Amelia’s Magazine | Ji Cheng: London Fashion Week A/W 2012 Catwalk Review

Ji Cheng AW 2012 by Geiko Louve

Ji Cheng A/W 2012 by Geiko Louve

Chinese designer Ji Cheng’s first show in London was held at Vauxhall Fashion Scout on Tuesday 21st February, the last day of London Fashion Week’s womenswear. Jumping ahead of the queue I had a chance to examine my front row goody bag – a proper mini version of some of the bags that later appeared on the catwalk designed by Ji Cheng, not a tote! – and to look through the slides projected on the wall at the start of the runway. The slides showed models dressed in Ji Cheng’s designs posing at striking Chinese landscape locations, mixing with traditional Chinese life activities or getting intimate with some sexy Chinese pottery makers in their workshops. Some showed traditional pots at a rough, unfinished stage that made them look more like minimal, contemporary western pottery.

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 by Love Amelia

Ji Cheng A/W 2012 by Love Amelia

Indeed Ji Cheng has a passion for Chinese traditional culture, but her collection, according to her ‘combines the essence of classic Chinese art with modern Western techniques and tailoring’ and she wishes to emphasise through her work ‘the combination of Eastern and Western culture’. For example, Chinese inspired elements such as Kimono wrap dresses, short stand-up collars and thick embroidered belts were on show, but so were some minimal skirts, blouses and shirts fit for a nine-to-five job in the office.

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 by Deborah  Moon

Ji Cheng AW 2012 by Deborah Moon

The designer from Shanghai named her A/W 2012 collection Zen Awakening and one could easily see that some of the smoothly draped overlapping lines on the garments and the loose way in which they fell over the body were influenced by Zen monks’ robes and cassocks. This influence was further evident in the model who opened and closed the show, with a striking shaved head like that of a Zen monk. In the press release Ji Cheng made an effort to explain the title Zen Awakening using some rather heavy zen philosophical phraseology such as ‘thought is not thinking’ and referring to ‘higher states of unity’, which I rather enjoyed reading in relation to a fashion show.

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Somewhat relevant to the above, the colour scheme of the show was presented in groups of colours. It started with a focus on a traditional Chinese vermilion, then it moved on to more earthly, brownish hues, followed by a number of mainly white pieces, then a number of mainly black ones and finishing off with the last two numbers which had an iridescent, silver hue. In that way it was a bit like the clothes were following the developmental stages – represented by the different colour groups – of a soul on its journey towards Zen Awakening. Scattered here and there were flashes of fluorescent green or orange, like little moments of realisation along the way.

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

The pure vermilion, so characteristic of Chinese culture, did not only make an appearance on the clothes, but also on the models’ faces, whose make up was a very toned down, western version of the reddish make up applied on actors taking part in Peking Opera productions – a theme which has been an inspiration for a previous collection by Ji Cheng.

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 by Dana Bocai

Ji Cheng A/W 2012 by Dana Bocai

Quite a few of the dresses and blouses featured a very interesting back with cut out panels or huge statement bows. Some of the models carried in their hands really beautifully shaped clutch bags and the shoes had a fabric front, held in place by long ribbons which were tied around the calves in a zigzag fashion. A lot of them left the heel totally exposed, which I thought was not so fit for the modern woman.

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

Ji Cheng AW 2012 photo by Maria Papadimitriou

This was a pleasant collection with an interesting philosophy behind it, so I hope to see how Ji Cheng’s brand La Vie develops over the following seasons showing in London.

All photography by Maria Papadimitriou

Categories ,Chinese, ,Chinese Fashion, ,Chinese Opera, ,Chinese Pottery, ,Clutch Bags, ,Collars, ,Dana Bocai, ,Deborah Moon, ,Eastern, ,Embroidered, ,Fashion Design, ,Fluorescent, ,Freemason’s Hall, ,Geiko Louve, ,Goody Bag, ,Ji Cheng, ,Kerry Jones, ,Kimono, ,La Vie, ,london, ,London Fashion Week, ,Love Amelia, ,Maria Papadimitriou, ,monks, ,Peking Opera, ,Shanghai, ,Silk Blouses, ,Silks, ,Slideshow, ,Vauxhall Fashion Scout, ,Vermilion, ,Western, ,Wrap Dresses, ,Zen, ,Zen Awakening, ,Zigzag

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Amelia’s Magazine | Bright Lights from the Dark Ages

Black’s Club in Soho isn’t the fortress of hostile posh/cool superiority the words ‘private members’ summon up – that’s a prejudice entirely based on my watching London-based police drama, no great (or terrible) personal experience. So, last Wednesday, sent skittling down the stairs (the front door has a friendly notice with instructions to that effect) to the quiet bar, then looking uncertain until I can ask someone about the Idler launch gathering, I’m in all quite reassured by the haphazard layout and sofas.

Here for the launch of the Idler magazine, which is to take the form of a discussion led by Andrew Simm of the trendily lower-case acronymic ‘nef’ (the New Economics Forum), I wander into a crush of journalistic conversation and gentle lute music : the Princes in the Tower are here to liven up any lull.

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Illustrations by Krishna Malla

The gathering is all about throwing a few ideas in the air, taking inspiration from medieval ways of doing things, and breathing in the Idle way of doing things – taking the time that the crush of city living can easily squeeze out. Up top are guilds, co-operation, the idea of a just price (setting, say, a loaf of bread, at a certain immovable price), and explorations of interest, the basic stories we tell about money, and usury.

There is a generally very rosy medievalism, which can be traced back to John Ruskin and William Morris, big names of the Arts and Crafts movement in the late 19th century. Morris’s hero in ‘News from Nowhere’ wakes up to a future world of friendly anarchism, floaty dresses and carefully home-made everything before being plunged back into the ’stinking vapour bath of discontented humanity’ as he realises he’s too rough for this future state of content. Perhaps this discussion will ground us in a slightly more hopeful reality.

Andrew Simm takes us back to the era that built the cathedrals and frowned on overwork – at least in the guild system, to spend too long working was seen as a way to put everyone else at an unfair disadvantage. Pat Connaughty whistle-stops a tour through everything guild-like in history. Peter Kropotkin (best beard in a strong 19th century field), known as the Anarchist Prince and hero of Oscar Wilde, wrote ‘Mutual Aid’, seeing much more solidarity than competition throughout human history, looking back to Rome where artisans were allowed to get together to bury people – the start of professional association – and to the Shreni Indian craft movement. In 1567, Queen Betty’s Law took power from the guilds, seizing land from the master craftsmen. This forbade trade associations and saw the rebirth of friendly societies, which eventually saw the building society and co-operative movements and the founding of labour exchanges.

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David Boyle speculated on a Victorian curriculum-writing conspiracy – anyone remember doing 1066 over and again at school, never quite reaching back into the not-so-dark ages (and quite ignoring that most of the world wasn’t at all directly affected by the collapse of the Roman Empire, and so hadn’t even a nominal dark age) – nor getting on much in time to the twelth and thirteenth centuries when the people were pretty much as tall (and so, presumably, well-nourished) as we are today, when the universities got going, and the local economy was apparently quite thriving.

One idea worth hanging on to was that of ‘black money’ – tin coins circulated from the town or cathedral, which were only valid locally. You had to hand them in to be reminted every five years or so, and were given back proportionally less each time. Excellent encouragement to get them off your hands quickly, and this money moving about plenty was a great motivator for those local economies.

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Ann Pettifor, director of Advocacy International and occasional writer for the Guardian, spoke briefly about her own experience with debt and ideas of usury. So the basic story people tell about money is this. I plant some tomato seeds, grow some tomatoes, eat some and take the rest to market. The money I get is a result of this production. This is quite an old-fashioned way of looking at it all : the old-style usurer has a commodity of money – a pile of gold in his lordly cellar, that a peasant can come along and ask for, to fund some tomato-seed-buying, to be paid back with (usurous) interest.

The ‘bank money’ story is the one that the directors of national banks will tell you. The bank will enter a number in a ledger – the amount loaned to buy tomato seeds – and this money comes into existence at that point. Money is then the stimulus for economic activity, not the result of it. The director of the United States Federal Reserve apparently recently said, when asked by an innocent journalist where the money for his multi-billion dollar stimulus was coming from, that he just entered a number in a computer. Ann says that this is great – greater government spending will eventually pay for itself. This is almost endlessly debatable, but worth having in mind.

The whole story of usury is a fascinating one – and long to trace with any decent detail, so I’ll spare you it (mostly) for now. Suffice to say that the Old Testament says you should lend money to your brothers without expecting any gain, but it’s basically ok to make money off strangers. Then Jesus comes along and says all men are brothers in the eyes of God, shifting the balance. Next big change is John Calvin in the seventeenth century, with his ideas of the ‘elite’ – an interpretation that apparently makes it ok to lend to absolutely anyone at a profit. Lewis Hyde has a great anthropological look at the whole thing in a chapter in his book, ‘The Gift’, if I’ve whet your appetite much.

Coming home, I felt nicely treated to a smorgasbord of intellectual fare, as well as the best goats cheese and sundried tomato quiche I’ve seen in a while – I steered a little clearer of the authentic ‘medieval’ turnips. Perhaps finally unsatisfying, though – so much seemed either intriguing one-issue policy or merely historical round-up, there was little real addressing of the way to get to agrarian harmony or utopian co-operation from this world we find at our feet.

Categories ,economics, ,guilds, ,medieval, ,monks, ,usury

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