banking system in September and October 2008 and how it led to expanded subprime mortgage lending, an uncontrollable derivatives market, and the lethal fusion of banking and insurance.
http://www.frontlineclub.com/events/


Saturday 25th April

People’s Republic of Southwark April Mini Eco-Fair
People’s Republic of Southwark
Brandon Street/Orb Street
SE17

12.00pm – 4.00pm 
On Saturday 25th April, 12-4pm, People’s Republic of Southwark’s mini eco-fair goes all the way to SE17, to the Nursery Row Park http://www.nurseryrowpark.org/SaveNurseryRow/Welcome.html , a beautiful green space located just behind the East Street Market (between Brandon and Orb Street).?? We are hoping to have another great day out for everyone and some of the activities for the day are:?- mulching the orchard?- planting sunflower seeds?- making art?- a free shop (space where you can swap/give away/take things you need for free – bring easy-to-carry usable things you don’t need, ex clothes, dvds, books. and swap them for something you do need or simply give them away to someone who does; please don’t bring anything bulky or electrical)?- seed swap (get your window boxes, balconies, gardens ready for spring and summer)?- you can also find out about local environmental projects, issues and campaigns. ?Or just come along for a chat
Prepare to throw your sensibilities and all sense of conventionality out of the window! Why I hear you scream? Well, search this week sees Alternative Fashion Week bombard an unsuspecting Spitalfields in all its wonderful obscurity. Forget all the opulence of London Fashion Week; Alternative Fashion Week is going to assail you with raw, viagra buy un-censored Fashion Design.

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The event unlike London Fashion Week is open to everyone and free for the designers to participate. It will be running all this week from the 20th-24th of April at Spitalfields Traders Market. So get your skates on people and get on down for all the outlandish action. With 15 shows a day, it will see at least 10,000-hop foot through their doors. Applicants range from recent graduates to independent designers keen to establish themselves in the fashion sphere. The participants are an eclectic range of designers from a myriad of different fields from the theatre to circus, so be prepared for a vivacious show. In conjunction with the free daily shows, the event hosts an adjacent market from noon till three showcasing a whole treasure trove of accessories, Womenswear and textiles for us to feast upon.

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Here is a sneak peak at one of the accessory designers that will showcase her A/W collection at the event. Helen Rochfort’s innovative designs focus on all things delectable. Infact just glancing at her liquorice allsorts bag is enough to have me running to the nearest sweet shop for a fix. She describes her delectable designs as simply “ a sprinkling of vintage and a dusting of retro all whipping together with a kitsch twist of humour” So keep your eyes out for Rochfort’s designs, they are hard to miss!

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The event prides itself on its promotion of sustainable fashion, and actively supports recycling and ethical sourcing. It’s organizers are The Alternative Arts, a group based in East London that invests in local artists and projects in the community. Its overriding ethos is the importance of accessible fashion and art in the public domain.

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The event is a riot of creativity that questions our ideological view of fashion design; Alternative Fashion Week provides that vital foundation for applications to bridge the gap between them and the seemingly intimidating abyss of the fashion industry.

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So keep your eyes peeled as Amelia’s Magazine will be reporting from the front line this week to bring you all the zany fun and frolics!
Sometimes the stories for Amelia’s Magazine come to us. And this story is one of unimaginable corruption by one of the worlds largest companies, search aided by an equally unscrupulous government. While there will never be a happy ending to this tale, medicine there may be, tadalafil after many years of campaigning, justice finally delivered. I was emailed recently by a group called Remember Saro-Wiwa, asking if I would attend a talk entitled Wiwa Vs Shell at the Amnesty International House in London.

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I went along to the event, which was fully attended, and listened to what this case was about. In 1995, a man called Ken Saro-Wiwa, along with eight colleagues from the Ogoni region of Nigeria, was executed by the Nigerian State for campaigning against the devastation of the Niger Delta by oil companies, specifically Shell Oil. Thankfully, this is not where the story ends. On May 26th, 2009, after fourteen years, Shell will stand trial in New York for complicity in human rights abuses in Nigeria, including the execution of Ken Saro Wiwa and his eight colleagues. The purpose of the evening was to highlight the case, and I listened in horror and disbelief to what has been happening in Nigeria. Having not known much about the unethical way that oil companies conduct their business – and the ways in which they silence their objectors – I could almost not comprehend what I was hearing. The panel speaking included Katie Redford, a U.S lawyer and co founder of EarthRights International, which, along with the Center for Constitutional Rights has filed the case against Shell.

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She discussed the upcoming trial, and included the seemingly never-ending charges which have finally been brought against them. As well as the charge of complicity in crimes against humanity, they are being charged with torture, arbitrary arrest and detainment. We learnt that this is a groundbreaking case – companies of this size do not usually find themselves in court for their actions – however reprehensible. If Shell are found liable, they could be forced to pay damages that could amount to hundreds of millions of dollars.

We learnt about the situation between Ken Saro-Wiwa and Shell. From the time that Shell had started producing oil in the Delta in 1958, the local communities had been concerned about the levels of pollution, along with the gas flares which were coming from Shell’s production plant. Furthermore, drilling operations were routinely destroying farmers lands with oil spillage and rendering the lands unsuitable for use. When faced with such levels of devastation to their land (and health), it seems only natural that the communities would protest.

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Unfortunately for them, Shell and the Nigerian Government were not in the business of facilitating these protests; instead, Shell would employ the presence of the Mobile Police Force, who were also known as the “kill and go”police. At one such protest, the MPF massacred 80 people and destroyed around 500 homes. Saro-Wiwa, who had always been a prominent figure in the campaigns against Shell was arrested and charged under bogus offences – unlawful assembly and conspiring to publish a ‘seditious’ pamphlet. On November 10th, 1995, Saro-Wiwa, along with 8 others was executed.

Speaking at Amnesty International, Ben Amunwa, who was chairing the evening, used a quote from Milan Kundera to help surmise the subsequent fight to continue with Saro-Wiwa’s cause, and bring long awaited justice : “The struggle of man against power is the struggle of memory against forgetting”. I spoke with one of the campaigners behind Remember Saro-Wiwa afterwards and asked how others can get involved. He told me that ” We’re currently in the process of developing a website and hopefully actions people can take as part of the shell guilty campaign, we hope to use viral films, the media and activist actions to generate loads of attention on Shell around the trial. At the moment it’s just about spreading awareness of the trial to warm people up for actions they can take further down the line.    

In the meantime we would encourage people join the facebook group. Our current aim is to get 1000 members. One way we are thinking about framing this call out is:

Take the 999 action:

9 Ogoni activists died for their cause
2009: the year their relatives must see justice and gas flaring in Nigeria must end
9: the number of your friends we urge you to invite to join this group.”

Everyone involved with this case will be eagerly awaiting the outcome of the trial in New York. After the panel had finished, I spoke with Katie Redford and asked her whether she felt positive about the outcome of this groundbreaking trial. She explained that while no one can predict whom the jury will side with, or what the outcome may be, the fact that a global and powerful company such as Shell will be finally held accountable for their actions in the Niger Delta demonstrates the power that non-violent protesters actually wield. Although it took twelve years to get to this stage, it seems like justice is finally being administered.
Born in Rotterdam in the Netherlands, viagra buy living in Utrecht in Holland and half Spanish, online Maria Stijger is a fashion photographer who has recently sprung to my attention. Her style of surrealism mixes with vintage meets modern. Maria’s playful personality results in beautiful images which if nothing else are aesthetically striking.

Maria, link you’re images are beautifully created. How long have you been doing photography for?
I took my first photograph around the age of six and from then I always thought that it was a kind of magic. But I never picked it up seriously until I got out of high school, graduated from art school and after doing a lot of different things, including working as a photographer’s assistant. I started producing my own fashion stories about two years ago.

Is it true your work has been recognised by the Dutch publications of Elle and Marie Claire??
Yes, I’ve also had my work published in HMagazine (a magazine available in Barcelona) twice, and in professional and weekly magazines, newspapers, and once in a book about jewellery.

I really enjoyed the old fashioned-romantic-fairy tale-esc sequence of the photoshoot shown here:
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What is the story behind this?

Well, I always like to make little fantasy stories, you can make up your own just looking at the series and here I was looking for an old feeling, using the atmosphere of the space that I found one day when I visited a party in the building. It’s a big building in the eastern part of Holland used by squatters. The guy that runs the place has a fantastic store inside it, where he sells all kinds of beautiful things he finds in old houses he restores. It is about a girl who is lost in time; she lives in a world of her own, surrounded by all this old stuff. She is a little bit weird, but happy and enjoying herself. She puts on shoes that are too big, plays with old porcelain dolls and likes funny hats. There is no story with a beginning and an end, but I like to make more images in my head, fantasize about what she does. I hope that others will do this too!

Do you prefer to work to a specific brief in your work?
No, in my personal work I really like to brainstorm in advance and come up with a lot of ideas, pick out the best and look for the right location, model and the stylist brings the clothes and things and we make our own décor if possible. But on the day of the shoot, I want to just let it all go and go with the flow of the day, see what comes on my path and switch if something doesn’t work. I like it when the whole team participates and gets excited and understands the feeling that I try to create and comes up with good ideas and then there is a buzz that I cannot describe…

Quite a lot of your work I found reflected some surrealism, would you say you have a specific style of photography, or does it vary?
I really love the Latin American magic realism and I try to use this in all my personal work as much as possible. I love surrealism, theatre and movies, things that are old. I love to mix it with modern age and fashion. I try to do this as often as I can, especially in my personal work, sometimes I like to go a little bit further than my commissioners want, so in the end my work varies quite a lot. But I like to show them that side as well so I always take some shots that link to this theme and sometimes they love it too!

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Can you explain the series of gloves images?

This was a great series to make! We had so much fun! We wanted to do something with beautiful gloves, but not in a studio or with a model. So I came up with this idea to make animal shapes, shadow play. I have a very old magic lantern (Lanterna Magica) that gives this great old feeling because of the dust and the frame. So this was the perfect combination mixing the old with the new fashion. We sold this particular series to (Dutch) Elle magazine.

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Who would you say influences and inspires you?
A lot! Things like literature, art, music, European film, but not specifically one person. There are so many great and diverse people that I love for what they do, I couldn’t point out just one.

Can you see a progression or a change in your work from when you first started to now?
Yes. In the beginning I only concentrated on landscapes and snapshots of people. Now I love to make stories using fashion. I’d say it’s a big change, and I guess it will never stop changing. I like to move around and experiment.

Do you have a muse?
No not really, I value my boyfriend’s opinion a lot. So in that sense I guess it’s him!

What do you do in your spare time?
At the moment I am expecting our first child, so my extra activities are not so exciting ha-ha. But I love going to the woods, going out with friends and listening to music. I also love to make sweet little stuffed monsters, exploring other realms of creativity! Most of my time is for photography though. And my family is very important too.

When you were younger, what did you wish to be when you grew up?
Ha-ha, first I wanted to be a dentist, but I loved arts and crafts and drawing so much, that I discovered that this was “my thing”. Although my parents were scared that I’d drown in the competition and of course it is more difficult for an artist to make a good living, I knew that there was no other option for me. I get bored quite easily, so I need to occupy myself doing creative things with other creative and inspiring people.

Thanks Maria, and good luck with the bun in the oven!

You can view Marias work at here.
And contact her here.
Happy Earth Day, here Amelia’s Magazine readers!

April 22nd is Earth Day (mainly for America, but we can still take part in celebrating it – it is everyones Earth after all!) If you are in America, then check out http://earthday.net/all_events to see what is going on around your neck of the woods.

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Images courtesy of Sachiko, http://www.loveandhatesati.com/

Perhaps this is fortuitous timing because this is also quite an interesting day in terms of the Government 2009 Budget. Hands up who was watching the budget today? I can understand if lazing around in the sun took top priority, so leave it to me to fill you in on the important facts.

Namely, that this is the first year that a carbon budget has been announced. Alistair Darling announced £1 billion will go towards funds to tackle climate change. This budget aims to cut 34% of greenhouse gas emissions by 2020. £375 million has been promised over the next two years for energy and resource efficiency in households, businesses and public buildings. £70 million will also be spent on small-scale and community low carbon energy and resource efficiency. With regards to fuel duty, increases in the duty are aimed to reduce emissions and pollution, saving 2 million tonnes of carbon dioxide per year by 2013-14.

Andy Atkins, executive director at Friends of the Earth spoke to The Guardian, and said that he was disappointed by the budget, adding
“The Government has squandered a historic opportunity to kickstart a green industrial revolution, create tens of thousands of jobs and slash UK carbon dioxide emissions. The green sheen on this year’s budget will do little to disguise the fact that yet again the government has merely applied a sticking plaster to a low-carbon industry on life support.”

So, do you think that the Government are doing enough to tackle climate change? Let us know what you think of the new budget at hello@ameliasmagazine.com

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Image courtesy of Sachiko, http://www.loveandhatesati.com/
Sort of initiating the summer festivals around the area, information pills Stag & Dagger takes place next month bringing zillions of awesome groups to the city. Oh come on, order like you haven`t seen thousands of flyers and posters all over the city? Here in East London they are everywhere!

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The event actually happens in one single day and with one ticket you can have access to all the gigs (yes, I said all the gigs).
London is the first one and then Stag goes for a short roadtrip taking everybody to Leeds and Glasgow on the consecutive days.

The line up for London is particularly fantastic, with over 140 names distributed in 21 venues such as Cargo, 93 Feet East and Hoxton Bar & Kitchen.

I, as a proud Brazilian, am super excited to see Lovefoxxx, who is currently taking a well deserved break from CSS after a massive success last year, but will be having a solo performance at Catch.

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Lovefoxxx

There is also Cold War Kids, our dearest Slow Club, Wet Dog, My Toys Like Me, Moshi Moshi and plus an endless list of musical geniuses.

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Slow Club

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My Toys Like Me

Many many many gigs and venues to be able to organize yourself and enjoy it all in one day only. Super difficult task, isn`t it?
Since the list is huge, I suggest you go check their website for the complete offer. Can you believe there is still more people to be announced? Man, there is no end to it.
And have I said how much does the pass cost? Freaking £16.50! Ridiculously cheap.
I still have no idea on how I`ll choose the gigs to go. At first I thought about making a list of pros and cons for each of the bands. Yeah right. Better start now …
Here at Amelia’s Magazine we are always bounding up and down in excitement whenever we unearth a designer that is striving to take care of mother earth along with creating delectable pieces for all us avid fashionistas! Our latest find Ada Zanditon ticks all our boxes, sildenafil hoorah!

At the forefront of her field, buy more about Zanditon is raising the flag for innovative ethical fashion design. Injecting a healthy dose of cool into eco-fashion Zanditon’s ethos is clear, elegant, pioneering and experimental designs that challenge the conventionality and boundaries of sustainable design.

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Zanditon brings a new dimension to haute couture, a area that has not been widely broached in ecological design. Her collections are an eccentric tour de force venturing through medieval volumitous silhouettes to theatrical ruffles, all in a subdued palette of neutral blacks to muted greys and teals. Her collections convey a journey and have a real sense of fluidity. Her latest A/W collection is no exception, inspired by the literary novel Soil and Soul by Alastair Mc Intosh the book charts an ecological journey to prevent mass construction in cherished lands in Ireland. The collection subsequently has a distinctly celtic feel that is entrenched by Zanditon’s interest in Irish mythology, the collection utlises a range of prints custom designed and woven by Ada. Aswell as working in Fashion Design she also works as a Ilustrator.

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Zanditon has been shrouded with accolades, having excelled though university, with a first at London College of Fashion in Womenswear Design in 2007. She then went on to cause waves in the fashion sphere, winning an award for most creative collection at her debut at The Ethical Fashion Show in Paris in October 2008. Zanditon’s success has grown in momentum ever since and has went on to collaborate with Gareth Pugh on his pattern designs and to create a capsule collection for Oxfam out of re constructed recycled clothing.

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1. Tell me a little bit about yourself Ada?

I created my ethical and sustainable womenswear business in March 2008. I have exhibited at London Fashion Week as part of Estethica (Feb09) and at Ethical Fashion Show in Paris (oct08) where I won an award for most creative collection which includes the prize of fabric sponsorship from CELC masters of linen. I also make multimedia illustrations which have recently been exhibited in a show in Moscow alongside the work of Mark Le Bon.

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2. Your work has a environmental ethos, what inspired this?

A friend wrote her final year thesis about the environmental impact of fashion and much of the information really surprised me because it was not something I had considered in depth before although I had always been interested in Green issues since childhood. I then attended an event organised by anti apathy at which Katharine Hamnett spoke about her work in the sector of organic cotton and what it meant to her as a designer. The environmental impact of any product starts with the designer and their choices. I don’t feel limited by choosing this as a path, I feel it is a great opportunity for me as a designer to create things that I not only perform aesthetically and functionally but which I can believe in having real value to people and planet.

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3. Do you think enough is being done within the fashion sphere to promote sustainable fashion design?

It depends on the definition of enough, its a lot better than it used to be, in fact there have been weeks and months when you cannot open a magazine or a paper without there being something on sustainable design but of course there can always be more. For me it will never be enough until it is no longer necessary to promote something as sustainable because it is expected both by the designer, the buyer and the consumer that it should be designed sustainably. However I think that we have come a long way even in the last five years and I really admire and respect the hard work of the label from somewhere not only for their brand but also for putting so much passion into creating and sustaining Estethica.

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4.Do you have any advice for inspiring eco- designers?

Think of yourself first as a designer , i.e think that anything is possible and then really research and consider your concepts. Look also at what is available close to you, in your town, your country. Local is a huge part of living more sustainably.
Personally for me I am happiest when people look at my work, exclaim how much they like it and then look confused and say “but how is this eco?” because it doesn’t look like their perception of what eco friendly clothing looks like. People will adopt more sustainable life styles either through neccesity or desire. Neccesity usually comes after catastrophe so I prefer desire.

5. What do you use as a main stimulus when your designing?

A concept. I chase after something that is illusory. Its a tyeing together of different strands, its not exactly story telling but it’s got similarities. The images can be anything but the structure to my working process comes from a fascination with an idea. Or that is at least one half. The other half is people, muses, personalities and I have to say I dress very differently to the clothes I design. I think this is because I want to design clothes that have elegance, strength and allow a women to express being sexy and intelligent at the same time. I am a tom boy personally! If I had my way I would just wear jeans ,
leggings and t shirts all the time….

6. Your also an illustrator as well as a designer, does your art work inter breed into your fashion work?

Absolutely. For my aw 09 collection drew the art work that I had woven by Vanners as a silk jacquard. For my graduate collection I created prints inspired by Mayan glyphs and space travel that were digitally printed onto Silk Jersey. I also create prints for various other labels. My silhouettes and shapes in my collection also influence the shape and look of some of my
illustrations.

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7. Your illustrations have a distinctly multi-media feel, take me through your working processes?

Its quite mysterious sometimes even to me….. I start by drawing usually directly with fineliners. I might not have anything particular in mind… or just one or two images of the subject if there is one. These are usually very different to the thing I am drawing itself which often comes more from my mind’s eye. I sketch a lot from life of objects and people but hardly ever make studies that connect the sketches to the illustration. I think this is because I remember and imagine 3 dimensional imagery/objects much more than words. Then I continue via creating texture through photography and painting. All of this gets scanned in, and then a lot of photoshop and illustrator later…… and I arrive at a point where I think the balance is just right between the image I have by now an idea of and chaos. Like the clothing I think its quite an organic process.

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So keep your eyes peeled for Ada Zanditon, with fans such as Patrick Wolf I have an inkling we haven’t heard the last from this talented lady.
The UK is more than a little obsessed with celebrity. But what if you’d just dropped out of the sky, visit this site say, and had no idea who these faces were that ignite people’s collectively salivating curiosities. Better yet how would you paint them? For artist Yuko Nasu that scenario isn’t far off. When she first arrived in London from Japan four years ago, she had no idea who these revered celebrities were. In fact to her, they were just as anonymous as she felt she was in her new environment.
Coming face to face with one of Yuko’s “Imaginary Portraits” your subconscious goes into overdrive trying to place the face until you realize abruptly that you’ve been staring, hard. The portraits’ fluidity and the simple strokes of vivid color are utterly mesmerizing and has recently earned her a second successful solo exhibit, “John Doe” this time at The Arts Gallery

yukoA.jpg

Although she didn’t watch much TV at first, like so many of us Yuko picked through the gossip mags and short papers on the commute home and became intrigued by the recurring faces of media personalities. As she points out “To someone else they’re special but to me they’re no one, an unknown.” That unique experience informs her perspective and reflects a culture with an often grotesquely overdeveloped interest with celebrity. In an amusing twist of fate, one of her ambiguous paintings of Kate Moss was scooped up by the model-mum’s beau Jamie Hince. It seems familiar faces can be distilled into even the barest of essentials and still be recognized.

yukoA1.jpg

After completing her MA in Fine Art at St.Martins she went on to Global Arts Practice at Chelsea College continuing her series of adjoining portraits, based on the horizontal roll call of tv personalities in the back section of the papers. When questioned about the arrangement she says, “They’re like playing scales on an instrument.” There certainly is a meditative repetition to her method. A training of the subconscious so that you can suspend the cerebral part of your mind when you work, letting it flow. Not sure which happened first Yuko explains that at some point she began to take more risks with her portraits, challenging herself and gaining confidence from the results. Although she’s still quite anxious about viewer’s responses.

yukoA3.jpg

Yuko reached a turning point when, after trying unsuccessfully to denote features, she splashed some turpentine on the surface to erase or as she says “delete” the face. She feels her work began to develop a more cartoony quality, a genderless but still identifiable face.

yukoA4.jpg

She started allowing the accidents to happen, as she says “like a river to flow”. The river analogy brings me quickly to the topic of shodo or Japanese calligraphy, also closely linked to Buddhism and meditation. At the heart of shodo are three strokes, “tome-hane-harai” or stop-jump-sweep. The gestural quality of Yuko’s pieces and the absence of belabored heaviness are evidence of her enviable sensitivity to the freedom and balance in her work. She makes no drafts but dives into the paintings without preconception, feeling that “It would make them boring”, opting instead to simply create more paintings and have a wider selection to chose from at the end.

yukoC.JPG

The speed at which she paints depends on the surface she’s trying to create and her paintings can take anywhere from 15 minutes to a month to complete. “If I realize I’ve made a mistake, I’ll delete everything and sometimes turn the painting upside down and start again.” Not surprisingly her influences are Francis Bacon for the dynamism and strength of his images. Dutch artist Marlene Dumas’ for the tonality and passionate energy they emit and Mari Sunna’swork for its intimacy and its dark earthy browns and red.

yukoA2.jpg

Yuko prefers to work in oils because “the colors are more beautiful and acrylic is too plastic, has no depth.” Cringing at the price though she admits when she first arrived in the UK “The only oil paints I had were a box of damaged/defective paints given to me by Mr. Hayakawa, vice-president of Japanese paint manufacturer Kusakabe, who’d come to my show in Ginza Tokyo.” Yuko has certainly put some distance between then and now with awards for being one of St.Martins brightest stars, her work appearing in French Elle, Vogue and an interview in Art World Magazine. Yuko Nasu’s paintings elegantly address the issue of displacement and identity, especially anonymity. The motion and speed in her images is a reflection of the way we live our lives, where details may be blurred but hey, we get the idea. Keep a sharp eye out for this one!

A serious look at developing countries role in climate change needs a serious location, and and the talk that I attended yesterday entitled “Can Developing Country Needs For Energy Be Met Without Causing Climate Change?” was held at The Houses of Parliament. Running late as usual, web I raced through the streets of Westminster, purchase which was actually quite difficult to do as there was a huge police presence and a protest taking place (I believe it was a Stop The War group). By now, I have become used to finding myself in the middle of a busy, noisy protest with police helicopters flying overhead, and I was briefly tempted to throw myself into the mix, but remembered that I had a prior engagement, so I hot-footed it over to Parliament.

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(Image courtesy of Lea Jaffy, lea_jaffy1@hotmail.com)

The room was steeped in solemn grandeur. I took a seat, and surveyed the room and its inhabitants. Naturally, I was the only red faced and breathless one from running through the halls of Parliament. The talk began by Professor Gordon MacKerron, Director of SPRU (Science and Technology Policy Research ) at the University of Sussex, and was followed by Sir David King, who at one point was a Government adviser and now chairs the Smith School of Enterprise and The Environment at Oxford University, a think tank that is pioneering ways in which to tackle the issues of climate change.

The talk started off in a relatively light note, with Prof Mackerron saying that perhaps the element of emergency over the situation of climate change has not been taken seriously enough due to the fact that many think of it as global warming; and have connotations of “warmer summers and vineyards sprouting up in England”. The reality, he assured us, was rising sea levels, melting ice caps and unpredictable weather systems, not the ability to have more barbeques in the back garden. Sir David King asserted that “now is the time to put radical ideas on the table to sweep away the molasses that we are wading through as we tackle climate change”.

Professor Mackerron went on to explain that the term “developing countries” has different groups; one would be the lowest income countries, which mostly include the countries, which are to be found around the equator, especially sub-Saharan Africa. Statistics have shown that they are only responsible for an extremely small proportion of all Greenhouse Gas Emissions, so the quick answer to the events headline question is that if their energy needs are met, it will not significantly affect climate change. The issues with the other countries are slightly more complex. Continents such as India and China are most likely to be affected by climate change, and are also the least resilient to the impact. However, they are also making huge economic growth, and burning a great deal of coal – just under half the world’s amount. I was surprised to hear that both India’s, and China’s Governments are keen to embrace low carbon technologies, especially wind and nuclear power. China has pledged to improve energy efficiency by 205 by 2020. Meanwhile, India’s Prime Minister says that he wants to have a ‘low carbon footprint’. However, it is difficult to see how this is realistically going to happen exactly because of the rates of their economic growth – Professor MacKerron explained that “in order for China to play its part in a global mitigation effort, it would need to reach an emissions peak between 2020, and 2030″. And they show no signs of slowing down now.

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(Image courtesy of Kerry Lemon)

Sir David King spoke about Brazil, and what it can do to reduce its carbon footprint – in fact, he said that there was only one thing that it could do – stop deforestation. Sir King had met with Brazil’s President, Luiz Da Silva and told him this. He found the response as unexpected as we did – that the President announced, “By 2025 we will stop all deforestation”. This is a curious thing to say, he felt especially because so much of Brazil’s business is done as a result of deforestation.

Sir King also talked about ideas for alternative energy that are currently being investigated. I couldn’t quite comprehend one method; which appears to be extremely viable – and that is the technology that Holland and Norway have developed which harnesses energy from salinity power plants. It sounds unbelievable, but scientists and engineers are planning to use the difference between saltwater and fresh water found at river mouths to generate electrical power. Not being much of a scientist I decided that I would research it further when I got back, and while I still don’t quite understand how it works, the fact is that it could generate a large percentage of a countries power needs. As the board summarized in closing, with regards to climate change; “we have the tools, but no one yet is picking them up in the proper way.” We can only hope that technologies such as the above will be championed and funded so that they do become the tools that we work with to save our planet.
The UK is more than a little obsessed with celebrity. But what if you’d just dropped out of the sky, clinic say, and had no idea who these faces were that ignite people’s collectively salivating curiosities. Better yet how would you paint them? For artist Yuko Nasu that scenario isn’t far off. When she first arrived in London from Japan four years ago, she had no idea who these revered celebrities were. In fact to her, they were just as anonymous as she felt she was in her new environment.
Coming face to face with one of Yuko’s “Imaginary Portraits” your subconscious goes into overdrive trying to place the face until you realize abruptly that you’ve been staring, hard. The portraits’ fluidity and the simple strokes of vivid color are utterly mesmerizing and has recently earned her a second successful solo exhibit, “John Doe” this time at The Arts Gallery

yukoA.jpg

Although she didn’t watch much TV at first, like so many of us Yuko picked through the gossip mags and short papers on the commute home and became intrigued by the recurring faces of media personalities. As she points out “To someone else they’re special but to me they’re no one, an unknown.” That unique experience informs her perspective and reflects a culture with an often grotesquely overdeveloped interest with celebrity. In an amusing twist of fate, one of her ambiguous paintings of Kate Moss was scooped up by the model-mum’s beau Jamie Hince. It seems familiar faces can be distilled into even the barest of essentials and still be recognized.

yukoA1.jpg

After completing her MA in Fine Art at St.Martins she went on to Global Arts Practice at Chelsea College continuing her series of adjoining portraits, based on the horizontal roll call of tv personalities in the back section of the papers. When questioned about the arrangement she says, “They’re like playing scales on an instrument.” There certainly is a meditative repetition to her method. A training of the subconscious so that you can suspend the cerebral part of your mind when you work, letting it flow. Not sure which happened first Yuko explains that at some point she began to take more risks with her portraits, challenging herself and gaining confidence from the results. Although she’s still quite anxious about viewer’s responses.

yukoA3.jpg

Yuko reached a turning point when, after trying unsuccessfully to denote features, she splashed some turpentine on the surface to erase or as she says “delete” the face. She feels her work began to develop a more cartoony quality, a genderless but still identifiable face.

yukoA4.jpg

She started allowing the accidents to happen, as she says “like a river to flow”. The river analogy brings me quickly to the topic of shodo or Japanese calligraphy, also closely linked to Buddhism and meditation. At the heart of shodo are three strokes, “tome-hane-harai” or stop-jump-sweep. The gestural quality of Yuko’s pieces and the absence of belabored heaviness are evidence of her enviable sensitivity to the freedom and balance in her work. She makes no drafts but dives into the paintings without preconception, feeling that “It would make them boring”, opting instead to simply create more paintings and have a wider selection to chose from at the end.

yukoC.JPG

The speed at which she paints depends on the surface she’s trying to create and her paintings can take anywhere from 15 minutes to a month to complete. “If I realize I’ve made a mistake, I’ll delete everything and sometimes turn the painting upside down and start again.” Not surprisingly her influences are Francis Bacon for the dynamism and strength of his images. Dutch artist Marlene Dumas’ for the tonality and passionate energy they emit and Mari Sunna’swork for its intimacy and its dark earthy browns and red.

yukoA2.jpg

Yuko prefers to work in oils because “the colors are more beautiful and acrylic is too plastic, has no depth.” Cringing at the price though she admits when she first arrived in the UK “The only oil paints I had were a box of damaged/defective paints given to me by Mr. Hayakawa, vice-president of Japanese paint manufacturer Kusakabe, who’d come to my show in Ginza Tokyo.” Yuko has certainly put some distance between then and now with awards for being one of St.Martins brightest stars, her work appearing in French Elle, Vogue and an interview in Art World Magazine. Yuko Nasu’s paintings elegantly address the issue of displacement and identity, especially anonymity. The motion and speed in her images is a reflection of the way we live our lives, where details may be blurred but hey, we get the idea. Keep a sharp eye out for this one!

ClimateCamppenknife.jpg

Regular followers of my blog will know that I’ve been involved with Climate Camp for nearly two years – ever since I attended what I like to term the “University of Climate Change” at Heathrow in 2007. Before then I had been aware of the environmental issues we face, capsule but I had been unable to properly articulate why I felt so uncomfortable and useless – I knew that we humans were responsible for the perilous state of our climate, but I had not fully accepted the extent of our situation. I certainly didn’t understand what I could personally do to make a change given the narrow timeframe we now have to avert Climate Chaos.

But then something extraordinary happened. I went to all the talks and workshops on offer and got myself an education. Suddenly I felt empowered by the passion of the incredibly well informed people around me, people who were prepared to actually take direct action to avert Climate Change. For there are only two ways to solve the mess we are in. On the one hand we have to relearn how to live more sustainably and communally – which will inevitably lead not only to a lower carbon lifestyle, but an altogether more satisfying life. And at the same time we have to stop the government and multi-national corporations from putting profits before the welfare of our planet. Because without their commitment to our future we’re quite simply buggered.

Climate Camp is amazing quite simply because it tackles both these strands. Climate Camp empowers people to learn from each other within a working model of a fully sustainable community, and allows us to take direct action together to stop the causes of Climate Change. Because Nature Doesn’t Do Bailouts, this year Climate Camp will be sited somewhere within Greater London between 26 August – 2 September, near the financial institutions that have shown such disdain for the future of our world.

But… we need to start mobilising now, and this is where you come in. If you are a typographer or an illustrator or a designer we need your help! We need you to help us produce an amazing logo and poster image for our publicity. We can’t offer you any money because everyone who contributes to the Climate Camp process does so because they want to help solve Climate Change, not for financial gain. But we can offer you an amazing opportunity to contribute to an amazing movement that is really making a change in the world.

There are two parts to this brief. Part one has to be completed and submitted in only three weeks – by Friday 15th May – so that we can start the first phase of flyering and networking. For part two we have a little longer…. til Friday the 5th of June. In an ideal world you would submit to both. But if you can’t then pick one and give it your all. We’re looking for diverse imagery that reflects the themes of our camp and our goals as a whole! We can’t wait to see what you produce for us!! If your work is chosen expect to see it everywhere….

Brief 1
We need a Climate Camp 2009 name logo. Last year we had the iconic penknife logo (above) designed by UHC in Manchester. It has now been adopted by the French Climate Camp so its life continues. The fabulous illustrator Adrian Fleet created the Climate Camp in the City logos for the event on April 1st in Bishopsgate, both of which you can see below.
The new Climate Camp 2009 logo should also be simple, bold and iconic, easily translatable into both large and small copy.
It should encapsulate the key themes of Climate Camp in one inspiring image.
The words Climate Camp 2009 must be part of the logo.
It should be squarish in nature so that it can be used on other media such as badges.
It should work well in black and white as well (so make it high contrast!)

Technical Information. PLEASE READ!
Please send your design to info@ameliasmagazine.com on an email clearly headed CLIMATE CAMP LOGO any time before the closing date of Friday 15th May. The sooner the better!
SIZE: Please create this logo at high resolution so that it can be blown up to an A2 poster size if needed. For this reason it is recommended to work in Illustrator. If using Photoshop please work at a resolution that works at 300 dpi at A2 size in CYMK mode. Please send me a low res version of your file when you submit your work, no larger than 3MB.

If your design is picked to be used I will be in touch immediately after the closing date to let you know. Please be aware that we may need to ask you to make some minor alterations to fit different medias.

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Brief 2
We would like a more complex image to use on big posters, similar to the one that Leona Clarke (see below) created for the London neighbourhood last year. This can incorporate many more ideas from the list of suggested imagery below, but should remain focused on the positive. The words Climate Camp 2009 should be included somewhere, and there should also be space to add a further subtitle or slogan (yet to be decided) and important info such as website and sms details. (as can be seen on the London poster)
Technical Information. PLEASE READ!
Please send your design to info@ameliasmagazine.com on an email clearly headed CLIMATE CAMP POSTER any time before the closing date of Friday 5th June. The sooner the better!
SIZE: Please design your image at a resolution of 300 dpi in CYMK Mode to fit an A2 poster. Please send me a low res version of your file when you submit your work, no larger than 3MB.

If your design is picked to be used I will be in touch at some point after the closing date to let you know. We have plans to put on a widely publicised exhibition of the best entries, possibly with an auction to help raise money for Climate Camp funds. For this we will need original artwork and you will of course be invited to the event if yours is chosen.

Join the facebook event to keep abreast of updates here.

ClimateCampLondon.jpg

IMAGERY IDEAS TO INSPIRE YOUR DESIGNS:
We would like you to be inspired by some (or all!) of the following imagery ideas:

Looking towards a positive future:
making things ourselves, a sense of DIY
self sufficiency, make do and mend, teaching each other skills, compost loos
wind turbines, solar panels and other renewable energies (sun, sea, tide)
growing our own food, living locally and lightly on the earth
colourful tents, marquees, flags and lots of bunting making our own city
cracked pavement with flowers growing though, green vines growing up buildings
working by consensus – groups of people making decisions together so that everyone is happy with the outcome
happy campers, living communally – eating well, dancing, making music
the circular links of sustainable action
people of all ages including children and old people protesting together
“swooping” down on a campsite with a mass of people

Contrast between our world now and the future we aspire towards:
sunrise/sunsets
money flying through the air, and a stack of cards falling down
bubbles coming out of the stock exchange
Bank of England doric columns, skyscrapers, Gerkin (iconic buildings)
things falling apart or falling off
person standing on the wreckage of the failed economy (or a coal station / gas line) holding a wind turbine or other good thing!
people taking versus people sharing
planes causing climate change, versus travel by bike, foot, boat and train
biofuel degradation of rainforest and other ecological systems
the perils of the system – as represented by graphs and skyscrapers, bankers and money
banker’s deals/ handshakes, ticking clocks representing a timebomb
scales of injustice and exploitation
tipping points from which there is no return to a just world for all
heat of a future world if we don’t avert climate change
lack of food, water and habitable land

More specifically – styles you might consider working in:
lo-fi DIY aesthetic
soviet style propaganda
ideas that work well in black and white lo-fi printing
super colourful and detailed styles too
movie poster aesthetics

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One Response to “Climate Camp Logo and Poster Callout!”

  1. Amelia says:

    Hello designers!
    I have had a few designs already, but so far they are not tackling the key themes of Climate Camp in 2009. It is really important that you integrate at least one of the key themes into your design – they are:
    Direct Action
    Movement Building
    The links between the Economic and Environmental crises
    The list of visual references above is there for a reason, please use it!
    I look forward to seeing your work…
    Amelia x

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