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.

All photography by Vikram Kushwah

Vikram moved to London just three years ago and his career is already proving successful. With three critically acclaimed exhibitions under his belt, not to mention an international artist award and interest from the likes Vogue Italia, big things are predicted for Vikram Kushwah. I caught up with the ambitious photographer to find out a little bit more about his work and the inspiration behind his current book project Memoirs of a Lost Time, a collaboration with writer, Trisha Sakhlecha.

Vikram Kushwah Illustration by Estelle Morris

What first inspired you to start taking pictures?

The fact that photography is a direct representation of reality, yet it almost never fails to lie. It does so by allowing you to stage a setting, something that reality doesn’t allow you to do. It just exists and takes shape on its own. There’s this tension that I’ve always associated with photography and reality. You think of something and a picture is like a memento you keep, to remind you of your thoughts.

You grew up in a boarding school in the Himalayas. How does your background inspire your work today?

It was a very big school and I had a lot of free time to explore and to read children’s storybooks. I took the stories as real happenings since there was nobody there to tell me otherwise. I was also close to nature and a bit of a dreamer; I was bound to be growing up in a place like that. Every Sunday I would watch tadpoles in a pond for hours, waiting for ‘papa frog’ to turn up and make a big splash.

Students were given a lot of freedom to discover themselves in this way. I saw magic and sorcery as real life, holding a very strong bond with wildlife and the natural world. When I studied the mystery filled art of Surrealism and the romantics’ pastoral, it took me right back to my childhood. Each of these elements play a strong part in my work today; some conscious and some sub-conscious.

How much of your Indian heritage can be found in your work?

None. My formative years, from when I was two up until sixteen, were spent in a boarding school. Although it was in India it was a typically English school, maybe because it was founded by an English lady during the British rule during 1937. Though I come from a very traditional Indian family, my roots actually took shape at school where I spent two-thirds of every year since I was thirteen.

What encouraged you to move to London?

It has to be the rich art and cultural heritage of Britain. The exposure, the opportunities to progress, innovate and transform, the resources to learn, the vast open country. All of this creates, within me, a mental space from where I can continue to grow as a photographer and artist.

Do you think living in London has inspired your work in any way?

There’s so much for this ‘mental space’ to soak up here. The English countryside takes me back to my school days, back to my storybooks about pastoral landscapes and wooden cottages surrounded by forests and meadows, peasants and farmers. I keep looking for a tumbling Alice, ghoulish wolves and evil stepmothers; I sometimes do find them.

Earlier this year you shot the photography for Hairspray: The musical. What was it like working with team behind the production?

It was a totally new experience. I enjoyed the rehearsals as much as I enjoyed photographing the play. I was left on my own and given complete freedom, and I really enjoyed the space on the balcony where I shot from. The atmosphere was exceptional and one could really see the hard work being put in by the very young actors and crew. By the end of it I knew all the lines by heart!

Your work tends to combine both elements of fine art and fashion editorial; is there one medium you most enjoy?

There’s a definite crossover no matter how much I want to pull them apart. I have these peculiar ideas and strange stories in my head, which inform my pictures, and they never escape the thought of fashion. Not just in terms of clothing, but also in the sense of time and place. For example, there was this one picture that I only wanted shot with a certain type of Peter Pan collar. Afterwards I knew the picture wouldn’t have worked without it.

There are lots of elements in my photos that act as pieces of information about my work. Fashion is essentially one of them. The information is subject to interpretation and that’s when the mind starts to wander and stories begin to take shape.

What is the story behind Ofelea?

The Ofelea series is a portrait of my imagination and memories, often twisted by the dark underlying layers of the storybooks I read as a child. The series of pictures is a juxtaposition of the Freudian concept The Uncanny; the constantly recurring mysterious environments in the Surrealist art movement and reconstructions of my distant childhood imagination.

There is an interesting story behind the name ‘Ofelea’. To begin with, my Ofelea had nothing to do with Shakespeare’s Hamlet. Ophelia is in fact the protagonist of one of my favourite films, Pan’s Labyrinth; this is what originally drew me to the name. During the research stage of my project, I studied both romantic and surrealist art. Here I came across the famous painting Ophelia by English painter John Everett Millais, a co-founder of the Pre-Raphaelite Brotherhood. I learnt that Millais‘ drowning of Ophilea was a depiction of Shakespeare’s very own character, thus bringing all three Ophelias (very co-incidentally) into the equation.

What was the inspiration behind your new book Memoirs of a Lost Time?

This book project was actually Trisha’s idea. She knows my work really well and we both draw inspiration from similar aspects – escapism, daydreams and so on. We all know what clothes designers make, what song musicians write, but we wanted to know more about the formative days of such creative individuals: the elements of childhood that ultimately inspire their work today. So we set about capturing the memories of their bygone days in our own dream-like style. They themselves feature in the photographs, though nothing too defined. We’ve left the images open-ended – just like dreams and fading memory – yet there’s a strong flavour to each story.

Each chapter takes you into the personal and never seen before world of our subjects, presenting photographs, a short story and an insightful interview. Each section weaves in and out of reality where you begin to drift into a realm of imaginative possibilities, yet always remaining attached to the facts that were. It’s a representation of not only what was, but also a very whimsical take on what could have been.

What was it like working with Trisha Sakhlecha?

In a way it’s like working with myself. We share a common paradigm in terms of aesthetics. We’re the best of friends too, which always helps. We can rubbish each others’ ideas without hesitation and more importantly the process of storytelling and taking pictures doesn’t feel like work to us; it feels like we’re in a trance. We definitely compliment each other well: she’s the more organised one, whereas I can lift heavy things. It’s a balance.

What can we expect to see next from you?

Memoirs of Lost Time; it’s only half complete. There are some real surprises yet to come in the forthcoming chapters. We’re hoping to release the book mid-2012.
Oh and Vogue Italia are also interested! They’re publishing one of my photographs in their January 2012 issue, featuring London-based fashion designer Elizabeth Lau.

Exciting times lie ahead!

The phrase ‘unique dining experience’ usually makes me want to puke. East London, for all its charm, has become a haven for ludicrous events rendering me breathless and thinking ‘what the HELL will they come up with next?!’ Film screenings on fridges, fashion shows in abandoned car parks – ‘pop-up’ bars in your own loo – you get the picture. But I think the latest collaboration between Disappearing Dining Club and 123 Bethnal Green Road is something special: Christ, it was a complete treat.

All photography by Matt Bramford

On entering 123, you’re greeted and given cocktails. This, in my opinion, should be mandatory in all retail outlets. This gives guests a chance to peruse what’s on offer on the lower floor and in the newly refurbished Scout Hut. There’s an excellent range of gifts available in the newly-organised front, and I spent more than a reasonable amount of time cooing over the Beyoncé paper-doll making kit. There’s also a good selection of candles, tea cups, furnishings – the lot. The Scout Hut has now been transformed into a showroom for the latest in new and ethical fashion – it was great to see William Richard Green’s latest collection with a stockist, as well as many designers we’ve enjoyed on the catwalks recently – Lako Bukia being one of my favourites.

When we’d had a browse we were informed to climb the three flights of stairs to the very top of the building to begin our feast. The newly-refurbished, gentlemen’s lounge-style menswear floor (above) is breathtaking. Old wood panels, cabinets with trinkets and a roaring fire greeted us, as did two bowls of punch – one rum & pineapple, the other a wintery mix of gin, cranberries and spices. Small canapés were served, with plenty to choose from: butternut squash soup in vintage sherry glasses, potted meat on sourdough chunks and cheese pastries.

Beef Bourguignon by Gareth A Hopkins

You’re given an allocated time for your main course, which takes place on the first floor surrounded by ladieswear and lingerie. A guide told us to grab a plate and a knife and fork and tuck in, which I did with ease. Two huge cast iron hot pots of beef bourguignon and aubergine and chickpea stew were on offer in the centre of a large wooden table, giving off aromas only achievable through slow-cooking techniques that, frankly, I can never be arsed with.

Breads were aplenty and wine free-flowed at one end. We took our seats and tucked in – savouring every mouthful as if it might be our last. It’s no use organising these experimental evenings if your cooking isn’t up to scratch – but I couldn’t raise a single criticism about any of this hearty food. In addition, bowls of heaped salads were there for the taking – featuring tasty combinations like couscous & pomegranate and butternut squash & honey orange. Unfortunately we were seated at the same time as a rather rowdy bunch who were celebrating an even rowdier friend’s birthday. He was a little annoying.

Cocktails by Gareth A Hopkins

As if that wasn’t enough, desert was served in the bunker café – the original venue for the Amelia’s Compendium of Fashion Illustration (ACOFI) launch party. We were greeted with a cocktail – we opted for a whiskey and Canadian maple syrup option – delicious and the perfect wash-down for a mince pie. I skipped the ice-cold rum shots – by this point I was already questioning my own name, and we left pretty soon afterwards, leaving Rowdy McRowd and his pals to party the night away, guzzling even more cocktails while a DJ played.

A great concept – and diners get 10% off to stock up on ethical fashion designers and Christmas gift ideas. It’s not cheap – at £50 a head, this sort of thing is best saved for a special occasion, but it’s definitely worth it if you’ve got one coming up. Don’t eat lunch, though, and don’t expect to leave sober – sometimes too much can be enough.

Too Much is Never Enough runs every Tuesday, Wednesday and Thursday at 123 Bethnal Green Road from Tuesday 22 November to Thursday 22 December.

It’s only in the past few years that I have acquired an interest in contemporary dance, a fact I put down to my boyfriend’s refined cultural tastes. So when The Place invited me to the latest instalment of 2FacedDance I jumped at the chance.

The evening comprised of three very different dance pieces by different choreographers, performed by the same troupe of dancers, who must surely have been absolutely exhausted by the end. The first piece by Tom Dale – named Subterrania utilised the whole company and was by far my favourite piece. Against a backdrop of music by dubstep pioneer Shackleton the men (for they were all men) by turns shuffled and leapt across the stage like latter day urchins – in faded dandy jackets and dress shirts. The choreography effectively combined elements of many dance styles, including break dancing and capoeira, with the dancers climbing on top of each other, dismantling into formations and recombining for a grand finale dance off. I could watch this dance over and over again.

Next up was a piece that may or may not have been sponsored by the Olympics… Freddie Opuku-Addaie’s Politicking Oath was a humorous piece that saw the three dancers by turns goading, competing against and helping each other as they explored the psyche of professional sport. It featured the clever use of sports related moves and included the use of some strange props, including an alarm clock and a pig’s head mask.

The In the Dust of the title was the final piece, by Tamsin Fitzgerald. I hadn’t really thought about it beforehand, but yes, there was a lot of dust involved. Sitting in the front row I struggled to keep a clear throat, so god knows how the dancers managed, as they bounced up and down in great clouds of what I presume was chalk dust. The emotion of loss was writ large in the evocative moves of the dancers.

Many of the dancers with 2FacedDance have trained extensively in different forms of dance, as well as touring with pop stars on the commercial backing dancer circuit, and their expertise certainly shows. But throughout the performances it was by one dancer in particular that I remained transfixed – the tiny powerhouse that is Hugh Stanier. With ginger dreads flying, he embodied his dance moves in a way that was totally hypnotic.

Flik Hall S/S 2012 by Milly Jackson.

Flik Hall dubbed herself a novice back then, but with three successful London Fashion Week seasons under her belt, she could have quite easily fooled me otherwise. Since then, print-enthusiast Flik has gone on to create two more delectable collections, continuing to incorporate her love for printed leather and structured silhouettes. The latest collection sees a new direction from the London-based designer, and I was lucky enough to see, hear and learn a little bit more about the creative process behind such bold and imaginative designs.


 
I first clapped eyes on the new collection earlier this month at the Rendez-Vous Femme trade show in Paris, where Flik Hall was successful in ruffling a few Parisian fashion feathers with her experimental vision. Amongst the vast number of exhibitors, not to mention the throngs of buyers, journalists and trend reporters, there was one corner of the room that instantly caught my eye. Flik’s designs are the definition of innovative. Whilst many designers stick to a time-honoured formula resulting in them fading into a background of summery floral prints and tassels, Flik Hall’s ever-developing penchant for experimentation earns her some serious print-infused brownie points for S/S 2012.

Back in London, the press event for next season’s collection was held at the uber-cool Vyner Street Gallery: an underground platform for emerging talent nestled in the depths of Hackney and the heart of Londons contemporary art district. Walking into the gallery space was like entering into Flik Hall’s world: a world of mythical fantasy. Accompanied by an eerie soundtrack, a short spellbinding film directed by artist Ashley Joiner was projected across the back wall, whilst the clothes on show delivered a sense of femininity juxtaposed with a strong, dynamic edge.

The small, intimate space had a very personal feel to it, and it was a real pleasure to meet Flik Hall, who revealed to me that she didn’t always want to be a fashion designer, ‘I used to want to be an artist when I was younger,’ she disclosed. ‘But my designs always seemed to naturally fall around the figure, so it all eventually transpired into fashion.’ And is it any wonder? With her choice of ethereal colour tones and that trademark use of eye-catching prints, the collection was successful in capturing my attention all over again.


S/S 2012 takes its inspiration from the deep blue sea as Flik Hall looks to the texture and intricate detailing of octopi skin for direction. Never one to shy away from experimentation, it is this imagery that makes up the signature print within the collection incorporating close-up screen prints of octopus skin and tentacles transferred onto soft leather pieces. ‘I’ve always been interested in Roman mythology and mythical creatures,’ Flik explained. ‘I was interested in the octopus and how its fluidity can be interpreted in strange and wonderful ways.’ The result is unexpectedly beautiful prints that call to mind A/W 2011’s equally striking doll arm designs, confirming how Flik can expertly convert creepy connotations into something imaginative and wearable, whilst maintaining the label’s other-worldly appeal.
 

Flik Hall S/S 2012 by Kate Copeland.

Last season’s dark and moody colour palette of black, and more black (don’t get me wrong – I am a fan of black), has been overthrown next season with only the smallest dose of raven undertones to be seen. ‘I like to mix it up quite a lot with a dark collection followed by a lighter collection, my aim is to keep it fresh,’ said Flik. Keeping in with next season’s sea-theme, innocent whites and delicate creams are highlighted with muted sea shell tones of pink, peach and lilac, whilst rich sand and deep petrol blue give added depth to the range. When asked about the creative process behind each print that she creates, Flik Hall explained that the whole process is very hands on, ‘I take lots of pictures, print out lots of images, collage them and then distort them,’ she said. ‘It’s just all about trying to figure out what’s right for me.’

Flik Hall S/S 2012 by Kate Copeland.

A delicate contrast to that of previous collections, next season offers a more feminine approach that is both ethereal and elegant. Layered silk and trademark printed leather was seen next to metal eyelet details: a representation of octopi suckers that reinforces Flik’s creative mind and attention to detail. Describing the collection as ‘ambiguous, sensuous and wet‘, Flik Hall has turned to opaque and sheer fabrics that contrast each other on narrow skirts and floor-length dresses, while her original flare is highlighted by the careful use of wetsuit-inspired Neoprene. As something that in my opinion could quite easily have gone horribly wrong, Flik pulls it off with structured mini dresses and voluminous jumpsuits that maintain a sense of femininity, whilst reconfirming that dynamic edge the label is beginning to be known for.
 

Though colour and print have been replaced with a more romantic aesthetic, Flik Hall’s structured silhouette remains. The adoption of Neoprene is a clever addition to an already inventive collection, marrying structured shapes with semi-transparent fabrics. The overall desired effect is successful as I can’t help but conjure up swirling images of the deep sea, whilst one glance at the model’s intricately placed hair – mirroring that of curling tentacles – is enough to confirm the key influence of the mythical half-octopus-half-human creature known as Cecaelias. 

Flik Hall S/S 2012 by Alia Gargum.

I was mesmerised once in Paris, and mesmerised all over again in London; Flik Hall is constantly pushing herself forward and thinking outside of the box. Even if she does insist on keeping the label small and exclusive, S/S 2012 sees a stellar collection from one of London’s best up-and-coming designers that predicts a promising future for the Flik Hall brand.

Click here to view the embedded video.

Simon Ekrelius has been slowly building a reputation for his futuristic yet feminine style. Here’s a peek into his new S/S 2012 collection Bar-Red, and a chance to find out more about his unique vision.

Simon Ekrelius S/S 2012 by Milly Jackson.

What brought you from Sweden to set up your studio in London? 
I first discovered London in 1993 and since then I have been back and forth. My designs work better in London than in Sweden, where people are very careful with their wardrobe. In 2002 my partner Tom and I decided to move here and settle down.

All photography by Marc Lavoie.

Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You have a wonderful way of making futurism seem eminently female and wearable – what inspires you and how do you keep this look fresh each season?  
I’m inspired by many things other than fashion; architecture, painting, sculpture and artistic movements in general. I don’t look at the work of other fashion designers because I can’t help but be affected, which is not good for my creative process. I also tend to avoid fashion magazines, which helps to keep my head clear and enable me to work hard on my feelings for the next season. I decide what I really like and what I feel will work, bearing in mind that it’s easy to go way too crazy and futuristic. It’s important to find the right balance – that’s what fashion is all about.

Simon Ekrelius S/S 2012 by Natalia Nazimek.

What in particular is the new season’s collection Bar-Red based on and what does the name refer to?
I think that back in 1919 people were maybe experiencing similar things to what we are going through now, so Bar-Red is based on the Bauhaus movement, mainly with regards the geometric forms used in architectural design. I like the way that the Bauhaus integrated different forms in order to construct a new kind of style and I translated this into our time so that the collection is not completely retrospective. Bar-Red is so named because it can also mean Barred. The shape of a Bar is rectangular and the colour Red is the main colour in the collection, plus the words Bar and Red work together perfectly. I used bar-shaped objects in my prints such as cigarettes and there are big chunky arrows pointing at naughty areas or sometimes just away.

Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You showed in Ottawa this season which is quite exciting – how did this come about?
I was asked to take part by the organisers of Ottawa Fashion Week and at first I did not even believe they had a fashion week. Plus it was during Paris Fashion Week, which was very awkward. But they wanted me to come so badly that they offered me a very good package, so then I just couldn’t say no, especially since the economy in Europe is so tough now. I met members of the Swedish embassy when I was over there and that was interesting because they want to import more independent Swedish design to Canada.

Simon Ekrelius by Gareth A Hopkins.

Will you be showing again in London anytime soon? We loved your last catwalk show with On/Off here. Any London based plans that we can share with readers?
Yes, absolutely, I’m planning to do an exhibition again next season at London Fashion Week. Perhaps I will share space with another designer to see how that goes, and after that I’m sure that I will be back on the catwalk again. But it all depends on the sales I’m afraid…

Simon Ekrelius S/S 2012 by Lesley T Spencer.

What is your preferred music to listen to when you are working and have you discovered any new musicians or bands recently that we should know about?
I’m just putting together a playlist on Spotify, and it features Grace Jones, Best Coast, Fever Ray, The xx and The Knife. When I am working I sometimes listen to 6 Music, but sadly I don’t have much time to really discover new bands.

Illustration by Simon Ekrelius.

Your fashion illustrations are beautiful – how do you ensure this side of your work practice stays alive?
I do my illustrations as I go along. I create them in my head and then if I have a pen, some colours and a bit of paper they will come out automatically like a machine. So I will always illustrate as long as I am creatively productive. They are not always pretty – sometimes they are just a few lines that will help me to remember what has come into my head.

Simon Ekrelius S/S 2012 by Milly Jackson.

What are your future plans for the Simon Ekrelius brand? 
Aww, this is a difficult one! I think for the moment I just want to get a better relation with buyers abroad and perhaps one boutique here in London to stock Simon Ekrelius exclusively. But then of course it would be great to eventually do my own shows in Paris or London, with high level production so that I can explain my stories properly in all areas. After that I would like to have my own place (to sell from). But first I need to focus on finding buyers.
 

I totally and utterly fell in love with jewellery made by Caroline of Esoterica Bazaar, who is based in Los Angeles. Her bold rings were displayed like gorgeous sweeties, and thus utterly irresistible to little ol’ me. She sources rare and unusual gems such as veined Ammolite, aurora borealis enhanced Labradorite and many faceted crystal Pyrite (also known as Fool’s Gold).

It’s great news that there are now plenty of people upcycling vintage jewellery parts to create new pieces, but London based Kirsty Kirkpatrick of Uncommonly Beautiful stands out for her clever use of jewellery parts and unusual combinations of pieces: she uses bits of furniture, scrap leather and even broken suitcases in her designs. I also likes the way that she describes herself as anti-landfill, challenging preconceptions of waste.

Adjowah Brodie of the US based The Weekend Store specialises in upcycled parts as well. My eye was particularly drawn to unique necklaces, cufflinks and rings made from old typewriter keys.

Alexa Allamano of Seattle had travelled a long way to show her Foamy Wader jewellery collection. Her delicate pieces were beautifully displayed with miniature animals, and according to her website she also specialises in knitted beards. As you do.

Until next year Renegade Craft Fair! Don’t forget that if you are based in the US you can find their events all year round.

Plenty of fab ceramic design at the Renegade Craft Fair last weekend. Here’s my favourites.

Melanie Roseveare – aka Melody Rose – prints new designs onto upcycled bone china crockery. Her work reminds me of plates reconstructed by Carrie Reichardt as art pieces, but has a slightly more commercial edge. Her range comes in three collections: Urban Nature, Modern Surrealism and Rock ‘n’ Roll.

Zosienka & Rosie had produced some beautiful ceramic heart necklaces.

It was nice to see that since the Bust Craftacular last Christmas the range of plates by James Ward (working under the name by JimBobArt) has expanded to include lots of new designs and other ceramic goods.

Take a look at my other Renegade Craft Fair blog posts.

Kim Smith runs Art Equals Happy, which was a beautifully laid out stall of woollen goodies, at the front of which she sat spinning on a big old fashioned wheel. Her blog makes for extremely interesting reading. On it I discovered that she’s big on sustainability, recycling card and paper to create her envelopes. I was even more intrigued to discover that Kim is currently on the BA in illustration at Camberwell – what an inspiring lady.

I loved the flock of sheep designs by Kingston University graduate Mary Kilvert, especially on cushions.

Perfect for kids, Diane Koss had a stall groaning under the weight of her colourful plush toys: think furry one eyed monsters with huge horns.

There were some cute felted animals for sale by Gluckskafer on the Selvedge magazine stall – though I can’t seem to locate them online anywhere. Sorry!

I was most impressed with the bold screenprinted designs of Robin & Mould who are based in rural Wiltshire. Their tea cosies, tea towels and cushions were emblazoned with gorgeous animal inspired graphics.

Don’t forget to discover my favourite illustration and wall art at the Renegade Craft Fair too.

The Renegade Craft Fair obviously has some clout back in its home country of America, since quite a few of the stallholders had flown over just to participate in the inaugural British event last weekend. This meant there was a welcome chance to discover some new crafting gems from across the pond, and marvel up close at the slightly different aesthetics of American design when compared to the UK’s own crafting scene. I’ve split my write ups into loosely grouped themes – first up some of the best artist and illustrators that I found.

John Vogl of The Bungaloo is obviously on to a winner: most of his display posters had been taken off the walls by the time I returned later on Sunday. I particularly liked the tour poster he had done for Explosions in the Sky.

The Being Natalie stall was crowded with bright little paintings by Natalie Turturro.

Ace illustrator Julia Pott was selling lots of goodies including these temporary tattoos.

Deborah Grace is one half of The Bulb and The Bee with her sister. She displayed some lovely collaged one off artworks and paintings.

Ryan Hansen of Magic Industrie, Los Angeles, creates handmade bookmarks and magic wallets from upcycled illustrations that he finds in salvaged books. One of these would make a beautiful alternative to the usual Oyster card holder.