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.

Arkansas based Justin Wallis featured in my first book of illustration. Since then he’s been expanding his MILKBBI online product empire, as well as participating in numerous interesting collaborations and exhibitions across the world. Time to catch up!

It’s nice to hear from you again after all this time, what have you been doing since you appeared in Amelia’s Anthology of Illustration?
Hi Amelia, since being a part of Amelia’s Anthology of Illustration I’ve mostly been focusing on creating products for my little online shop, it’s been really fun. I’m still so new to the whole thing so I’m learning. My dream is to see the MILKBBI brand growwwwwww & grow!

Justin Wallis – Combined Heat & Power page from Amelia’s Anthology of Illustration.

How is the world of the deep South? How would you describe the arts and illustration communities of the area where you live?
WELL, I will say sadly there is not much to say…..  I MEAN its growing, so I don’t wanna sound really negative or whatever. It’s an interesting place though – everyone should visit the deep south at least once :> (but probably not for its art. Woops.) Actually, everything I do (artistically) stems from the internet; I never do anything locally. Every exhibition, publication, etc. has been based somewhere else. And out of every sale from my online shop, I’ve never shipped to anywhere near my hometown. Hmmm I think I belong somewhere else! Right now I live online! 

You have recently been collaborating with Daniel Guerrero Fernandez, an illustrator in Costa Rica. How did this come about and what happened when you went to stay with him for a month?
Yes! We have both known about each others’ work for a good while. We were even in a little zine together before we knew each other :> Then one day Daniel e-mailed me asking to collaborate on some stuff, so we started drawing & mailing the results back and forth (which is a very slow process!) Visiting him in Costa Rica was something I never would’ve expected to happen last year! So unexpected – but it was so great. Living in Costa Rica was so unreal & wild for me because I had never left the USA before, & being somewhere like that… well, it was just so eye opening!!!! 

Justin Wallis’ notebook.

I brought a notebook along with me, so i wouldn’t miss out on any drawing while I was gone. I filled it up with drawings (including some I did with Daniel) & when I got back home I printed my little illustration book CACTUS ~ which I’m so proud of, it’s like a baby to me. Every page reminds me of a different place or story or whatever inspired my drawing that day :>

CACTUS art book available in the MILKBBI shop

Click here to view the embedded video.

Clip from MAMA BEAR

How is the love affair with felt tip pens and stickers? Why do you think you are so drawn to these media?
They’re so comforting! My childhood! Just a warm good feeling. Other people have told me they get the same nostalgic feeling from my drawings which is so good to hear!

How did you theme the collaborative zines that you did with Mexican artist Ines Estrada aka INECHI? And how did you work with each other from afar?
Well actually at first we decided on no theme and just started drawing. Then out of nowhere a theme just kinda popped up! Watermelon for me, & avocado for Ines – kind of a silly symbol from where we are each from I guess. Me & Ines have collaborated before, so it wasn’t anything new to work with her, but we had never attempted to do a complete project like this. We just mailed our drawings back and forth to each other, and they finally ended up in Inechi’s hands and she formed them into a zine which was printed them in Mexico & sold through her online store. I was reallyyyyy happy with this collaboration. It was like an explosion from both of us! A colliding collab! There is so much going on I think it looks like we are both fighting for more space in our drawings :> I love it.

A sneak peak photo from the collaboration with Willar.

You also collaborated with fashion designer Willar Mateo in the Philippines. What was the brief for your fabric designs?
Willar emailed me a few times suggesting we collaborate, and at first I was unsure. But I decided to do it because I had always wanted to design patterns for clothes and I thought this would be a good chance. Me & Willar both have a childish aesthetic in our work and I think that’s where we both connected. So the theme of our designs came from our love of our childhood things. Video games & virtual pets! Big shirts & baggy shorts ~ real silly stuff like that.

Animation made from post-it note drawings.

What exhibitions did you participate in during 2011, and what is happening in that area in 2012? Anything exciting that you can share with us?
I had two favourite exhibitions from last year. First was the Post show in LA at Japan LA. I was very excited to be a part of this show because so many of my favourite artists were in it and also because the proceeds from the show went to help the victims from the big tsunami/earthquake in Japan last year. Then there was a post-it note show at the Atticus Gallery in Barcelona, Spain! It was exciting to do an exhibition overseas and drawing on post-it notes was an interesting challenge!

Print available at Giant Robot show in LA.

As far as 2012 is concerned, I’m participating in the Printed Matter 10 show at Giant Robot in LA which opened on the 11th January and continues until the 25th – hello LA residents! you should go ~~~

Current available MILKBBI products!

Your own MILKBBI brand seems to be going from strength to strength. What products do you have for fans to buy?
thanks! :> The most popular recent product was a new t-shirt that I designed ~ which is almost sold out!! But I’m planning on doing more or something similar soon.

Pages from the art book CACTUS.

My favourite product is the art book CACTUS ~ its only $10 and features 65 full colour illustrations ~ to me, it’s really a special gem ♥ and they’re halfway gone! There are also other things, like notebooks, buttons, pins, bags, pouches & stickers!

What have been the best and the worst parts of managing your own brand? Any top tips for those just starting out?
Okay, bad part first ~ dealing with the post office, shipping, boring money/technical things. I think thats the part I’ve learned the most about. It’s a necessary evil! But, you know, totally worth it I guess :>

Customer photo of an order they received.

Best part!! Sharing my work with people all over the world!! It never gets old when I receive an e-mail from a customer saying how much they love what they bought & stuff like that! Sometimes they even send pictures of the stuff in their new home which is so cool ~ I love that :> I also love putting together the orders, it’s interesting to see the combinations of products people buy ~ it’s like a recipe or something. Just knowing my designs are sitting in the houses of so many people is such a cool good feeling.

Ok and here is a good tip! Don’t try too hard to please people!! I think it’s almost impossible anyway ~ when I try to make something and I start thinking too much: ‘will people like this? or this!?!?’ it just ruins everything and makes a bad drawing. Do what you like, I think it’s better that way :> I hope I’m not wrong!

Finally, what’s the best way to spend a relaxing day in the world of Justin Wallis?
Listening to Cibo Matto, playing Sega Dreamcast with Daniel. THANK YOU!!! :>

You can find more of the wonderful world of Justin Wallis in Amelia’s Anthology of Illustration. Take a peek at his video Puppy Love on Amelia’s Magazine in 2010 and don’t forget to stop by the MILKBBI 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.

What’s really nice is the concentration on personal studio practice, with the authors visiting the featured artists in their studios. Whilst it’s improbable that you will like all the work in this book (I don’t) this ensures that for any burgeoning illustrator or intrigued long time practitioner there is still plenty to learn. Of particular note are the chapters on fashion illustrators Tanya Ling and David Downton – perfect for fans of ACOFI.

Of course no contemporary illustration book would be complete without a section devoted to wonderboy Rob Ryan, who is single handedly responsible for the world’s reignited love of paper-cutting, and it’s also nice to see the work of Hvass&Hannibal, who’ve long seduced me with their colourful abstract artworks. Catalina Estrada is the famed Spanish illustrator who has successfully made a cross over into fashion textile design and you are bound to discover some exciting new artists: for me this included the bold perspectives of late starter Yuko Shimizu and the evocative children’s illustration of Kitty Crowther.

Amongst some of the newer upstarts you will also find the legendary Ralph Steadman and the doyen of children’s publishing, Quentin Blake. Ah, memories of childhood.

Making Great Illustration is a must buy book for anyone who wants to learn more about illustration, created with great attention to detail by insiders who are immersed in this wonderful world. Read more on the dedicated Making Great Illustration website. The book is published by A & C Black, part of Bloomsbury Publishing. If you like the sound of this don’t forget to check in with my two illustration books Amelia’s Anthology of Illustration and Amelia’s Compendium of Fashion Illustration, both of which feature the personal work practice of a whole host of up and coming illustrators.

Time for a further round up of Christmas goodies; all things print, interiors, hand made and wonderful. Don’t panic, there is still time to do a bit of Christmas shopping… for most online companies the last Christmas posting date is Monday 19th December.

First up, wonderful interior items from Magpie Miller: How about this clever ceramic bowl with knitted imprints? Perfect for that special someone who loves to craft.

They also stock plenty of ‘relived’ items including these wonderful decorative ceramic birds from North America.

I discovered the work of Anissa Lee on twitter, and was instantly drawn to her bold paper cutouts, particularly this amazing monochrome Christmas wreath. Very unique and eye-catching.

Amelia’s Magazine contributor Cat O’Neil is selling some wonderful illustration prints on Etsy too. I particularly like this A3 print inspired by a story from Oliver Sacks whereby a blind lady with cerebral palsy learns the use of her hands, eventually becoming an artist who produces sculptures.

Or how about this one: Disembodied Lady 4 illustrates the case of a lady who lost all sense of proprioception (a sense of self). A bargain at £14.99.

For the wood enthusiast in your life how about this fab piece from Tom Frost at Soma Gallery? The Dead Wrestler has been silk screened onto a chunky wooden base, making it a 3D artwork unlike any other.

There’s also this fab new Gemma Correll Au Revoir tote bag, featuring a cat on a bike, of course. And even better you can wrap up your Soma gifts with some bespoke Airmail Bird wrapping paper designed by none other than Lesley Barnes, ACOFI illustrator extraordinaire (see top of blog!)

They’re completely daft but I am utterly in love with handmade Christmas jumpers from Woolly Babs, as sold at the Duckie Christmas Market by her son, shown here with a dog in a doggie jumper. I mean, what’s not to love? The nose on the reindeer even squeaks. Woolly Babs also sells festive jumpers to suit your kids… and you.

For art and design lovers Landfill Editions have just released their second edition of Mould Map, and it’s a technicoloured glory: just check out this beauty. Artists have been asked to imagine a distant future which is splattered across a 24 page A3 mega book with 7 feature prints. Some of my favourite illustrators are featured, including Sister Arrow and Rui Tenreiro.

I am a little bit in love with this Zosienka & Rosie Into the Woods Calendar for 2012. So pretty.

Illustrator Petra Borner produces the most fantastic decorative illustrations and now you have the chance to own a piece. Hop on over to her shop for a bit of the action: I particularly love this intriguingly coloured piece: Thistlesnake.

Lastly, don’t forget to support Amelia’s Magazine and buy one of my books! Amelia’s Compendium of Fashion Illustration makes an ideal gift for the fashion/illustration lover in your life. For a real bargain buy both my books with four back issues for just £50.

Every year X Factor is my guilty pleasure, something to look forward to as the weather draws in – a comforting combination of manufactured spats, OTT styling and dance routines and rubbish songs. And it may be over for 2011, but I couldn’t resist seeing what my trusty twitter followers could come up with by way of illustrations…. was Amelia Lily so popular to draw because of all that pink, and what to make of the fact that runner up cutie-pie Marcus is totally unrepresented? Who knows: it’s never quite obvious who will do well out of the X Factor: scroll on and enjoy!

Amelia Lily by Karina Jarv.

Misha B by Karolina Burdon.

Kitty Brucknell by Stephanie Brown (FAIIINT)

X Factor’s Johnny by Ashley Fauguel.

Amelia Lily by sarahjaynedraws.

Pick n Little Mix by Rhea Babla.

Amelia Lily by Veronica Rowlands.

pic n mix by Chris Sav.

The book is entirely illustrated by Emma Block in her inimitable style, in dainty pastel colours and collaged reliefs. From start to finish her work is featured on every single page, from pretty floral wallpaper designs which denote the start of each chapter, to tumbling stacks of tea cups and steaming freshly made cream cakes. I’ve not had a chance to try out any of the recipes (put together by a virtually invisible team who only get a name check right at the back of the book) but I’ve already salivated over every page. It’s the perfect gift for a tea and cake loving friend – and whether or not they are able to perfect the art of taking cream tea (like seriously, who has the time?!) this book will inspire and create desire in equal measures. Perfect.

You can buy Tea & Cake here.

Emma Block is featured in Amelia’s Compendium of Fashion Illustration, available here.

One of the fab You Me Bum Bum Train flyers, which are all designed by show creators Kate Bond and Morgan Lloyd.

Immersive participatory theatre is having something of a moment, with the likes of Punch Drunk and ilk encouraging visitors to take part in the theatrical process – which means you, the paying guest, are not going to just sit back and relax. Rather, you are going to be required to remain fully engaged through the 45 minute experience. In a society where we are too often passive viewers this is a refreshing antidote, and probably far more natural to us as humans – in past history all members of a community would be required to take part in celebrations and entertainment. Think fire side rituals or village hall dramas.

So, what is it okay to say? Well, dress for interactive fun – the website stresses no high heels and no bags or big coats (though these can be left in the cloakroom). Be prepared to fill out a health and safety form, but there’s no reason to be alarmed, creators Kate Bond and Morgan Lloyd are just covering their backs. And most of all, come with an open mind and be prepared to get stuck in: you’ll be taking part in the various scenes that you encounter, all of which will whirl past at such frantic speed that you will barely have a chance to register what is going on before you’re on to the next mini drama. The You Me Bum Bum Train crew want you to experience a range of situations that you’d never normally get to experience in one lifetime and however bonkers your life might be I can guarantee that you will. All of it done with brilliant accuracy and believability.

Once you are spat out at the end of the ride there’s time to visit the on site bar, which is a great place to catch on the experience with fellow passengers. Due to this year’s popularity (the good word has spread, rapidly) the ride has sold out for December, but today a lottery opens to find passengers for a newly released series of slots in January. So if you fancy yourself a bit of Bum Bum action then get yourself over to Run Riot… and sign up. But whatever you do, keep the experience to you and your fellow passengers. I got a sharp telling off for inadvertently responding to a tweet from a friend who took part as a performer last week. And on that note, there is a cast of hundreds, and the You Me Bum Bum Train are always looking for more volunteers, so if you fancy seeing it from the other side do offer your services – they’d love to have you. I’m thinking of signing up myself….

Find out more general info on the You Me Bum Bum Train website and read another great review here by There Ought To Be Clowns, whom I met in the bar afterwards. Amelia’s Magazine contributor Luisa Gerstein was lucky enough to take an early You Me Bum Bum Train back in 2008 – read her review here.

*Enter the You Me Bum Bum Train lottery with Run Riot here!*

The relationship between a fashion designer and his business manager-cum-lover isn’t a new concept to cinema. Anybody who has seen Valentino: The Last Emperor will have already witnessed the trials and tribulations when two men – one a rare, creative genius, the other a businessman, have to work together on a daily basis for fifty consecutive years.

Yves Saint Laurent and Pierre Berge by Karolina Burdon

L’Amour Fou is a little different, however. For starters, where The Last Emperor was a celebration of Valentino’s illustrious career, L’Amour Fou doubles as a celebration of Yves Saint Laurent’s life. This film is more of a romantic tribute to the designer through the eyes of his partner, Pierre Berge.

Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Cruz

From the opening credits, I was hooked. An homage to Yves‘ ‘Love‘ cards that he designed and produced for staff (many on display at the Majorelle Gardens, Marrakech), flashes of colour and geometric shapes flood the screen. I saw the film at the ICA, and its diminutive cinema with old fashion red velour seats and dusty projector make the experience even more apt.

Yves Saint Laurent at his final show by Mitika Chohan

When the title sequence has rolled, we see Yves at a press conference declaring his resignation, juxtaposed with Berge’s touching eulogy at Saint Laurent’s funeral. We’re only about 6 minutes into the film here, and already I’m in pieces.

Yves Saint Laurent at Dior by Cruz

The film features archival footage of Yves Saint Laurent, from his days at Dior through to his greatest collections during the 1970s and 1980s, pieced together by Pierre’s narration. The film skips between Yves Saint Laurent the fashion designer, Yves Saint Laurent the art collector, and Yves Saint Laurent the tempestuous lover. The film culminates with the dramatic, poignant and record-breaking art auction of 2009 in which Yves and Pierre’s entire art collection was auctioned for AIDS charities.

Yves Saint Laurent Wedding Dress S/S 1999 by Janneke de Jong

The film explores the early relationship between the pair – they met at Christian Dior’s funeral and it was pretty much love at first sight. You can tell by how Pierre talks about Yves that this was not an easy relationship. Yves‘ crippling depression, substance abuse, morbid insecurities and changeable state of mind have taken their toll on ol’ Berge. But through all this, a glint in his eyes remains, as his relates countless stories about one of the world’s greatest, creative men.

Yves Saint Laurent for Zizi Jeanmaire by Joana Faria

Amidst the drama of the relationship, fashion fans won’t be disappointed. The film features never-before-seen photographs of Yves at Dior, adjusting hemlines and admiring his creations on models. There’s film footage of his most celebrated collections, from bridal wear to Russian-inspired collections in the mid-seventies. We see Zizi Jeanmaire dancing in one of Yves’ most spectacular creations made of feathers.

Opium advert (1977) by Katrina Conquista

Wondrous footage of the original Opium ad is one of the film’s many highlights – and Berge describes how controversial this was; not so much the advert but the name (the controversial adverts would follow, with Sophie Dahl naked and spread eagle for Opium and the first ever fully naked man in a print advertisement for M7). The irony, as Berge describes, was that Yves selected a name with a narcotic reference, when it would be alcohol and drugs that would almost destroy their relationship. Berge talks about this at length, and how Yves would only ever be happy moments after a show; Berge would have to wait another six months to witness that same level of happiness.

Opium advert (2000) featuring a naked Sophie Dahl by Katrina Conquista

But it is the couple’s love of art that dominates this film. After Yves‘ death, Berge decided to sell the collection that they had tirelessly put together over twenty years. Why? Because, after Yves‘ death, ‘the collection had lost the greater part of its significance.’ There are less sombre anecdotes in the film: ‘When Yves designed the Mondrian dress, we never dreamt that one day we would own one,’ Berge says with a smile.

Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Mitika Chohan

And so at the end of the film, during the auction, we see Pierre sitting backstage clapping his hands and marvelling at the record-breaking sales prices. Finally, he’s the last to leave the auction and we see him walking down the stairs of the Grand Palais. It’s a poignant ending to a pretty poignant film, and there’s something a bit sinister about it that I couldn’t really put my finger on – the endless shots of empty rooms? Christies‘ employees, the ‘undertakers of art’, boxing up paintings? Berge’s willingness to openly discuss every facet of Yves’ personality, at the risk of seeming a little bitter? I’m not sure. But I loved it, nonetheless. It’s a sombre tribute, but a colourful one.