I can’t bear having my photograph taken. That’s why I’m not a model. That’s the only reason. But imagine having your photograph taken consecutively for sixty years, by some of the greatest photographer that ever lived. It’s quite the achievement when you really think about it.

I’m taking about Carmen Dell’Orrefice, affectionately referred to as ‘the world’s most enduring supermodel’. A new exhibition at the London College of Fashion’s Fashion Space Gallery proves why Carmen deserves that accolade.

All photography by Matt Bramford

It’s rare to find exhibitions that celebrate the career of a model rather than the photographers that document them. In recent years, grand masters like Avedon and Penn have been honoured with mammoth exhibitions, so this collaboration between LCF and David Downton is a welcome break, and it’s been put together with feeling (Dowton is a close personal friend of Dell’Orefice) and no stage of her career is left unrepresented.

Carmen Dell’Orefice by Celine Elliott

Carmen Dell’Orefice was born on Welfare Island in 1931 to an Italian father and Hungarian mother. Her first modelling duty was at the age of 13 – Carmen is now 80 and still modelling. As she moved around the room, talking to Colin McDowell, Frances Corner OBE (head of the LCF) I simply couldn’t take my eyes off her. She’s one of those lucky buggers that have matured with grace and elegance and maintained her unique looks without going anywhere near Wildenstein.

Looking around the room at the works is like an encyclopaedia of the great fashion photographers – Penn, Beaton, Coffin, Avedon, Derujinsky, her second husband Richard Heimann, Parkinson; it’s wonderfully exhausting. Reporductions of Vogue and Harper’s covers are mounted on some walls, while others hold photographs ranging from her frolicking in the Bahamas (shot by Parkinson) and basking in Hawaii (shot by Derujinsky).

The crescendo is a stunning selection of portraits commissioned especially by LCF and photographed by Ali Mahdavi. I’ve purposefully omitted any images of these photographs in the hope that you’ll go along and view the exhibition yourself. They are fresh and classical at the same time – there’s something intimately special about them. Please go.

A Labour of Moles, The Cahier Series by Sylph Editions.

What dictates your choice of paper and print? And how important is fine quality in a publication – what decides this do you think?
In all of our of publications, paper and printing technique is paramount. It seems to me that the more people rely on the web the more the nature of printed material will be positively affected. A lot of printed material can look mundane and outdated compared with its web counterpart. Gradually, the web will take over and its printed sibling will either be marginalised or become redundant, like the telephone book. At the same time the computer screen is a great leveller: everything ends up being seen through the glassy filter of monitors of varying quality. This gives a new lease of life for books if they offer a satisfying physical or tactile experience, if they are publications that are a pleasure to behold. I would even go so far as to say that the ubiquity of the web creates an unprecedented quest for good quality printing. Our goal is to match the look of a publication with its content so that they enhance each other. This seems to me to be crucial: it isn’t just about finding pretty paper or getting it to look nice, it is about the ability to make use of the unique possibilities that the printed medium offers in order to enhance and bolster the content. For example, if I want to convey to you that a text is meant to be read, it has to be conveyed through its physical qualities; that is to say: legibility-driven of typography, paper that isn’t too bright and that doesn’t have any reflections, proportions and sizes that relate to the human body, etc.

In the Thick of Things, The Cahier Series by Sylph Editions.

You have been working with Principal Colour for awhile now – how did that relationship start and what has been the best aspect of this relationship?
We have been working with Principal Colour continuously for the last 5 years. Not only that, but we have been working on a vast array of projects: from simple A5 leaflets to limited edition books – and everything in between. The way it began is typical of Principal Colour. I designed a very intricate calendar that had to be finished a few weeks before Christmas. I engaged one of the better known UK printers (who have since gone bust) and initially everything was going fine. One day, I ring up to make sure we are on course only to be told that they simply won’t be able to do it before January. Needless to say I was appalled by this callousness. I asked Justin Hobson of Fenner Paper if he could think of some other printer who could save the day (and my reputation too). Alan and Martin called me up and I drove out that to see them after a brief introduction. They began working on the job straight away. They had to work weekends and do some of the binding in house so as to meet the deadline. I was so impressed by this kind of dedication and the quality of their work that we have been working ever since. This, I must say, was not a one-off event: it has been characteristic of everything we have done over the past years. You ask what the best aspect of the relationship is? It is the feeling that I am not just handing over a job, but that we are doing it together, that they care about it as much as I do, whether its a leaflet or a book. This is something quite commendable. 

The Xu Lei exhibition brochure is very unique and interesting – can you tell us a bit more about the design and production of it?
I was asked to do a brochure that will celebrate this much feted Chinese artist. The brief was do to something that would not only be informative, but also covey the richness and special qualities of his art. I was looking into different kinds of folds: there is Trish Witkowski’s encyclopaedic Fold Factory where one is spoilt for choice, in fact, completely spoilt. At around the same time I met a very talented young designer, George Hadley, who showed me a leaflet he had produced using this fold and I felt it just made perfect sense because this fold would allow me to create a brochure that functions both as a booklet and a poster. However, working out the mechanical details wasn’t that simple and we had to make several dummies (with Fenner Paper) to try it out before it actually worked. It can easily go wrong if the paper is not the right stock or the right weight, and the die must be serious precision work. Armed with his endless and unwavering patience, Alan worked out the details and we created what I think is a marvellous publication.

Text on Textile, The Cahier Series by Sylph Editions.

I understand you have also been printing the Cahiers Series at Principal Colour: 16 editions over 4 years. How did this series come about and what paper and print techniques are used?
The Cahier Series was set up jointly by Sylph Editions and The Center for Writers and Translators at the American University of Paris. The underlying idea was to set up a publication series dedicated to translating and writing. It is a natural collaboration, since we have the production and publishing capabilities as well as being very interested in literature and more specifically in translated literature. The university, on the other hand, sits at the hub of intellectual activity with far-reaching ties and commands the respect from many notable figures. From a material point of view, all the editions are identical: they are between 40 to 44 pages, always printed on Neptune Unique Soft White 105gsm with a ColorSet cover and dust jacket printed on the beautiful Cordenons Chagall (all supplied by Fenner). They are always three-hole-sewn and always have a fifth colour to identify them. So the format is a very closed format; on the other hand, the actual printing and the printing techniques is like a showcase of current techniques. We use single gatefolds, double gatefolds, metallic colours, duotones, tritones, spot varnish, tip ins, bellybands – you name we do it. I very much like this idea of expressing oneself within the confines of a strict and closed framework.

Hop on over to the Principal Colour tumblr to read the rest of this interview with Ornan Rotem, including what he considers the best advice for anyone working with print design production and two exclusive videos that show in detail how the Xu Lei brochure folds…

Vostok 5 officially opens at The Outside World Gallery today. The exhibition pays respects to the animals and humans who have been into space, so I asked Darren Hayman what prompted him to explore such intriguing subject matter.

Malyshka (Little One) by Darren Hayman.

How did you get together with your fellow Vostok 5 artists to create the concept of your new exhibition? 
I had thought of doing an exhibition for some time but didn’t have the courage to do it on my own. I wanted to share the risk with other musicians who do painting on the side. Although Sarah is perhaps an artist who does music on the side.

Can you tell us a little bit about each of the Vostok 5? Who are they and what was their specific area of interest in putting this exhibition together?

Paul Rains is the guitarist in Allo Darlin and a songwriter in his own right in Hexicon. For the exhibition he has done bright, bold artwork about Alexei Leonov, a Russian Cosmonaut who took his drawing pencils into Space with him.

Duncan Barrett is from Tigercats. Tigercats play guitar music that you can dance to, honestly. Duncan has made beautiful lino cut prints of Wernher von Braun and Sergei Korolev, the US and Russian chief rocket designers.

Robert Rotifer is a big deal in Austria and he might be one here soon. His new album was recorded by Wreckless Eric and is being released by Edwyn Collins in the Autumn. He painted Space monkeys.

Sarah Lippett is the best artist amongst us and her comic about the life of Yuri Gagarin is the most impressive piece in the exhibition. We all agree on that. She also plays bass in the dark, dense Fever Dream.

What was it that first fascinated you about space flight and how old were you? was there a seminal book that you read or movie that inspired your obsession and if so what?
I think for my age, being born in the 1970s it was the most natural thing to be excited about space travel. I can’t remember ever not knowing how the different sections of how an Apollo rocket worked. Star Wars in 1977 probably helped. The definitive book about space flight when I was growing up was Andrew Chaikin’s A Man on the Moon.

Do you collect space ephemera? and if so what kind of stuff do you have?
I have a lot of Russian Space Dog stamps that are in the exhibition but I lack the patience and stamina to be a proper collector.

Over the course of your research has there been any one story of an animal in space that has stood out and if so what was it?
Krazavka (Little Beauty) had a hell of a mission with Damka in 1960. Their mission was plagued with system failures and eventually their space flight was orbited but on decent their ejection seat device also failed and they landed with their capsule set to a 60 hour self-destruct. When their frozen capsule was discovered there were no signs of life and the rescuers were unable to gain access. The next morning however barks were heard and the dogs were freed.

What makes you most mad, on hearing the stories of these animals who were unable to make any decisions of their own?
Probably, the fact that in historical accounts you are told over and over again how much Korolev and the scientists loved the dogs. Coupled with the statues, stamps and tributes it strikes me that they are looking for justifications themselves.

You’ve been a vegetarian for many years, are there any other conscious decisions that you make in every day life which are affected by how you feel about animal cruelty? 
Actually it’s only two years. I became a vegetarian when I was 39 and as such this prevents me from being overly pious. I enjoy it though. I like having something to believe in but I hope my meat eating friends will confirm that I haven’t become a nag.

Belyanka and Pestraya by Darren Hayman.

I seem to remember that you have a dog: do you still have a dog? And do you have any other animals in your life at the moment, if so who?
Beulah is ten now but still seems very much like a young dog. She is the only animal in my life.

What can listeners expect to hear on the Vostok 5 commemorative album?
Despite having 5 different artists on it, it doesn’t sound like a compilation album. The shared subject matter provides a fragmented narrative. It’s sadder and more emotional than you might expect.

You have said that the exhibition is ‘for people who love rockets and animals‘. What is your hope for the future of animals in science?
Despite what I said earlier about not wanting to bug my meat eating friends my personal feelings about animal experimentation etc. have become increasingly hardline. I’m still finding my way through the ethics but I find it tough to see why human’s ever thought they were entitled to these assumed rights.

My thoughts about what we do in Space have changed a lot as I’ve gotten older as well. I can still access my childhood wonder but really I don’t care if we never go up there again now. Human’s, en masse, are such horrible creatures with what we do to each other. We don’t deserve the right to escape Earth and we certainly can’t afford it.

What else are you currently working on? Any exciting plans for the rest of the year?
The Ship’s Piano an album of piano ballads for people who can’t stand loud noises. Out in October. Christmas in Haworth, a six track mini Christmas album. The physical release of January Songs. It’s all go.

You can visit Vostok 5 until the 7th of September, and here’s my full listing.

Festival Mode et Design Montreal kicked off properly for both myself and the public with the final late night catwalk show on Wednesday evening.

Jean Paul Gaultier by Jane Young.

The Jean Paul Gaultier show Bourgeoises Sans Age was put together to tie in with his first major retrospective, which is currently being hosted at the Musee de Beaux-Arts de Montreal, and which is continuing until October 2nd 2011. The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk is a fantastic exhibition that I highly recommend visiting, but more on that later.

Jean Paul Gaultier by Olivia Mew.

The catwalk show featured outfits from his latest menswear collection set to a James Bond soundtrack, alongside his most recent womenswear collection for A/W 2011: elegant wool two pieces worn by girls with grey up dos who tossed off bits of clothing as they strode down the catwalk to an instrumental homage to Amy Winehouse.

Gaultier by Kate Shields.

Jean Paul Gaultier by Sandra Contreras.

But the highlight was surely a crowd-pleasing selection of the most famous outfits of his career, all worn by a host of oddball models.

Jean Paul Gaultier by Jane Young.

Jean Paul Gautier by Gareth A Hopkins.









Gaultier by Kate Shields.

The rapturous audience was delighted to see the infamous sailor boy outfits, boob enhancing strap dresses from the era of his collaboration with Madonna and glistening bare chested gents stepping out with elegant older ladies. Although Jean Paul Gaultier spotted tattooed one time super model Ève Salvail in Japan during the 90s she is actually from Quebec so it was fitting that she made an appearance. What a great way to start my Montreal Festimania experience!

Ève Salvail.

Forests Rocks Torrents is a rare opportunity to see a collection of magnificent paintings by some grand names of European landscape art – part of the privately held Lunde Collection. This is the first time I’ve been invited to an exhibition preview at the National Gallery, but what the heck, I liked the look of the image on the invitation so I thought I’d trot along and find out if the exhibition lived up to first impressions. Forests Rocks Torrents has been themed around the concept of similarities between paintings by Swiss and Norwegians. Well, I say, of course they are similar! They feature mountains and wilderness, and were all painted over a similar period during the 1800s. But that’s not to detract from my enjoyment, for this is a fine collection of realist landscape art. We were by turns guided through the paintings by curators Christopher Riopelle and Sarah Herring.

Scene from the Era of Norwegian Sagas 1850 by Knud Andreassen Baade. Oil on Canvas.

The first room hosts the epic grandeur of Knud Andreassen Baade, who places a small figure with arm held defiantly aloft on a cliff top at sunset. It’s a mythical Wagnerian vision of Norway that conjures up the warriors of a bygone era. Many of these artists were intrigued by the past, and menhirs – the remnants of a Viking culture that live on in the pastoral landscapes where peasants eked out a living at the foot of mountains – feature prominently in the art of Johan Christian Dahl. The beauty of the rural life (hardship unseen) is idolised in the Hobbit-esque homes depicted in Chalets at Rigi by Calame (at top), the low slung dwellings seeming to mould into the rolling hills as if in harmony with nature.

Fjord landscape with menhir, 1837 by Johan Christian Dahl. Oil on Canvas.

Robert Zünd was painting Switzerland at a time that tourism was yet to become a mainstay of the Swiss economy – as such the mountainscapes he viewed were something that people knew little about. Zünd used small amounts of red to draw attention to the tiny figures who would otherwise be overwhelmed by the sheer scale of the surrounding countryside.

The River Lutschine near Lauterbrunnen by Alexandre Calame. Oil on Canvas.

Alexandre Calame was a grand master of European landscape painting who had a most unfortunate childhood. He was born with a limp and then lost the sight in one eye. When his father, a marble carver, died early, he was forced to take a job in a bank to help the family finances. Luckily good fortune prevailed and a banker discovered his artwork. He is now considered one of the greatest artists of the European landscape genre from that period. During his life he was commissioned by a huge European clientele who wanted a slice of Alpine wilderness in their luxurious mansions. They specifically asked for depictions of torrential rivers and wild weather, as typified in Mountain Torrent before the Storm (The Aare River, Haslital) Alexandre Calame was intensely religious and believed in the innate divinity of nature.

The Lower Falls of the Labrofoss 1827 by Johan Christian Dahl. Oil on Canvas.

I was intrigued to note that these paintings all have very specific geographic labelling, a highly desirable feature for prospective buyers which made the actual locations reachable. It immediately made me wonder whether these paintings have been used by climate change scientists to track weather changes: after all, these paintings may be all we have as evidence of the breadth of glaciers two hundred years ago. The curators seemed bemused by my questions but I’m certain I’m onto something.

At Handeck about 1860 by Alexandre Calame. Oil on Canvas.

Trees, as might be imagined, feature strongly in these paintings. The exhibition notes attribute anthropomorphic attributes to these majestic sentinels, but I am sure it’s far simpler than that – they were magnificent specimens of nature that we are asked to look on in awe. Some of Calame’s close up paintings of rock formations are rendered in a peculiarly modern graphic detail that belies their age. Johan Christian Dahl too, was obsessed with intriguing rock formations – in his Study of a Rock from Nystuen on Filefjell the rock is everything, and he would go on to include studies like this in larger pieces.

Tree Study, by a Stream, Granvin 11 July 1839 Thomas Fearnley. Oil on panel.

Thomas Fearnley was a prodigy of Dahl who travelled widely. He was also obsessed with rocks. In Arco Naturale, Capri, the languorously fluid tower takes centre stage. Some of his work in the exhibition was created in the marble mining regions of Italy, where he found the weather much more favourable. Widely acknowledged as a master during his day he sadly died before his 40th birthday.

Seascape about 1860 Peder Balke.

Peder Balke travelled to the most remote stretches of Norway that he could find to locate vistas that were little known to public gaze. The Mountain Range ‘Trolltindene‘ reveals a mountainscape of bleak extremes – the jutting peaks towering over a roiling bay. Balke has an interesting story because he’s only of late become something of a cult figure – after his early artistic career failed to pay a wage he became a politician and then a real estate developer. Even in those days this was a far better and more reliable way to make a living! But he carried on painting in private and now his small experimental studies attract a large following.

This is a wonderful little exhibition that’s well worth a visit if you are in town with a spare half hour. Forests Rocks Torrents is quick to get around and offers a beautiful view of the European landscape when it was still pretty much an untamed wilderness, long before the days of ski resorts and Alpine hiking. Then, as now, it was something to look upon in admiration and awe, whatever your beliefs. Full information in my listings.

Could you define your art and its message? Or would that be over-simplifying it?

I’m really just responding to the call of an addiction with my art. I’m addicted to conventional wordy, chatty communication, too, but I often find that there are notions that can’t really be expressed that way. Really beautiful, subtle possibilities that words fail need to be painted. I once had a massive stab at communicating my Ronald Reagan portrait in words to a complete stranger and got maybe 40% of the way there, but only because there was a really tasteful live bongo electronica band on and we were standing in front of the painting anyway with brains full of beer. To get the full 100% with that magic stuff, person A needs to paint it and person B needs to look at it.

You and I have spoken about recurrent themes in your work; could you expound on these themes to our readers?

My previous arty phase was very laborious. I would have complex one-issue monoliths of canvas. I’d give myself one go at saying what I needed to say about x subject, plan for weeks, do a reading list, weave my subject into a heavy, heavy compositional labyrinth. They were my Sistine Chapels. The new stuff really just feels its way around vaguer notions of experience. Like what is happening when I listen to music? How should I feel about the fact the Universe doesn’t care for me? And most obviously, aren’t patterned blobby organic forms lovely?

Turning to the work that you will be showing in the gallery; what can visitors expect to see in your exhibition? And please enlighten us about the Gack-Pack.

The bulk of the Brick Lane show will be the new style Gackland thing. Oil paintings and drawings that explore that unwordable how-it-feels-being-a-unit-of-life comic beauty. There will also be my recent labour of love, the Rolf Harris portrait – done from life. And I’ll even have a couple of giclee canvas prints of my old epic work. That stuff looks really good in miniaturised form, and it’s so right to democratise – I suppose I mean cheapen – political and philosophical Art.
As for the Gack-Pack, it’s yet a further democratisation of Art. If you’ve got £18, you get a unique, original, ten-centimetre square signed drawing, six stickers, and a ticket to Gack-Lottery, which is a chance to win and direct my next painting. I’m selling hope. Cheap.

You are also an (very talented) musician and writer. If your house was on fire and you could only save one thing, would it be a paintbrush, guitar, or pen?

Everything’s economic, as Groucho Marx once said. These things are all replaceable. Between them things there, it’s the guitar, but really, I’d try and grab as many paintings as I could. And my signed Rolf Harris book, of course.

I know that Rolf Harris holds an esteemable place in your heart. Why is that exactly? (Although no explanation is needed when we look back to his Cartoon Club days).

These are tricky days for Art. I just feel that Rolf, though he wouldn’t claim to be a Van Gogh or Rembrandt or whatever, shows more of the spirit of creating things than anything that the establishment is willing to go near. Most of the Art that came out from under the shadow of Saatchi was obsessed with being perfect and slick on one hand or throwaway and careless on the other. Everyone wanted to be a completely unassailable fortress, risk-free. But Rolf… Rolf is the answer. Rolf lets you see him creating, he talks you through it, panting rhythmically and most importantly, every Art tutor, gallerist and wannabe hates him. Also, I saw him spilling his guts to Mark Lawson on BBC4 and his disappointment with his time at Art School brought highly personal tears to my eyes. It wasn’t just the vodka-fumes.

Gackland in his natural setting, multi-tasking as per usual.

Apart from the Brick Lane exhibition, where can we find (and buy) your work?

Well obviously, there’s no better place than the Brick Lane Gallery for your needy citizen’s Gack-demands. But there’s also the web. Just visit Gackland and you can see loads of work. Not much of the new stuff just yet, but that will be going up sometime after the Opening Night’s happened, which is June the 8th. And the website leads you to the rest of my fledgling online presence, enabling you to pester, complain, haggle and abuse through facebook and even twitter, if you’re into that. I’ll quite likely be in a beer garden with my sketchbook at the time, but I’ll probably get back to you before Winter if you’re funny.

BOOM at the Brick Lane Gallery (free)
Opening Night: Wed 8 Jun, 6-8.30pm
Open daily until Sun 19 June, 1-6pm.
Brick Lane Gallery 196 Brick Lane, E1 6SA

“No dear, I can’t sit there!” The older, polished and perfectly pronounced lady says. He tilts his head to the left, lightly bemused and replies: “You can look, plenty of spaces”. Then follows a warm, dismissing smile. She frowns: “No dear, there seem to be handbags on every single seat.” He puts his arm out and lightly touches her back, broadly smiling; “They’re goodie bags. For you.”, he says. “Oh goodness!” she exclaims. Bath in Fashion.

I was at the daytime show; two pm. It was tattering with excited ladies sipping wine and orange juice. The front row sat gracefully, if self consciously, and crossed their legs to the side. The lady behind me was rifling through the goodie bags on all the chairs, and the row in front was full of ‘Oooh, I say!’, as they saw, picked up and looked in the bags. Something I never saw at London Fashion Week, and I never felt I could do it, through the power of appearing nonchalant. But here we all were, in this beautiful room, the Octagon, cooing over Clarins. And there was a lovely atmosphere in the domed ceilinged venue. Bath is a stunning city, and unapologetically affluent. I often feel like I am entering a bubble when I go to Bath. Not necessarily aspirational, but certainly high above my own current living luxuries. For me sour dough bread and a saturday coffee out is a luxury. These ladies have bespoke kitchens – with SMEG fridges, four ovens and a wine collection – as standard. I don’t know this, but I know this.

Most of the women here remind of when referring to my mum, as mum, feels wrong; she is mother. Mother wears, Whistles, Phase Eight, HOBBS – coincidentally like all the bags on the seats; target women. Although my mum doesn’t like being called mother, she has more to her than to be defined by these shops, and is far more friendly than ‘mother’ sounds. Just like these women here, they are relaxed, past the needs and issues that being young can hold claim to. They have lived more, seen more and have stories to tell. Which in fact many of them were doing; “I wore the most amazing things, Oh! Now, there’s that lovely boutique…” They were all very chatty with each other and talked enthusiastically about fashion and life. It all had a pleasant, relaxed feel.

The show started with loud and vibrant music. The high street was paraded before of us, with pouting, sunglasses wearing models. They strutted stripes, flowers, maxi dresses, midi length skirt suits and colour pop! Camel, red, purple, chiffon, 30s maxi, 70s midi and maxi, little skirt suits and beautiful dresses. It was a gorgeous spring day outside, and the show made the buzz of spring streaming through thoughts, arrive firmly in the desires and excitement section of the audience’s minds. “Ooohs” and “ahhhs” were heard echoing quietly, as if we were watching a private little firework display of spring sensations. The dresses with the statement shoes were my favourite; glamorous light numbers, with red stillettos. Also block heels, headscarves and ballooning sleeves looked fresh and stylish. TOAST and Reiss stood out as particularly good this season, whilst Monsoon was flourished in the 70s trend. The fashions would certainly suit many a lady, and had just the right amount of pizazz. Kate Middleton should be wearing more of these styles. Safe but stylish, with an extra something.

A photo of the catwalk show that took place at the Roman Baths.

It was soon over and as we stood up to leave, everyone had a little natter. Eventually filing out I heard discussions of perhaps a spot of shopping, a coffee or a cool glass of white wine. I myself scooted off, back out of the bubble, but filled with the visions of beauty that Bath always leaves me with. Well done Bath In Fashion for a lovely week of events, fun and a genteel celebration of a sophisticated city. You can still see a couple of the fashion exhibitions for a while yet; Marilyn Monroe Exhibition at The American Museum in Britain, and a wedding dress exhibition at the Fashion Museum.

This spring, the V&A presents a unique exhibition dedicated to the Grand Master Japanese couturier, Yohji Yamamoto. The exhibition will celebrate his life and work, and is the first of its kind in the UK. 30 years after Yamamoto debuted in Paris, the V&A has brought together rare examples of his visionary designs.

Watch the video for an exclusive interview with the exhibition’s curator, Ligaya Salazar. You can also read some of Salazar’s thoughts below, too.

On process
With this project I started roughly two and a half years ago to work on the idea and the concept behind the exhibition, it’s also a very particular project because you are working with a living designer who you are doing a single retrospective with, working with their team very closely, so in terms of curating, there is much more of a dialogue there than you would probably normally have with a slightly more thematic show.

The focus was more on to find a concept that would work for him, as a designer, because Yohji Yamamoto is very special in the deign world in terms of the way he approaches designing, so the way you want to show his work should be quite different as well… I spent more time looking at ways of displaying his work, ways of showing his work…

On garment selection
I had the incredible honour to be able to go into both his Paris and his Tokyo archives; the Tokyo archives no curator had ever been to and I had all of his archive to look at and to choose from, which made the editing process incredibly hard. It is something you spend a long time doing, talking to Yohji’s team, talking to the designer, making sure you have covered the iconic parts of his career, but also choosing pieces that are most emblematic of the themes that you want to bring out. I stated with an object list that was about six hundred pieces, and that was already a selection of the pieces I saw in the archive and then I had to bring it down to ninety; it was a long and arduous process.

On themes
Because it is an installation based exhibition, there isn’t a prescriptive story to tell, or a chronology, it was much more about how people would encounter the garments. For the first time what we are doing is to show everything on open display, on the same height as the viewer, so you are meeting your other, rather than looking up and behind glass. It’s a very different experience of the clothes.

Yohi Yamamoto is at the V&A and at The Wapping Project until 10th July 2011. Look out for a full review coming soon!

See more from Natascha Nanji here.

There is something slightly uneasy about Zoë Barker’s ‘Values’ series. Not the art itself, as taken in isolation the images are beautifully, meticulously drawn. I’m talking about meaning behind them, which leave you walking away feeling a little awkward. We know that we trade personality for convenience every time we go to Tesco instead of an independent shop, but we do it anyway. But we know we are contributing in a small way to a change that we’re not entirely happy about.

Zoë Barker grew up in a small Suffolk village which was Tesco-free for a long time, before one day she came back to visit family and found a Superstore rudely whacked down right on the high street. This is what prompted the artist and illustrator (and Amelia’s Magazine contributor!) to start her ‘Values’ series.

McDonald’s, Ikea, block housing and packaged holidays are all part of Zoë’s artwork, dramatically juxtaposed against local restaurants, carpenters, classic houses and the English seaside. The pictures are from Zoë’s family albums, but what they represent are things that are local, giving way to brands that lack identity in the sense they could be anywhere. While there is something quite sad about the images, Zoë has been careful to avoid too much nostalgia by making it funny as well; ‘Special things for special friends’ is the tagline for the elderly couple pasted onto the Ann Summers image.

Zoë Barker

The artwork is now on display at the Department of Coffee and Social Affairs, a coffee shop on Leather Lane Market in London’s Holborn area. The coffee house has only been open about ten weeks, located in an old ironmongers shop. The rooms are light and airy with plenty of seats, and the coffee is gunpowder strong, sourced from East London coffee masters Climpson & Sons. Hanging in white frames on white walls, Zoë’s pencil-drawn art is the perfect accompaniment to the space, dominated by the rough brick and wood interior which has been preserved from the old shop. It’s the perfect reminder that not all changes are bad – the ironmongers didn’t make it, but out of the ashes has come something beautiful.

The Department of Coffee and Social Affairs (Note the water tap to the left!)

Zoë Barker’s ‘Values’ runs until 16th May at the Department of Coffee and Social Affairs, 14-16 Leather Lane, EC1N 7SU. For more information see our listing.

Illustration by Ben Steers

As you may have seen yesterday in this post, I went along to the Dreamboat Exhibition in Bristol last Friday. It is a collaboration between art platform makers, Inkygoodness and Bristol label, Dreamboat Records using the theme: Dreamboat. As you probably gathered from yesterday’s post, I thoroughly enjoyed meandering about, staring heavily at the floating ships. However, as opposed to me rambling on about my own thoughts on each of the dreamy vessels, this post is devoted to four artists who contributed to the Dreamboat Exhibition. Fusing music and art, I wondered how the artists used music in their art and what inspired their own dreamboat illustrations. Please note that the Exhibition is open until December 30 – so you have plenty of time to get to the West and check out the gorgeous illustrations.

So, let’s start with Ben Steers. Ben is an illustrator and designer working out of Bristol. He has worked for a variety of companies including; The Sunday Times and the NHS as well as Spunky Clothing Label.

Illustration by Ben Steers

What inspired your dreamboat?
My dreamboat piece was inspired by an ongoing narrative that has carried over from the last Inkygoodness show. It follows a solitary bear that spends his time playing amongst his woodland home. The bear looks out at the moon and dreams of other worlds. Before he knows it (and quite possibly under the influence of some kind of woodland mushrooms!) he finds himself sailing across the stars.

What’s your artist background?
I was always a restless child and never really clicked with education in the traditional sense. Being a “left sided thinker” art was a good outlet for my creativity and a practice that I naturally connected with. Since I was a wee nipper I have always enjoyed scribbling and when deciding on what course to do at uni, there seemed to be only one option – Illustration. I studied for 3 years at Plymouth University and graduated in 2008 with a BA Hons in Illustration and Graphic communication. Although I was “traditionally” trained in using oils/acrylics/pastels etc at school, my uni course taught me the commercial skills that I now implement in all my illustration work.

Illustration by Ben Steers

How do you find music influence/inspire/interact your artwork?
I have always been a big music fan and find that music has an indirect effect on me and my work. There are certain genres that I will plug into when sitting down to complete certain tasks. I find that high-tempo, up-beat tune’s help me to really focus on what I’m doing and result in a much more productive artist. It has been a long time goal of mine to design a vinyl sleeve and inlay as I love the old classics and nothing touches the sound of vinyl. Unfortunately it is becoming harder and harder these days to crack into the music industry art scene, but I will keep the faith and my fingers crossed that something comes through!

Next is Dave Bain. An illustrator and designer, Dave has worked for CBeebies and the NSPCC, among many others. He is currently based in Bristol and also works as promoter and DJ.

Illustration by Dave Bain

What inspired your dreamboat picture?
I wanted to paint something that felt like it was floating in another reality separate from the hum-drum of every day life.  I’ve obsessed with masks and the playful nature of how they create drama and hidden secrets.  I’ve been developing a set of masked characters for a while, and the dreamy avenue that my piece was referencing lent itself perfectly to hiding the characters faces, except for the central younger lad.  Memories of children parties and feeling detached from that atmosphere run through this artwork.  I dream most nights and often have dreams involving finding my way to another world.  A previous exhibition with Inkygoodness had the theme of ‘Wonderland’ and I did a piece called “Journey to Wonderland” which featured another journey with similar characters, that time on the back of sparrows.

Illustration by Dave Bain

What’s your artist background?
As long as I can remember I’ve loved to draw and make things.  I dreamed of being able to make a living from it and have always had that goal in mind throughout my life.  I studied Illustration at Falmouth and loved every second of it, after which I moved to Bristol and threw myself into whatever creative opportunities came my way.  It’s my love of drawing and coming up with fun ways to interpret briefs proposed to me, which get me going.  I love the diversity of Bristol and the strength of the creative community here.

How does music influence/inspire/interact with your art?
I listen to music almost constantly, while working.  I love a wide-range, classical, jazz, folk, dubstep, techno – anything that is made with care, love and catches something in my brain and heart.  I run a folk night in Bristol called Feel The Folk and DJ in bars and clubs as well.  Music is definitely interwoven into the way I work and think.  I truly believe in its power to boost artistic creativity and love its motivational edge.  There’s nothing like getting lost in a painting with a soundtrack to accompany you.

Now Leila Shetty, an illustrator based in Liverpool. She likes drawing small birds and cats, among other things. Leila has just graduated from Liverpool School of Art.

Illustration by Leila Shetty

What inspired your dreamboat picture?
I kept my Dreamboat image quite simple and wanted to create quite a serene, peaceful illustration 
with the little boat sailing as the focal point. I think it is the serenity of the scene that makes it dream-like. 

What’s your artist background?
I studied Graphic Arts at Liverpool John Moores University (Liverpool School of Art) and specialised in Illustration half way through the course. I’ve always been much more interested in the creative industries than anything else but like to work on quite a small scale – Illustration is perfect for this. Since graduating I’ve been doing lots of different bits and bobs of freelance work. 

Illustration by Leila Shetty

How does music influence/inspire/interact with your art?
I think rather than music inspiring my work, it is words and stories that influence it. I suppose music can be a way to tell a story though. I like to produce work that is based on words and stories; these can be the most mundane and simple of things that make the most interesting images. I also like to do narrative work to tell stories.     

And finally we have Sarah Dennis. Sarah is an illustrator living in London. Her work ‘invokes a feel of story tale innocence with a contemporary feel’. As well as her illustrations, Sarah has a popular collection of handcrafted felt characters.

Illustration by Sarah Dennis

What inspired your dreamboat picture?
As the tile suggests, my inspiration came from the sensation you have in the morning when you are in a dream like state. I imagined myself floating in comfort and this floating feeling brought the nautical theme to mind with the water inhabited by jellyfish and sea creatures. The male character who is floating within the cut out waves and wearing a stage cape whilst holding a little boat represents vulnerability and innocence.

Illustration by Sarah Dennis

What’s your artist background?
I moved from my hometown Brighton to Bristol in 2005 to complete a degree in illustration at the University of the West of England. My work developed over this time and I found that I enjoyed using collages to create whimsical narrative based artwork . After graduating I stayed in Bristol to work on a variety of creative projects. During this time I wrote, illustrated and published a children’s book called “Toby”. I also spent much of my time working with a creative collective called “Hot soup”. The group embarked upon several diverse projects: hosting drawing based events, creating cardboard creations for theater productions and completing bespoke illustrations for clients. After exhibiting a solo show at the “Here” Gallery I moved from Bristol to London were I now spend my days working in a studio in Stoke Newington along side many inspiring artists and illustrators.

Illustration by Sarah Dennis

How does music influence/inspire/interact with your art?
After having an idea of what I would like to create whether it is for an exhibition or a piece of commissioned work, I find that music plays a very large part in the process. Having got my idea, with my materials and papers at the ready, the next thing to do is to put on the headphones and find the right album that complements the mood and tone of the artwork. This helps and even influences my art in the same way as working alongside other artists.

See Dreamboat Exhibition at Start Gallery, (via Top Deck) Start The Bus, Bristol