The Aviary is the brainchild of two fine art graduates, Victoria Foster and Ben Fletcher. In late 2009 the project began life as a way of upcycling the ever-growing array of clutter that surrounded these inveterate magpies, by re-appropriating curios as jewellery, charms and stationary. The couple have a commitment to living mindfully in all they do: read on to discover more about their inspiring outlook on life, where to hang out in Kent, and how their latest illustration collaboration came about.

Autumn Breeze vintage pendant.

Hello! firstly, I didn’t realise you live in Kent. What took you to Kent and whereabouts are you? What do you recommend that visitors to your part of the world should do? 
Hello! Well, we came to university in Canterbury and haven’t been able to tear ourselves away from Kent since! Recently many of our friends and contemporaries have made their way to the bright lights of East London, and although we’re often there, we made a conscious decision to reject the trend and have now set up our home and studio on the stunning North Downs, between rolling fields and a forest! Perhaps growing up on the outskirts of the Big Smoke spoiled the magic a bit.

Ben in the woods.

If you’re heading away from London for a day or two, these are some of our fail-safe favourites! Maybe we should get sponsorship from the Kent tourist board?! Stour Valley Arts is based in Kings Wood on our doorstep, and most loved works have to include Jem Finer’s Score for a Hole in the Ground and London Field Works Super Kingdom.

The second Folkestone Triennial took place last summer and the town now houses an array of permanent artworks by artists such as Cornelia Parker and Mark Wallinger that allow you to encounter a faded seaside town with fresh eyes. There’s also some interesting creative collectives like Diver School who provide good nights out and a great burgeoning underground music scene thanks to Box Social Records who put on great gigs. Very excited about Tall Ships on Wednesday 1st February!

Turner Contemporary in Margate has a brilliant programme of exhibitions, and the Old Town is now full of gorgeous vintage stores like Showtime Retro, cafes and independent, ethical shops like Blackbird that champion designer-makers as well as running great workshops. And of course, there’s the cobbled streets of Canterbury where coffee at Boho is a must, then seasonal food, cocktails and bad dancing into the early hours at The Farmhouse.

Summer is the best time to be here for impromtu beach gatherings, sea swimming and woodland walks. It really comes to life with the yearly arrival of Lounge on the Farm music festival. Sondry Folk’s inaugural jamboree was pretty special last year too.

The Aviary grew out your love of hoarding charity shop finds, something that I suffer from myself, any tips on how to make the most of such finds within the home?
Ha! Well, our studio is in a state of perpetual chaos, and is in serious danger of looking like a room from Grey Gardens. However, since relocating to the sticks we have been a lot stricter with what vintage and thrifted finds are allowed across the threshold from our workshop and into our home. We’re in no way stylists but do both love domestic interiors. As a rule of thumb we favour decorative yet genuinely functional objects. Either they must be of use at home, or work well as props to display our work against. Obviously there have been a few special exceptions! Small grouped collections are always better than cluttered surfaces, and mixing up the old with new and handmade stops our house looking like a local history museum, or worse still, a care home! One of the best things about living in Kent is that bargains can still be found in local charity shops, boot sales and flea markets. We picked up our antique organ for a fiver, a beautiful 1920s portable typewriter for £3.50 and an ornate gold mirror out of a skip!

Charm pendant.

Your products are exquisitely made, can you tell us something of the process? Do you ever find it hard to dismantle or cut up old things?
Thank you! We place a lot of importance on craftsmanship. We’re both pretty fastidious about the finish of our products so it’s lovely to know it shows. A clear desk, a box of favourite finds, a sketchbook and pen, scalpel, pliers, piercing saw and files, blowtorch and solder, along with patience, tea and 6music are the bare essentials at the start of our design process! All of our jewellery and accessories are, wherever possible, made from reclaimed, recycled or preloved items. Gathering these disparate fragments of vintage ephemera, taking them apart and then making temporary collages from them is always the first process in translating them into new, one-of-a-kind pieces. Sometimes the decision to dismantle a particularly old, or rare item can be difficult, but usually the items that we are using have already come to the end of their previous useful lives either through decay or neglect so we feel that we’re rescuing them from being lost to landfill, or simply forgotten about. It’s as much about uncovering aspects of lost stories as it is about upcycling existing materials.

pocket watch case collage pendant.

Why is it so important to you to be sustainable in your business practice?
Without wanting to sound trite, we really see The Aviary as an extension of the way we’re trying to live. For us, being in an incredibly rural community is about learning to slow down a bit, adopting a more sustainable lifestyle. We feel it’s impossible to justify cheap mass produced items and a ‘throwaway’ attitude when the impact of climate change and the strain on resources is already so evident. Therefore the only option left to us as contemporary designer-makers is to create sensitively and responsibly. As makers, it is also wonderful to see a design through from start to finish. Thankfully, we also adore the aesthetic of low impact materials!

How did you get from fine art to handmade limited edition products? Were there any bumpy moments along the way and how does your partnership work?
Our practices always seemed to mix fine art concepts with craft-based techniques so the transition has mostly felt like a natural progression. We still employ many of the same skills too, such as illustration, collage, assemblage and small sculpture. After our degrees we were both still making work, exhibiting and interning for artists and arts organizations, but working within the confines of limited studio access and equipment meant we started to reassess things. The final ‘change’ came after taking part in the 2009 Art Car Bootfair with our collective, Club Shepway. Selling our first, unofficial range of miniature fine art works and curios went down a storm. We haven’t looked back since! As a partnership we work alongside one another to create overlapping bodies of work that then form our collections comprising of individual pieces. It’s so helpful to have someone to share ideas with and perhaps enables us to be more ambitious yet playful. The only thing that is less fun is bickering over who does the greater share of the admin! There are still bumpy moments, mostly involving money and time, but on the whole it’s been brilliant. It has taken a couple of years to shake off the art school guilt and officially ‘come out’ as designer-makers, but we’re getting more confidence in the integrity and worth of our products.

Harriet Gray illustration collaboration.

You have recently collaborated with some illustrators, including Gemma Milly who appears in ACOFI, how did you hook up with them and what were you looking for in a potential collaborator?
To be honest, the collaborative projects stemmed from frustration! Surrounded by a sea of half-made collections, half drunk cups of tea, scrawled lists, collages and quick sketches we felt in desperate need of some fresh perspectives – something that we probably took for granted whilst at art school. We put a call out via Twitter asking for young illustrators who would consider working with us to communicate the nostalgia and uniqueness of our trinkets and treasures and reflect back the kind of girl they thought would wear our jewellery. We were completely taken aback by the number of creatives at similar points in their careers who also wanted to join forces but quickly settled on three incredible illustrators – Harriet Gray, Gemma Milly and Scarlett Rebecca, not only because of their amazing technical skills, but because we felt that they, and their work shared a similarity in spirit to ours.

Gemma Milly illustration collaboration.

What have you produced with these illustrators?
The girls each created a range of beautiful illustrations using a selection of samples we sent them as their starting points. They took our trinkets and treasures and translated them into something more than the objects themselves. In return, we are now in the process of making a small collection of pendants and brooches based on their illustrations. This collection won’t be for sale but will be documented and shown online alongside the original drawings. The project has opened up new and exciting dialogues about our work and has really helped push fledgling ideas forward, as well as being really fun!

Scarlett Rebecca illustration collaboration.

You are featured on Not On the High Street, a great website for independent designers. How did you get together?
Well, we’d heard a little about NOTHS.com through friends and fellow designer-makers. After making some tentative enquiries we were really pleased to be invited to become a ‘partner’. It seems to be a brand that lends another layer of credibility and professionalism to our little venture, which has helped with making other retail and press contacts. We’ve been impressed with the functionality of the site and the control we’ve been given over the content of our ‘shop front’ with them. They’re very supportive of young businesses and allow us real flexibility.

Deer one pendant.

Where else can you buy Aviary products? 
We’re so lucky to stock with some fantastic independent shops across the UK! We currently have collections on sale with Of Cabbages & Kings in London, Pretty Scruffy in Chichester, Chapter Arts gallery shop in Cardiff, Made in the Shade in Glasgow and in the very near future we’ll also have ranges available at Moonko in Sheffield and Lionstreet Store in Rye.

double sided pendant.

If you want to come and see us in person we’ll be at Love Handmade? Valentine’s Fair in London on Saturday 11th February as well as the Designers/Makers market at Old Spitalfields throughout the year.

What are you most excited about working on at the moment?
So many things! In some ways, this is the best time of the year for us because it’s the recovery time following the Christmas rush. We’re currently developing new collections looking at charms and amulets because of having this time to be playful. And we’re having a bit of breathing space to concentrate on other side projects, such as Ben’s Tatterattles EP release on Holy Ghost Records. We’re also really excited about other future collaborations, putting together a ‘proper’ look book with a great photographer, and having chats with potential summer interns!

Emma J Shipley S/S 2012 by Natalia Stuyk

It was Liberty of London’s Best of British open day, and I can remember quite clearly the moment that Emma Shipley pulled a selection of fine pencil drawings from her bag. Quiet gasps came from around the table. We all pulled the papers closer to our faces, screwing up our eyes at these exquisite drawings, to see if they were really the work of hand. The excitement doubled when she delved into her case and produced a handful of her intensely detailed and rich coloured scarves. Luxurious, conversational pieces, and undoubtedly delicate works of art.

Gorilla drawing courtesy of Emma J Shipley

She then told us about herself – a graduate from the MA Textiles course at the Royal College of Art, who loves drawing (spending up to 10 hours a day with pencil in hand). At the RCA she won prizes and scholarships, and achieved further recognition when her first collection, Hyper Nature, was bought by Browns – a commendation that most graduates can only dream of. Emma Shipley’s print collection was spotted in this review of the RCA’s 2011 Textile Design show by Amelia. Emma spoke to me ahead of the launch of her label at London Fashion Week A/W 2012.

Emma J Shipley by Alejandra Espino

I was first introduced to your designs at the Liberty of London Best of British open day – what have you been up to since then?
I haven’t stopped! I won Texprint’s pattern prize, and with this, exhibited my work in London, Paris, Shanghai and Hong Kong, and also visited the silk mill industry area in Como. As well as working on my scarf label, I’ve been pursuing an exciting collaboration with jewellery designer Tomasz Donocik, on a collection of bejewelled silk scarves. These have so far previewed at Garrard and Harvey Nichols, with the full collection to launch at London Fashion Week.

I’m also currently working on an exciting commission for an American fashion corporation, using mathematical algorithms and programming techniques I developed during my MA at the Royal College of Art to produce randomised, non-repeating patterns. Aside from this, I’ve been producing limited edition fine prints from my drawings, and working on some special commissions for fashion, interior and automotive clients.

Emma J Shipley by Fay Newman

Can you explain a little about your passion for drawing, and how you moved into scarf design.
It’s something that I’ve always done and loved – it comes naturally and is a part of me. Through studying textiles at the Royal College of Art, I began to focus more and more on my drawing, devoting more time to this stage of the design process, to create something unique and full of soul. The drawings have really become artworks, that are translated onto textiles – I felt that these artworks lent themselves perfectly to luxury scarves, which can be collectable pieces and can be seen as a canvas.

Can you explain a little about the process that goes into making your scarves? What materials are you working with?
The designs are digitally printed directly onto the fabric using the latest technology, as this gives the best results with all the fine detail in my drawings, as well as being more environmentally friendly than traditional printing methods. Fabrics in the new collection include cashmere, modal and Italian silks.

Photo courtesy of Emma J Shipley

You outsource most of your production. What is it like managing this? Any lessons learnt?
Absolutely! The transition from college and making everything yourself, to having small runs of samples made, to outsourcing larger production orders is huge. However I don’t think the lessons can really be taught, and at every stage I have felt that I’ve learnt more and more, which hopefully will help me in the future. In fact setting up my own label straight from college has been a steep learning curve in every way.

Emma J Shipley by Katie Chappell

You’ve said that your influenced by Darwinian evolution and nature – can you explain where these influences come from?
It’s difficult to explain my passion for this – I think nature is just something that I’ve always been inspired by and drawn to. It’s such a rich and unending source of inspiration and I think the most spectacular and beautiful things in the world are found in nature. An interest in the theory of evolution has also always been there – for me our inextricable link to all other living things inspires so much wonder and awe

I share your love of Walton Ford – what do you find inspiring about his works?
His subject matter and botanical influences are close to my interests, and I love the way he subverts traditional references (botanical illustration) by adding sinister details and exploring the darker side of nature. I also love the way he plays with scale.

What about the new collection – what can we expect?
A continuation of the natural, scientific and mathematical influences. Vibrant colours as well as bold monochrome. A collaboration with jewellery designer Tomasz Donocik, on a collection of bejewelled silk scarves with silver and gold. New fabrics including cashmere and silk chiffon, and some stunning cashmere jacquard woven scarves.

Emma J Shipley by Alejandra Espino

You are launching your new collection at LFW… What expectations do you have?
Exciting and intimidating…! I don’t know what to expect as it’s my first London Fashion Week - the most important thing for me would be to get a great response to the collection, and also of course to meet buyers from stores I would like to be stocked in.

What else will 2012 hold for you?
Exhibitions and launches of wallpapers and interior fabrics with some big interior companies later in the year.

Emma J Shipley will be showing her new A/W 2012 collection in Somerset House, at the Exhibition for London Fashion Week, February 17th – 22nd 2012.

The delightful Elizabeth Lau has quickly built up a strong reputation as a quirky and playful designer to watch. In this interview I discover how she started her label, what influences her designs, and what defines an Elizabeth Lau girl.

When did you complete your studies at UCA Epsom and how long did it take to set up your own label?
I completed my Fashion Design degree in 2000, and worked first as an assistant stylist and then as an accessories designer in Hong Kong. During this time, I realised that I enjoyed it more when I was designing for myself and then I knew I wanted to launch my own label. Once this decision was made, everything happened super quickly as I knew exactly how I wanted the branding to be. From conception to having the first collection ready was 5 months. Looking back, launching the brand was the easy part. Keeping the label growing has been a lot harder, especially when you are a self funded indie brand. I wouldn’t mind having parents who own a factory or are in the fashion industry, as we probably wouldn’t have made so many costly mistakes!

Elizabeth Lau S/S 2012 by Kenza Bennani.

Did you always know what kind of creative direction you would take?
In terms of branding, I always knew exactly how I wanted everything (logo, labelling, website and presentation materials) to look. All the graphics/web designers/artworkers we work with can testify that I am a control freak!! As for the design direction, I only design items that I would wear myself, so the brand is a true reflection of me, my loves and my personality. Very self indulgent but I have kept true to this throughout the life of the brand. The brand direction is always evolving as I am evolving as a person, but it still maintains its core values.

Elizabeth Lau S/S 2012 by Janneke de Jong.

Was knitwear always an integral part of your idea? What do you think makes your knitwear so special?
Initially we presented dresses, outerwear and a couple of cardigans. Although designing and pattern cutting dresses and coats was a real labour of love for me, over time it was clear that our knitwear sold much better and was what buyers honed in on. This had a big impact on the direction of the brand. Demand meant we could meet the factory minimums without having to pay a surcharge or order more than necessary, so we started to offer more knitwear as a result and work to this strength. I think our knitwear has done well because it is of good quality, offers something different to what is in the shops but is still wearable and well priced. I try and come up with some original ideas every season.

Elizabeth Lau S/S 2012 by Fay Newman.

What do you think defines the Elizabeth Lau look?
It is a contrast of sweet and cool, naïve yet chic. We came up with this definition a few seasons back and I think it really sums up the Elizabeth Lau London look.

Click here to view the embedded video.

Elizabeth Lau S/S 2012 by Hollie McManus.

What inspired the S/S 2012 collection and how do you filter these references into a unique offering?
S/S 2012 started off with our muse Olive Oyl (a childhood favourite) and grew from there… colours, ideas from the comic strip, the look of Olive and what I imagined her to wear now, and I guess most obviously a nautical theme and everything that comes with that mixed in with my signature style. I try not to over think it and inspirations are quite loosely interpreted.

What kind of girl enjoys wearing Elizabeth Lau?
I think it is girls who are individuals and appreciate clothes that are well cut, witty and fun. They are likely to be whimsical but also possess an inner confidence. My brand is not dictated by seasonal trends so they will wear Elizabeth Lau simply because they love it. I don’t want there to be an age limit either, as girlish charm is something that remains with you always.

Elizabeth Lau S/S 2012 by Gareth A Hopkins.

Where can people buy Elizabeth Lau clothes?
Independent boutiques such as Fifi Wilson, Donna Ida, Amelie and Nola. We have stockists and a loyal following in Japan and the Far East. When I get around to perfecting it, my e-boutique will be opening sometime in February!

What began as an ‘art experiment’ by London-based Simeon Farrar has now turned into a successful fashion label; winning not only international acclaim but also the prestigious NEWGEN award three times along the way. Despite being crowned a fashion buyer favourite with stockists such as Liberty in the UK and many more in Paris, Tokyo, and Sydney (to name a few), Simeon hasn’t lost sight of his Fine Art training gained at the University for the Creative Arts in Farnham. Every collection begins with a philosophical root from which the designs and drawings develop and each one-off piece is then created with Simeon’s trademark dash of humour delivered through experiments with colour and print, done by hand in his Shoreditch studio.

Simeon Farrar, all photographs courtesy of Iroquois PR

As someone who trained as a fine artist, what was it that made you want to turn your hand from canvas and paper to fabric?
I’ve always been into printmaking and I used to use a lot of screen-printing in my paintings. I would load them up with all sorts of images and paint over them to form multiple layers. I started putting some of these images on to t-shirts purely as another surface rather than as fashion. The first t-shirts were so loaded with paint like the canvases that they could never be worn. I got so into this that it soon evolved into fashion.

Simeon Farrar S/S 2012 by Jason Lear

As a ‘non-fashion’ person, did you expect to make such a big impression when you first exhibited at London Fashion Week?
Absolutely not. I had no idea what people would think of me. I didn’t even have an order book so I guess I didn’t expect to write any orders. Suddenly I had all these people wanting to order this junk I’d made which I found all a bit weird. It was still an art experiment at that point.

Simeon Farrar S/S 2012 by Abi Hall

What’s the most important lesson you’ve learned about being a designer and the way the world of Fashion works?
As an artist you develop a certain degree of snobbery towards anything that isn’t ‘Art’. I can safely say that I have been cleansed of that snobbery after being welcomed so openly into the fashion world. I’ve learned that it’s all a load of rubbish and an artist just does what ever he/she feels is the most honest path for their creativity and it doesn’t need a label to make it valid.

Butterfly Chiffon Maxi

Your ‘Kate Mouse‘ illustration has become a widely recognised and coveted t-shirt graphic. Why do you think it’s had so much success?
For me it was one of those magical moments when an image just works perfectly. I’d drawn the image for a nursery rhyme collection we were doing at the time and I wanted to do Three Blind Mice. So, to name the file on Photoshop I used ‘Kate Mouse’ so I would recognise it. Then it just clicked, like a light bulb coming on above my head. I think it’s been a success for the same reason. It’s not forced or contrived, just simple and genius. There’s been such a demand ever since her birth that she’s featured in every collection since, with various additions. She gets pimped up every season. Except this forthcoming A/W 2012.

Simeon Farrar S/S 2012 by Alia Gargum

What personally inspired you to create a ‘Kate Mouse’ t-shirt with Net-A-Porter especially for the Japan Earthquake relief appeal?
Two of my staff are Japanese and they have been with me for years so due to that I feel a certain closeness with Japan. We sell a lot in Japan, and since I began the label the Japanese have been so supportive and loyal to my brand that when the earthquake hit it felt like an opportunity to repay some of that. The Kate Mouse print was our obvious big hitter, so I thought it would make the most money if we offered it for the appeal. We did it by ourselves at first, offering a free t-shirt with every donation to Save The Children. That went very well but as we were paying postage we had to limit it to the UK only. My PR company Iroquois and I approached Net-A-Porter so we could take it further. They were amazing with how they took it up and offered so much percentage of the profit to the appeal. I was very impressed with their instant generosity.

Simeon Farrar S/S 2012 by Dana Bocai

Your current S/S 2012 collection not only has your own charming take on the uniquely temperamental British summer through neon colours, raindrop prints and a nod to the new Royalty, but a uniquely feel-good quote that runs throughout. How did the slogan ‘You Are My Silver Lining’ form in your head?
There is always a sense of romance in my collections, and no matter what the theme I always like to bring that in. I like the idea of someone being your Silver Lining. No matter what happens in life there is someone who’s very presence brings with it a sense of hope or a way out of darkness.

Slogan Print Tote with Leather Handles

Simeon Farrar S/S 2012 by Alejandra Espino

What are your favourite colours to print in (at the moment) and why?
I loved using the neon colours in the S/S 2012 collection. I like printing images in neon then overlaying that with a black print and washing it all out so the greys defuse the neon a bit.

Simeon Farrar S/S 2012 by Mitika Chohan

What can we expect for A/W 2012 from Simeon Farrar?
For S/S 2012 we had a ghost print that did very well, so I’ve built the next collection round that. So I guess it’s a Haunted House collection. We’ve got lots of ghost drawings, howling wolves, that kind of thing. But, there’s also a romantic side to it. I’ve always been interested in the tragic side of vampires and the sense of undying love that runs through it. So I’ve brought a lot of that in to the collection. And for the first time, NO KATE MOUSE. I didn’t want to cheapen her and put some fangs on her or something. Kate Mouse is dead, you heard it here first.

Cloud Print Tote Bag

Simeon Farrar S/S 2012 by Gareth A Hopkins

Simeon Farrar’s current S/S 2012 collection is available to buy in store and online at a variety of stockists, and his forthcoming A/W 2012 collection will be exhibited at Tranoi this March.

We’ve been following David Longshaw’s career since we spotted him at Fashion Scout back in 2010. His work continues to evolve in intriguing directions, utilising his illustration and animations skills more than ever before…

We last spoke to you in 2010, what have been the biggest changes since then?
I’m now selling in Harrods as well as more shops in a variety of countries.

What was the inspiration behind Father Said, your S/S 2012 collection, and where does the accompanying story come from? (it’s quite dark!)
I created the story a few years ago for TANK magazine – but never used it for a collection. This season felt like the perfect time to use it and develop the characters. The story is a bit dark – but I think it can be fun to have a dark inspiration from time to time for something as frivolous and light as fashion – I like the contradiction. Here’s the story:

Father said it would have been… by David Longshaw
Father said it would be nice to go to the seaside. I’m not sure mother would have agreed; here I go getting all Alan Bennett. It wasn’t Alan Bennett like at all. That’s why I brought you here, a little nostalgic trip for me, unchartered territory for you. I was driving of course. Well you’d come to see me hadn’t you?
I didn’t expect it to happen. You know I didn’t. I hadn’t planned it. I mean I was all tired out from the drive. It was just these memories coming back that did it. I hadn’t told you about them had I?
“We could go round the castle you said,” but then we spied the purveyor of local delicacies and were ensnared by the intoxicating aroma.
Well, it would have been rude not to.

Monies were exchanged and we floated out on the emerald green sea of tiles, shimmering from the hedgehog that had just mopped them. It was you who pointed out she was a hedgehog- all little and bristly and nose twitching as she mopped that chip shop floor; scared by the preying silver fox in the corner (Trevor they called him from over the counter) with his suave, debonair mask- under which lurked a wild, preying animal ready for its next victim. At least that’s how he looked, sitting, pouting but that gentle trickle of saliva and the abstract motif that speckled his jacket- formed from chips and gravy, suggested otherwise.
We did laugh about that, chuckling, as you do, walking towards the sea. You spotted that sign, “Boat Trip to Puffin Island.” £4.50 each, but it was worth it. We saw seals, and jellyfish and went up really close to the island and there were so many little birds. I’m not sure if there were any puffins though, you said you’d seen one but that was you all over.
I’m sorry the rest of the day didn’t pan out quite as well for you. It’s just these memories coming back. Now I think of it, I was reading a book at the time with a puffin mentioned in it, so perhaps that’s what it was.
I’m awfully sorry all the same. Anyway not much I can do now other than tidy things up I suppose. Well there you go. You’re wrapped up now. It was handy I had that spade in the boot wasn’t it. I’ll just cover you up- the soil will keep you warm.”

Click here to view the embedded video.

David Longshaw S/S 2012 by Janneke de Jong.

Putting it together was tricky as I’d never done it before and I thought it would be fun to do it all myself from a series of my illustrations (apart from the voice over which I got Jessica Bumpus to do). I did it using a very old mac – which seemed a good idea at the time until it became apparent that it was so old it wasn’t compatible with any others, or with upload programs to put it on Vimeo… which was unfortunate. But after a lot of pfaffing around I finally managed to get it on there and now it’s linked to my website as well. In the short term I’m planning to work on more short animations to develop with my collections. At some point in the future I would like to work on a more ambitious project with a much larger animation – perhaps even a stop motion model animation But I’d need a larger budget and a lot more time.

Why are narratives important?
Narratives help create the theme and tone of the collection – they inform everything from print and silhouette to the colour of the fabrics.

What was the inspiration behind the extravagant silhouettes in the S/S 2012 collection?
The idea was from the point in the story where Sophie accidentally kills her boyfriend, buries him, planting flowers over his burial place. The flowers grow and flow in to the dress she’s wearing. For the rest of her life she wears a flower to remind her of him. I wanted to convey the sense of the flowers growing and taking over what the wearer has on.

David Longshaw S/S 2012 by Janneke de Jong.

How did your time at Max Mara equip you for working as an independent designer, and do you have any tips for those just starting out?
My time at both Max Mara and Alberta Ferretti was really useful for starting my own label – aesthetically my style (and indeed the style of the other labels) are very different, but in a way that works out better than if I was just doing a smaller version of either label. Day to day there are things I put in to practice that I learnt there. When you work for big fashion houses you get to see how very successful businesses and design houses work and what’s helped them to get there. But there’s always things you think you would do differently as well.

For people just starting out it’s good to get as much experience in the industry as possible, whether it’s from work experience, or actually designing for a label – if you want to start your own label straight away then try to get as much business advice as you can. Design schools teach how to pull a collection together but you have to know how to be a business person – if you don’t then you won’t have the money or the structure to be able to continue. It’s also really important to think what you want your label to be like – what’s your point of difference and what do you think you can do better than is already out there. It’s good to be aware of all the pitfalls with running your own label: financial, emotional, time constraints, constantly questioning yourself, knowing all the things that can go wrong, all the reasons not to do your own label… Then just go for it anyway!

David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs.

You are not just a fashion designer but also an accomplished illustrator, how do the two fit together?
They go well together – I use my illustrations in the prints of my collection. Both my design and illustration work inspire each other. When I illustrate for a mag it’s a fun way for people to see my work and see which other designers I like (as I get to select who I interview or illustrate) and it gives people another window in to my thinking. Then when I’m designing I think back to my illustration work and why I selected certain designers/pieces. I’m not trying to be like another designer but it makes me reflect on why I would choose one designer’s work over another.

How do your partnerships with footwear designer Heather Blake and milliner Katherine Lee work? What is the process of working together on a collection?
With Katherine Lee we work together throughout the season on different projects for the collection – from looking and reviewing the collection’s designs and progress to specific pieces she creates for me. With Heather we look at my designs and work out what would be cool to go with them – what elements we can bring out from the clothes and in to the shoes.

David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs.

You also collaborate with girlfriend (and another Amelia’s Mag favourite) Kirsty Ward. How was the Christmas break with the Longshaw Wards? Did you do anything fun?
Christmas was great: there was a Maude fairy on top of the tree – there was still some pfaffing around with fabrics and pens (aka work) but also lots of fun – road trips to visit our families and friends. Then on New Year’s Eve we had a studio party in London and had some friends over.

What can we expect from A/W 2012? any tips?
More Maude: this season Maude’s taken over my collection and mashed it up with her own style… so basically she’s covered most of it with herself – from prints to bags, to scarves, to products…

Make sure you also check out our previous interview with David Longshaw here.

Amelia’s Compendium of Fashion Illustration featured illustrator Antonia Parker talks us through her year… be inspired!

You’ve said that the launch party for ACOFI early last year was a great kick start to 2011. Why do you think meeting people in person is so important when it comes to gaining work and making contacts in the creative world?
It was really fun illustrating live at the launch. I like to chat with my sitters as I draw them, because it’d be a bit odd to study someone so intently and not try to get to know them. As a result, it was really handy for meeting people. It was also a really happy event, so everyone I met that evening was pleased to talk. It’s ridiculous how much of the work I’ve received this year has been down to the people I met that evening or since on Twitter.

Laurel Harple.

Heather Stanton.

One great contact you made was with my partner Dr. Hauschka. What did you create for Heather Stanton and can we see a sneak peak here?
Heather was milling about at the party and looked very friendly, so I grabbed her for a portrait. We’ve kept in touch since, and she commissioned this illustration of her husband for his birthday. 

Will for Heather.

One Mango Tree.

You then worked on the Africa Fashion Guide project, which I believe featured a number of Amelia’s Magazine illustrators. Can you tell us more about that?
Jacqueline Shaw got in touch after the ACOFI launch for a book she was putting together about ethical African fashion. I illustrated One Mango Tree and Eki Orleans, which was great because they both use such gorgeous patterns.

Eki Orleans.

The book launched in September and we were treated to an ethical fashion debate with the LCF Sustainability Centre and the Ethical Fashion Forum, chaired by Eliza Anyangwe of the Guardian.

Ashish S/S 2012 by Antonia Parker.

You’ve been creating imagery for Amelia’s Magazine for London Fashion Week for some time now… why do you enjoy being involved with this part of the magazine so much? What do you think it has helped you to achieve?
I love illustrating for LFW, because it is two weeks of full-on illustration. Not only do I get to discover new designers, but it’s a great time to experiment because you churn out so much work over a short period. When I look through my past work, my favourite pieces tend to be ones I’ve made during Fashion Week. 

Astrid Andersen S/S 2012 by Antonia Parker.

You are a very hands on illustrator and you love to work live as part of a participatory experience, can you tell us more about your handmade photo booth?
I like working live, because it scares the hell out of me! There is so much pressure drawing someone in front of you and handing them their portrait there and then! It’s a risky process and it doesn’t always go to plan, but you make the best of it. I built my handmade photo booth from cardboard and foil a couple of years back and took it to zine fairs – I sit inside the booth, customers come and sit in the other side, I draw them and then post the illustration through a slot in the side.

What are your photo booth plans for the future?
I’m planning on building a more portable, weatherproof version of the booth and would like to spend the summer touring around the UK, illustrating passers-by. Imagine sitting next to the beach, drawing in the sun! Lovely!

Tell us more about the Dexterous Diva… what is it and what did you do for it?
Jo Gifford writes for her blog Dexterous Diva, in which she discusses everything from running, parenting, beauty and working as a freelance creative. She was looking for something bright and exciting to jazz up the blog. It was really fun rebranding the site as she had a good idea of what she wanted, and as a synasthete loves bright colours so I was able to go colour-mad. I made a new header for the blog, illustrated titles, social networking buttons and a special mindmap about Jo. Currently we’re collaborating again to create a set of postcards to raise awareness about endometriosis, a condition in which small pieces of the lining of the uterus grow outside of the uterus, causing extreme abodominal pain and infertility. Generally it take years of what is dismissed as ‘bad period pain’ for women to be diagnosed, by which time their fertility choices and quality of life are already compromised, so it’s important we raise awareness so that more women can be diagnosed sooner and are able to have more control about how they then deal with the consequences. Jo herself has endometriosis and my family are affected by it, so it means a lot to us to help other women.

You have continued to be politically engaged, getting involved with both UK Uncut protests locally, and producing your own Riot inspired artwork. What has been your involvement?
I attended the TUC’s anti-education cuts marches last year, and helped organise the UK Uncut protests in Tunbridge Wells last year. Tunbridge Wells is well-recognised as a bastion of Conservative sensibilities, so the fact that so many people were inspired to protest against the banks and tax-avoiding big high street businesses was quite a coup for the anti-cuts movement.

How do you think artists can be best engaged in political causes?
For me, creating these political illustrations is the best way to express my thoughts about the current political climate – a lot of people seem to subscribe to ideas as suggested by the media and/or the leading political parties, forgetting these groups have their own agenda. For me it’s the best way to suggest things in a succinct way that people might question the version of events they’re being spoonfed. The riots were a chance to make some self-initiated work – It is interesting how Cameron, Osbourne, Clegg and Boris were all out of the country at the time and left it a few days to actually do anything so the general population would be desperate enough to agree to whatever extreme measures they suggested. As far as I’m concerned, everything that Cameron has said about the riots since has been total rubbish, and whilst it was very very scary for those living in proximity at the time, I think the punishments that have been handed out since are too extreme. I also don’t like the connection made since between student protests, TUC protests and these riots, because the protests and the riots came from different places. It’s also worrying how readily the government are discussing watercannons, teargas and blinding lights to disperse future gatherings of people – they’re not trying to prevent future riots, they’re trying to prevent future protest.

What is your involvement with Edit Collective?
Edit Collective has been set up by fellow ACOFI illustrator Faye West as platform for illustrators to promote their commissioned artwork collectively. We’re hoping to hold a exhibition of our work during 2012.

You have also been working with other online magazines, most recently with Tantrum Magazine. What were you commissioned to create for them?
I created fashion illustrations of Courtney Love, Gwen Stefani and Karen O to accompany their piece on style icons in the music world. The women are quite different appearance-wise, so it was really fun to draw them.

Hilary Alexander at LFW.

Any hopes and aspirations for 2012? 
I am very optimistic about 2012, as I’m moving house and will finally have a studio space for the first time in 18 months! It is going to be liberating to be able to make work bigger than A4 again! I have a few projects in the pipeline to look forward to and am making more self-initiated work. This year, I’m especially hoping to get my illustrations into more printed publications. I’m also going to create a few illustrated products for an online shop, so I have a bit more control over my income from illustration. Having left London, it is harder to get to the exhibitions and exciting goings-on than it was before, so I’ll be making more of an effort to stay immersed in the scene, as I have missed it!

Antonia Parker is optimistic!

Find Antonia Parker online at Antonia Makes. You can see more of her lovely work in Amelia’s Compendium of Fashion Illustration.

Felder Felder S/S 2011 by Antonia Parker.

Bethan Juliff’s creative knitwear secured her a place in the finals of the prestigious Fashion Fringe competition, and she is now taking part in the Centre for Fashion Enterprise Market Entry programme with Toby Meadows. This talented designer is going places!

Bethan Juliff Knitted Dress by Janneke de Jong.

What is your design background? Where did you study and what made you decide to go into knitwear design in particular?
I studied Textiles HND at Newcastle College where I specialised in hand knit. I was taught the basics by my Nan at a young age and I decided to try out some new techniques and ideas for my final project after being inspired by Claire Tough’s CSM graduate collection in 2004 and seeing the Vivienne Westwood 2004 exhibition at the V&A which featured some amazing knitted garments. It was then that my tutor encouraged me to apply for the Fashion Knitwear and Knitted Textile BA course at Nottingham Trent University to which I was later accepted and joined the course in year 2.

Ophelia bridal gown by Bethan Juliff.

Why did you decide to launch your own knitwear collection? It’s definitely not easy to construct an entire collection from knit, but with the likes of Mark Fast doing well do you think it is becoming easier?
After graduating I moved to London and after 2 years of working and designing on computer packages I realised I missed the practical side of knitwear. I find with my own designs that working with the yarns yourself is the only way to know how the knit can be changed and manipulated into different techniques and shapes. I understand why people think it would be hard to have a collection made entirely from knit but I find the opposite to be true and could go on forever! What I love about Knitwear is that there is such a vast range of products and yarns. There’s no reason why a beautiful evening dress can’t be knitted in fine silk or a summer dress sculptured from cotton, yet I have found the general understanding and perception of knit is very limited to cable knit jumpers and socks. In reality the possible products are never ending. I truly love doing it and every day I spend attached to my knitting machine I still look forward to knitting the next day!

Bethan Juliff S/S 2012 by Claire Jones Art.

Your knitwear is very sculptural, how did you learn to work in this way and do you use any special techniques?
The sculptured shapes which appear in the S/S 2012 collection have been achieved from 4 years of developing my own techniques. I understand my knitting machine really well now and once I decide on a pattern or a shape I like to just sit down and make it 3D. The possibilities available within stitch work in knitwear means there’s always a new way to do something.

Isabella dress by Bethan Juliff.

The dresses in your latest S/S 2012 collection are inspired by the Pre-Raphaelite Brotherhood, why did you choose this as inspiration and how did your research translate into wearable designs for the modern woman?
I always find the question about inspiration quite hard to answer as I think my designs are mostly inspired by the medium of knit rather than outside sources, but at the same time it’s a bit of a running joke in my family that I go through stages of becoming enamored with certain periods of British history such as the Pre-Raphaelites and this influences the way I like the collection to be styled, seen and photographed. Throughout design history there are certain shapes which will always compliment the female body. When designing for the modern woman I try to produce garments that give the perfect silhouette but hopefully in a more contemporary way.

Bethan Juliff S/S 2012 by Vicky Fallon.

What do you suggest that your clients wear with a knitted dress to best show it off?
I would probably just say your best pair of heels. Hopefully they shouldn’t need much else… apart from maybe a Bethan Juliff Poppy broach!

The Lady dress by Bethan Juliff.

Can you let us into any secrets as to what to expect from your upcoming A/W 2012 collection. I hear you have secured an exciting sponsor…
I’ve been really lucky with the support I have received from places such as The Roof Gardens above Kensington High Street and Mannakin London who sponsored my S/S 2012 launch. For the upcoming A/W 2012 collection I have secured a yarn sponsorship from Yeoman Yarns which has been a huge help in the creation of each new garment. I’m very excitedly working on A/W 2012 at the moment and it’s by far the most challenging collection I have produced to date. The techniques from last season have developed further and as always there’s a new technique for the new season which has been quite time consuming! 

Bethan Juliff S/S 2012 by Hayley Warnham.

What do you think took you to the final stages of the Fashion Fringe competition last year, and what did you learn from the process?
I absolutely loved being part of Fashion Fringe last year. I was really excited to get through to the final stages. I think the best thing that I took from the process was realising that I had confidence and knowledge I didn’t know I had. When faced with a Dragons’ Den like situation and 15 minutes to pitch your business in front of some of the most inspiring people in your industry, it’s surprising how all of the planning and practicing overrides the terror of standing in front of one of your favourite designers, such as Roland Mouret.

Ophelia by Bethan Juliff.

You are currently enrolled on a prestigious course at the Centre for Fashion Enterprise. Can you tell us more about what you will be learning and why it is so important to have this vital support for your work?
The Centre for Fashion Enterprise is such an amazing help for young designers who feel as if there is no support but need to take their businesses to the next level and don’t know the best way to do it. I’m part way through the Market Entry Programme which focuses on a huge range of things from legal advice on how to expand your business and I have found every session to be such a huge help and support. Also, being surrounded by likeminded young businesses makes you feel less alone and that it’s possible to achieve success if you keep at it and work hard.

Bethan Juliff S/S 2012 by Claire Jones Art.

What sort of prices do your garments sell for and where can people get hold of them?
The S/S 2012 collection ranges in price from £449 to £1,350 and currently it is exclusively sold on www.bethanjuliff.com. The upcoming A/W 2012 collection will be launched next month and will be available to stockists.

Bethan Juliff S/S 2012 by Hayley Warnham.

2011 was a very busy year, what was the highlight?
The Dancing Bear.

How did the V&A hook up with you to produce an exclusive design for their Friday Late tote bag? I hear you have another exciting collaboration with the curators in the pipeline… tell us more!
Last year the V&A held an exhibition celebrating the work of fashion designer Yohji Yamamoto. I (and 3 other illustrators including fellow ACOFI illustrator Abby Wright) were contacted by the curators to design a tote bag celebrating one of Yohji Yamamoto’s designs.

Visitors to the Yohji Yamamoto Friday Late event could then screen print a tote with our designs at a workshop on the night. Myself and Thereza Rowe went to the event and had lots of fun – especially clambering through a tunnel of clothes!

I was also invited to take part in Go Figure: New fashion Illustration at the Fashion Space Gallery at the London College of Fashion in April this year. I don’t know too much about it yet… but I’m excited!

One of your double pages for ACOFI was featured in the Sunday Times Style section as an illustrator to watch – did that lead to any exciting responses?
I think one of the best responses was from Glamour Magazine who asked me to design an exclusive Glamour print as a competition for their readers.

The Glamour print was published in the September issue 2011 and hopefully all the prints now have happy homes.

How did you get your dream job of designing a cover for Penguin Classics? And what was the process of creating the image and did you get to do the typography too?
I have no idea! I think the art director saw my Firebird illustrations and thought that my style would suit the story of The Phoenix and the Carpet. I didn’t get to do the typography, as all the titles have to fit with the design of the whole Classics series. I loved drawing the Phoenix rising from the flames and I cannot wait to hold the book in my hands!

Click here to view the embedded video.

You’ve created prints, badges, bags and a glorious wrapping paper design for Soma Gallery, what drew you to this medium? 
Fiona Hamilton (from Soma) suggested I did a wrap design for her: she really liked a bird illustration I had previously done so I developed the idea of birds delivering parcels and called the design Airmail Bird Wrap.

For anyone who loves pattern as much as me wrapping paper is a very attractive medium – I actually have a bit of a wrapping paper stash at home which I cannot bring myself to use! I would love to design more wrap or maybe even wallpaper… You can buy the giftwrap from Soma Gallery here.

You’ve also done a design for Wrap Magazine, what was the brief for this and what did it feature?
Doing Wrap was a blast – such a unique and beautiful publication. The brief was Dark Days Bright Nights. Wrap wanted a ‘winter’ themed issue that would be full of artwork suitable for people to use to wrap their Christmas presents up in… but not ‘christmasy’. I chose to do a pattern called Kings of the Forest which featured some images I associate with Christmas (kings, deer) but I used pink and blue tones that didn’t look overly festive (but still looked chilly).

How did you get involved with a poster design for Bestival, and how did you choose the subject matter?
I took part in something called Screenadelica, which is a traveling exhibition celebrating the screen printed gig poster. Brian Wilson is one of my heroes and I could not believe my luck at being able to do a poster for his Bestival gig. I always associate Brian’s music with happiness as I find it really inspiring and uplifting, so I knew the design had to raise a smile (also the name of his epic album!) I also wanted to connect the poster design with Bestival in some way. I associate Bestival with ‘dress-up’ and I know a lot of people make a great effort with their costumes every year… so I came up with the idea of Brian peeking out from a bear suit …a huge smile radiating from his face.

Click here to view the embedded video.

Click here to view the embedded video.

Can we see your animated exploration of DNA Migration (what does it all mean?!)
The DNA project was a collaboration between myself, mercury nominated jazz musician Kit Downes (and his band Kit Downes Trio) and geneticist and ‘professional geek’ Adam Rutherford. We explored evolution and DNA in an event for the Cheltenham Jazz festival last year. It’s perhaps best seen as a performance and my self and Kit Downes are going to include a performance of this piece when we have our event at the Flatpack Festival in March 2012.

Click here to view the embedded video.

I think both myself and Kit would love to work with Adam again… he is such an inspiring and amazing person and he works with the Guardian and the BBC.

Little Glass Clementine featured in ACOFI, by Lesley Barnes.

How has appearing in Amelia’s Magazine and both my books been helpful to your career? Are there any tangible ways you have seen an effect?
I think it has given me such a lot of confidence and has definitely influenced and developed my style from adding colour, to trying out (and loving!) fashion illustration. Also ACOFI has been a great showcase for my (and indeed other illustrator’s) work.

Happy Boots by Thereza Rowe.

How do you juggle all your different pursuits? What’s the secret to staying sane and happy?
I’m definitely not sane. I’m lucky that my work makes me happy (although as most creative people will tell you it goes with frustration, procrastination and depression too!) 2011 was a bit hectic and I think I am going to focus a little more on my life outside illustration this year. It helps to have really supportive people around you. I share a studio in Glasgow with some great folks and I have people like Thereza Rowe who is always ready to listen to me moaning about cardboard dogs.

Any final tips for aspiring illustrators, particularly those ones who may not have trained in the medium?
Just go for it! I have no background in illustration (apart from my own drawings which I have always done) but I loved browsing Amelia’s Magazine for all the artwork and so one day I just decided to go for it. I looked on the Amelia’s Mag blog and I entered my design for the Shelter House of Cards project….it really did all start from there! Being a freelance illustrator is very hard work and I would stress that being a freelance creative does require a lot of determination and sacrifice…. but it is also very rewarding…good luck!

Two of Hearts by Lesley Barnes for my Shelter House of Cards Quilt.

You can find the beautiful work of Lesley Barnes in both Amelia’s Anthology of Illustration and Amelia’s Compendium of Fashion Illustration, available to purchase together for £30 on my website and featuring a whole host of illustration talent.

Pocket Full O’Posies S/S 2012 by Kelly Love. You can buy the current A/W 2011 collection online at her shop.

I’ve been working with Emma Block since 2010, when her beautiful work first started to appear in Amelia’s Magazine. Since graduating this summer she’s been a busy busy bee, which is not that surprising really because she’s one talented lady, as any of you who are familiar with her work will know. Find out what she’s been up to lately in my catch up interview and don’t forget to take a peek at my review of her new book Tea & Cake.

Lu Flux for ACOFI by Emma Block.

What prompted you to start producing work for Amelia’s Magazine in the first place, and then submit to ACOFI and how has it helped you to develop your illustration?
I started working for Amelia’s Magazine in the summer between my second and third year, when I decided to focus on my illustration instead of getting a summer job. I had only submitted illustrations to a couple of articles when it was suggested I enter the open brief for the book. I never imagined that I would be picked. Working for Amelia’s Magazine gave me lots of practice at working to a tight deadline (an essential skill for an illustrator), as well as providing lots of pieces for my portfolio and exposure for my work.

Image for Lionheart Magazine by Emma Block.

You met lots of other featured artists at the ACOFI launch party back at the start of this year? Who have you collaborated since then and what you have you collaborated on?
I have been interviewed by and created a piece for (former music editor) Helen Martin’s exciting new venture, Lionheart Magazine, I am a part of the Edit Collective (initiated by ACOFI illustrator Faye West) and I have attended events held by Illustration Rally (a project by ACOFI illustrator Natsuki Otani) such as Paint it Make it Party for Japan. In the new year I will be participating in an illustration event at Emily Burt’s Shipshape Studio and my cards and prints will soon be stocked there too.

Elisa Palamino S/S 2012 by Emma Block.

Illustration from LFW S/S 2012 by Emma Block.

You’ve been to two LFW this year with Amelia’s Magazine – what has been the highlight of these trips and what secret insights to the fashion world have surprised you, now that you’ve seen behind the scenes?
Aside from the shows themselves I love the whole atmosphere at London Fashion Week, the exhibitions are fantastic, especially Estethica and it’s always fun to do some celebrity spotting. I love the opportunity to have some fun with my wardrobe and wear a lot of statement hats (the secret to getting snapped by a street style photographer is wear a long swishy skirt and a big hat). I also love the goodie bags and the Mac makeovers. It surprises me was how many people bring dogs and small children to the shows!

You are multi-talented, not only do you illustrate but you are also comfortable behind a camera and your writing has been featured in the Guardian as well as on Amelia’s Magazine. How easy do you find it to do everything at once, and has it always come naturally or do you think that because you’ve kept a blog for so many years it has become easier with time?
I have always enjoyed writing and taking photos, but having a blog really helps develop both skills. Being able to write in an engaging way and take a decent photo really helps make a blog successful. While I really enjoy writing I am a terrible typist and I would be lost without my best friend Katie Byrne of The Young Creatives to proofread everything.

It’s been a very busy year for you, graduating and taking on an agent. How did you find an agent so soon after graduation, or how did they find you? Any tips to aspiring illustrators who really want an agent, and how has it altered the process in which you work?
My agents, The Bright Agency, actually found me about six months before I graduated. They saw my work in Amelia’s Compendium of Fashion Illustration and online and invited me in for a meeting. Graduating uni and working freelance can be very scary, so knowing you’ve got a whole team of people trying find work for you and there to chat really helps. I would say if you’re looking for an agent find one that suits you. Think about the kind of work you want to be producing (children’s book, editorial, fashion etc.) and find an agent that does that kind of work. I think I work in the same way; I just need to keep other people in loop and be 100% open to suggestions and criticism.

You have your very own book out in time for Christmas – Tea & Cake – how did this happen, how long did it take to put together and who wrote it? (there’s no author apart from you!)
The publishers, Hardie Grant, contacted me after seeing my work online. It took a good few months to illustrate the book, and it was bit of a juggling act to complete my final major project at uni at the same time. The book is a written by a team of recipe writers, an editor, but it doesn’t have one author who wrote it start to finish. It was certainly a surprise that my name was the only one on the front cover!

Chocolate mint whoopie pies by Emma Block.

Did you have to test any of the recipes? Which one would you particularly recommend as a favourite?
I’ve made the Viennese biscuits, which were great fun to pipe into pretty shapes, and I had a go making some of the whoopie pies just before starting to illustrate it to get me inspired. I also hear from a friend that the millionaire’s shortbread recipe is amazing…

Carlotta Gherzi S/S 2012 by Emma Block.

You have also had numerous commercial jobs, what has been the most exciting or interesting to work on to date?
Illustrating an entire book has definitely been my most exciting project so far. Tea and Cake was an absolute joy to work on: it was a lot of work (58 illustrations) but they trusted me artistically, which was a wonderful thing. It’s also be great to be able to talk about my work whilst promoting the book, and seeing it in a shop for the first time was amazing.

Aside from this what has been the highlight of 2011?
Going to Paris with my boyfriend. Graduating from my BA hons Illustration course with a first was a good moment too.

Anything new and exciting in time for Christmas and what can we expect from you in the New Year?
I have just opened my Etsy shop and I have several Christmas cards in the shops this year. Hopefully next year will be full of more exciting projects and more wonderful people.

Buy Tea & Cake from Amazon here, but make sure you check in with my full review of Tea & Cake first! Emma Block is featured in Amelia’s Compendium of Fashion Illustration. Buy both my books together with four rare back issues of Amelia’s Magazine (including the one with the bag illustrated above) for just £50. I can’t wait to see what Emma Block does next.