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London Fashion Week A/W 2011 Catwalk Review: Jean Pierre Braganza (by Matt)

Jean Pierre Braganza took to the catwalk at a new venue: The Show Space, with his fashionable vision of the future. I LOVED this. With illustrations by Joana Faria and Krister Selin!

Written by Matt Bramford

After the safety of school, stuff facing the real world can make artists feel a bit lost – this is why the working artists at the Core Gallery started ‘DIY Educate’. Starting from Saturday 26th February, this there will be workshops, prostate critiques and lectures to help with the practical aspects of art life.

Rosalind Davis

‘I came out of five years of education with a BA and an MA, but I still didn’t know where to begin when it came to knowing how the art world works,’ says Rosalind Davis, co-director of the Core Gallery. A lot of people who graduated university with an arts or humanities degree are likely to identify with this sentiment; while art school is good for finding your voice, it’s not so good when it comes to teaching you about running a business. This is where Rosalind, and her fellow Core Gallery artists, hope to be able to help.

Enver Gursev

The Core Gallery was set up in April 2010, and puts on exhibitions by emerging curators. ‘We want to be a dynamic, exploratory space,’ says Rosalind. Their DIY Educate programme kicks off this spring, focusing firmly on ‘what they don’t teach you in school’: how to apply for an exhibition, how to sell your work, how to approach a gallery. The workshops will also go over how to find grants, or how to find an arts-related side-job to keep food on the table. One-on-one tutorials are also part of the package, with esteemed painter Graham Crowley offering his honest opinion for starters, with more names to be added. ‘There will also be peer critique sessions, and the opportunity to exchange ideas in a friendly place’, says Rosalind, emphasising how the most important thing is to create a space where artists feel nurtured.

Graham Crowley

‘Lots of art school practice is about the concept and processes of art, and there is less focus on the business side,’ says Rosalind. ‘But artists can be shy about marketing themselves, and they will often need encouragement.’

I ask Rosalind why the business side this isn’t covered better in school, and she says it’s difficult to say, but part of the reason may be that artist teachers in university may not be that great at promoting themselves either. She lectures about the business side of art herself, but she thinks it should be a mandatory subject to better prepare students for what’s to come.

Arnold Borgerth

DIY Educate will include talks by curators and artists, plus practical workshops. Membership costs £18 per year, granting free or reduced price access to events. Non-members can attend too, paying full price. DIY Educate is a not-for-profit programme that receives no independent funding, and Rosalind hopes to be able to expand offerings as things get going.

Elizabeth Murton

The programme kicks off this Saturday, 26th February, with a peer critique sesson followed by an artist and curator dialogue. On Tuesday night, 1st March, there will be a ‘nuts and bolt’ workshop on how to be an artist.

‘We plan to have one of these ‘nuts and bolts’ workshop every other month or so, plus a series of art workshops through the spring and summer,’ Rosalind explains. Initially the gallery plans to have two tutorials a month, but this could grow as more artists join Graham Crowley in offering them.

All images courtesy of Core Gallery and its resident artists.

The DIY Educate website is here – find the Core Gallery in Deptford: C101 Faircharm Trading Estate, 8-12 Creekside, London SE8 3DX

Illustration by Joana Faria

If I ever meet Jean Pierre Braganza in person, buy I might give him a little squeeze. His A/W 2011 show on Friday leaps right into my top 5 – and I’m writing this at the end of a very long and pretty stressful Day 3.

One of my favourite things during fashion week is getting to see interesting buildings that I never knew existed and wouldn’t normally take the slightest interest in. Braganza’s show was to take place at the ‘Show Space‘ – part of one of those centuries-old hotels with Baroque interiors and branded soaps. Me and Amelia skipped the queue and sneaked inside to find the most beautiful chandeliers and lots of OTT dressed punters. The actual room in which the show was to take place was equally as decadent, save for the make-shift catwalk that looked like it could topple at any second – and the tiny gap down the side of said catwalk through which we all had to squeeze. ‘I predict a bottle neck’ I thought as we entered, and my premonition came true on the way out.

Illustrations by Krister Selin

A little wait ensued while it was ensured that every inch of carpet had somebody to occupy it, so I took a few snaps of the room and got a bit excited about the juxtaposition of this past interior and Braganza’s future aesthetic.

On with the show with bangin’ beats and gorgeous models wearing more gorgeous clothes. Masculine tailoring appeared first, dynamically cut and decorated with a transfixing splatter pattern in tonal greys. This pattern was set to become a theme, appearing in both menswear and womenswear. After only a few pieces I instantly thought that Braganza’s collections are always meticulous and polished – rich, full fabrics are combined with unique cuts and expert craftsmanship – the entire collection was technically faultless.

Models appeared one after the other, pausing a third of the way down the catwalk so we could all get a good look. I like this set up – much better for pictures (and I’ve really struggled with pictures this season – bloody A/W and it’s sea of dark colours).

Illustrations by Krister Selin

Branganza took the collection forward concentrating on luxe materials that have high aesthetic value: rich and heavy knits, leather and mohair; add a science-fiction influence and you’ve got a real fashion forward collection.

Geometric cuts featured patches of contrasting materials. Nautical stripes in monochrome contrasted with the smoothness of jersey; gents wore Cuban heels with their military tailoring with contrasting sleeves. Braganza has an incredible ability to combine leather architectural pieces with beautifully elegant silk frocks – sounds hideous on paper but as a collection it was completely coherent.

Illustration by Joana Faria

I usually can’t get it up for a predominantly black collection, but with Jean Pierre Braganza’s vision of the future I most certainly can. Bursts of lipstick red shook things up a bit: a gent’s suit with a synched back and skinny trousers that finished with points; embellished onto a mind-blowing shift dress; on short skirts. But it will be Braganza’s black that I remember this collection for: leather sleeves for gents and cutaway dresses in leather with a hint of bondage that oozed sex appeal for the ladies. Eyes peeled folks, this is what the future looks like.

All photography by Matt Bramford

See more of Joana Faria and Krister Selin’s illustrations in Amelia’s Compendium of Fashion Illustration.


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