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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Olivia Rubin (by Amelia)

After being amazed by Masha Ma, cialis 40mg I had a short break before heading back into the Freemasons Hall to see Jazzkatze’s A/W 2011 collection. I had collected my ticket from Matt only a couple of hours earlier that morning and was eager to see what was on offer, price not being familiar with Ayumi Sufu’s designs.

Jazzkatze was founded by Central Saint Martins graduate Ayumi Sufu who began her career working for Vivienne Westwood, here Shelley Fox and Bernhard Willhelm. After returning to her native Japan she set up Jazzkatze, influenced by her surroundings whilst growing up; the old and the new, mixtures of traditional and westernisation and the chaos and energy of Tokyo.

Illustrations by YesGo!

Her A/W 2011 collection is named ‘The Name of the Rose’ and is inspired by the intellectual mystery novel of the same name written by Umberto Eco. The novel is said to reflect ‘the paradoxical relationship of existence made by you and your memories’.

Sufu introduced two signature prints in a selection of tones: one featuring scarlet and charcoal roses and another using snow covered ground in shades of grey strewn with blood-splattered roses.

Illustration by Stéphanie Thieullent

The palette also covered burgundy, nude beige and navy in a wide array of fabrics including sheer mohair knits, satin, chiffon and Melton wool. Tights were beautifully embellished with clusters of pearls, giving cohesion to the eclectic mix of looks.

Hair was woven with electric blue and white strands and swept into futuristic towering piles held in place by tightly wrapped ribbons. Prominent pieces in the collection included a lambskin skirt, a synthetic fur panelled half skirt worn over print trousers, a medieval-inspired hooded dress and a print jumpsuit.

The looks in the collection were diverse and a brave sense of of experimentation was evident Sufu’s wide-ranging field of influences working playfully alongside eachother. Opposing textures and shapes were paired boldly with no fear of eccentricity; her experience gained working with Wilhelm has clearly given her the confidence to have fun with her work.

Illustration by Gareth A Hopkins

She is described in her press release as “undeniably Tokyo, eccentrically London, creatively Antwerp, femininely Paris” which initially sounds like the usual give-or-take blurb you can find on handouts at London Fashion Week, but on reflection I think this is spot on. Sufu is clearly unafraid to take on several diverse ideas and see them through, rather than trying to force them to fuse together and lose the initial inspiration in the process. The collection offered a refreshing and individual aesthetic and I look forward to seeing what she has in store for us next season…!

All photography by Naomi Law

See more of Gareth A Hopkins’ illustrations in Amelia’s Compendium of Fashion Illustration.

There is something slightly uneasy about Zoë Barker’s ‘Values’ series. Not the art itself, for sale 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 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 Gareth A Hopkins

After being amazed by Masha Ma, see I had a short break before heading back into the Freemasons Hall to see Jazzkatze’s A/W 2011 collection. I had collected my ticket from Matt only a couple of hours earlier that morning and was eager to see what was on offer, not being familiar with Ayumi Sufu’s designs.

Jazzkatze was founded by Central Saint Martins graduate Ayumi Sufu who began her career working for Vivienne Westwood, Shelley Fox and Bernhard Willhelm. After returning to her native Japan she set up Jazzkatze, influenced by her surroundings whilst growing up; the old and the new, mixtures of traditional and westernisation and the chaos and energy of Tokyo.

Illustrations by YesGo!

Sufu introduced two signature prints in a selection of tones: one featuring scarlet and charcoal roses and another using snow covered ground in shades of grey strewn with blood-splattered roses.

Illustration by Stéphanie Thieullent

Illustration by Gareth A Hopkins

All photography by Naomi Law

See more of Gareth A Hopkins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Olivia Rubin A/W 2011 by Jane Young.

Every now and again London Fashion Week throws out a curveball and you end up in the most random of places with the most ridiculous collection of people, information pills wondering what the hell is going on. The Olivia Rubin show was just such an occasion.

I was very early to this show – a confluence of circumstances that left me standing at the front of a line outside the Jalouse nightclub in central London until I was completely numb with cold. From my prime vantage point I was able to ogle as the paps pounced on a series of D-Z list celebrities. I recognised Konnie Huq and footballer’s wife Danielle Lloyd but after that it was anyone’s guess. In my mind it’s never a good idea for the guests to overshadow a fashion show, there and especially not if I haven’t got a clue who they are.

Olivia Rubin A/W 2011. Photography by Amelia Gregory.

Once the celebs had been swept into the hallowed basement of Jalouse I too was invited in. I picked up a drink and swiftly headed towards the sunken seating area, ignoring the protestations of the press girl to wait and see if there was space later on. As if! We’ve run an extensive interview with Olivia Rubin on this website and I didn’t much feel like standing around on my own anymore, so I plonked myself down next to a friendly looking bunch of people on a curved sofa. I soon discovered that the lad next to me was on work experience at a fashion magazine and somewhat in thrall to his first fashion week. Herein is revealed the ridiculousness of seating arrangements at fashion shows – at the end of the day they are completely arbitrary. Depending on who you know and whether you’re bolshy enough you can sit wherever you want, be you intern or editor.

Olivia Rubin by Karolina Burdon.

As guests slowly filled the club celebrities stepped up on to the catwalk at my head height to pose for the paps. First Danielle, swishing her hair this way and that like a prime racehorse. Then, to my delight, Laura Goodger and friends from The Only Way is Essex. Don’t worry, I had to look up her full name. I did watch a few episodes, but I’m not THAT SAD. By this point I was gobsmacked by the stunning level of celeb-dom in attendance. I later discovered that another fashion PR had been approached for tickets by the *cast* of The Only Way is Essex, but had rapidly turned them down as way too tacky. I must say, I don’t really understand the logic. Rather than making me think, way-hey, this must mean Olivia Rubin is really cool… it made me utterly distracted… anthropologically fascinated by these strange creatures.

Olivia Rubin A/W 2011. Photography by Amelia Gregory.

The result? I spent the entire catwalk show trying to capture Lauren pouting and preening, rather than concentrating on the clothes – which in any case were hard to see against the glare of flashbulbs. Famous model Olivia Inge certainly enjoyed herself too; gurning at friends in the audience as she pranced down the catwalk.

Olivia Rubin A/W 2011. Photography by Amelia Gregory.

In a way it’s a shame that there was so much flimshaw surrounding this show because Olivia Rubin makes very cute clothes that feature colourful, fun prints and simple 80s styling. This collection encompassed giant splodgy animal prints, flowery brick designs and lacey goodness. To my mind not at all Essex.

As soon as the show was done the music leapt up to dancing volume, and yet more Essex girls headed to the toilets to touch up wondrously over-wrought hair and make-up that must surely have taken all day to perfect. I could happily have stayed next to the basins all night with my camera, but Matt and I instead drank free cocktails and put the world to rights.

You can read Matt Bramford’s fabby review here. Read our interview with Olivia Rubin here.

Written by Amelia Gregory on Tuesday March 8th, 2011 8:50 am

Categories ,80s, ,Danielle Lloyd, ,Essex, ,Jalouse, ,Jane Young, ,Karolina Burdon, ,Konnie Huq, ,Laura Goodger, ,lfw, ,London Kills Me, ,Matt Bramford, ,Nightclub, ,Olivia Inge, ,Olivia Rubin, ,The Only Way is Essex

Amelia’s Magazine | Graduate Fashion Week 2012 Gala Awards Ceremony: Part One

Matthew Williamson by Ruth Joyce

Twelve hundred students descend on Earls Court Two for Graduate Fashion Week every year. About a quarter of them get the opportunity to showcase their collections during one of the 16 fashion shows that are held over four days. In a dramatic climax – the Gala Awards show – 10 students are selected to present their work for a second time in the hope of receiving the coveted Gold Award.

All photography by Matt Bramford

So, like the fashion industry itself, chances of making it are pretty slim. 10 incredible collections graced the catwalk in the finale and I honestly couldn’t pick a winner – celebrity judges like Matthew Williamson and Julien Macdonald commented on the incredible standard exhibited of not only those who had been selected as a Gold Award nominee, but every college.

Julien Macdonald by Claire Kearns

Here’s a photographic whistle-stop tour of the awards ceremony:

INTERNATIONAL AWARD

Yvonne Kwok – Amsterdam Fashion Institute

Zhu Liyuanzi – Istituto Marangoni Milan

WINNER: Karen Jessen – ESMOD Berlin, presented by Julien Macdonald, Sara Maino from Vogue Italia & Caroline Burstein from Browns.

STUART PETERS KNITWEAR AWARD

Emma Walsh – Nottingham Trent University

Jousianne Propp – Manchester Metropolitan University

Caitlin Charles Jones – Kingston University

Judges Ruth Chapman from Matches, Erica Peters from Stuart Peters and knitwear designer Mark Fast couldn’t decide, so Caitlin and Jousianne both scooped the award!

ZANDRA RHODES TEXTILES AWARD

Daisy Lowe by Ruth Joyce

Amelia Smith – Northumbria University

Dae-Byn Lee – Nottingham Trent University

Roz Lamkin – Manchester Metropolitan University

WINNER: Xiaoping Huang – UCLAN, presented by Daisy Lowe and Mary Katrantzou

BARCLAYS NEW BUSINESS AWARD

Holly Reid – UCLAN, presented by Tabitha Somerset-Webb (Project D) and Michelle Mone OBE

FASHION INNOVATION AWARD

Ami Collins – UCLAN, presented by Lorraine Candy of ELLE magazine and designer David Koma

MEDIA & DESIGN AWARD

Kerrie Donelly – UCA Epsom, presented by Fashion Editor-at-Large Melanie Rickey and ID magazine‘s Jefferson Hack (swoon)

STAND DESIGN AWARD

Edinburgh College of Art, presented by designer Fred Butler and Harvey Nichols‘ Yuri Nakamura

GEORGE BEST OF BRITISH AWARD

Susanna Yi – University of East London, presented by TV presenter Caroline Flack and ASDA fashion director Fiona Lambert

GEORGE CHILDRENSWEAR AWARD

Harriet Simons – Colchester, presented by singer Louise Redknapp and Fiona Lambert

MULBERRY ACCESSORIES AWARD

Laura Smallwood – Kingston University, presented by Mulberry‘s Tori Campbell

ETHICAL AWARD

Sarah Murphy, Northumbria – presented by stylist Jocelyn Whipple and film producer/eco hero Livia Firth

LIFETIME ACHIEVEMENT AWARD

Legendary catwalk photographer Chris Moore, presented by designer Jeff Banks

Part Two, featuring the major players and the menswear, womenswear and Gold Award winners, coming soon…!

Written by Matt Bramford on Wednesday June 20th, 2012 10:15 am

Categories ,accessories, ,Amelia Smith, ,Ami Collins, ,Amsterdam Fashion Institute, ,ASDA, ,Awards, ,Caitlin Charles Jones, ,Caroline Flack, ,Caryn Franklin, ,Catwalking.com, ,Ceremony, ,Childrenswear, ,Chris Moore, ,Claire Kearns, ,Colchester, ,Dae-Byn Lee, ,daisy lowe, ,David Koma, ,Earls Court Two, ,Eco Age, ,Elle, ,Emma Walsh, ,Erica Peters, ,ESMOD Berlin, ,Essex, ,fashion, ,Fiona Lambert, ,Fred Butler, ,Gala, ,George, ,Gold Award, ,Graduate Fashion Week, ,Harvey Nichols, ,Holly Reid, ,ID Magazine, ,international, ,Istituto Marangoni Milan, ,Jeff Banks, ,Jefferson Hack, ,Jousianne Propp, ,Julien McDonald, ,Karen Jesson, ,Kerrie Donnelly, ,Kingston University London, ,knitwear, ,Laura Smallwood, ,Lifetime Achievement, ,Livia Firth, ,Lorraine Candy, ,Louise Redknapp, ,Manchester Metropolitan University, ,Mark Fast, ,Mary Katrantzou, ,matches, ,Matt Bramford, ,Matthew Williamson, ,Melanie Rickey, ,menswear, ,Michelle Mone OBE, ,Mulberry, ,New Business, ,Northumbria University, ,Nottingham Trent University, ,Project D, ,Roz Lamkin, ,Ruth Chapman, ,Ruth Joyce, ,show, ,Stuart Peters, ,Susanna Yi, ,Tabitha Somerset-Webb, ,Tori Campbell, ,UCA Epsom, ,UCLan, ,UEL, ,Womenswear, ,Xiaoping Huang, ,Yuri Nakamura, ,Yvonne Kwok, ,Zhu Liyuanzi

Amelia’s Magazine | Hetty Rose: how to create beautiful shoes from old kimonos

Tania Kowalski was a workshop manager at a well-known contemporary jewellery gallery in London when Synnove Saelthun arrived from New York to join the design team. They soon discovered that they had similar views on design and business ethics, more about cialis 40mg and became good friends. Several years later they started the Oria brand, prescription using Synnove’s design skills and Tania’s production expertise. Synnove is a technically brilliant goldsmith with a passion for design and an eye for detail. Tania is a trained jeweller, viagra with a wide range of experience in the jewellery industry, from design creation through to production. Her expertise includes sourcing ethical materials and ensuring fair business practice.

Tania’s passion for other cultures has led her to visit remote tribes in the Amazon of Brazil, hill tribes in Nepal and the Dogon people of Mali. It was during these travels that she became fascinated with the cultural importance and symbolic meaning of tribal adornment. When designing a new collection, the couple sit down together to discuss what the new collection will symbolise. They research and refine story boards, and after ensuring that the designs are technically feasible Synnove makes an initial prototype, the best of which will go into production.

The use of the phoenix is a symbol of honesty and justice in Chinese mythology, and is one of the inspirations for the Nina collection. The lotus symbolises purity and beauty in many different cultures, and it inspired their silver lotus collection.

Working in Nepal Tania discovered that the safe working conditions and fair living wages which we take for granted in the West are not necessarily the norm in other parts of the world. This early experience was important in persuading Tania to commit to fairtrade sourcing as a founding principle of Oria.

Vintage fashion, about it illustrated by Matilde Sazio

Kim Sklinar, viagra sale aka Preloved Reloved, cheap has set herself an interesting New Year’s challenge. For the duration of 2011, Kim isn’t going to buy any new clothes. No more high-street bargains, no more feeding corporate giants, no more fast-fashion waste, no siree. ‘Another one?’ I hear you cry – and you’d be right. But this one is a little different.

While Kim hopes to raise awareness about the amount of cheap clothing we purchase and what effects that has on the environment and people’s lives, there’s also a bigger reason closer to home. Kim’s father was diagnosed with cancer over 18 months ago, and she decided to set up the project to raise funds for Macmillan, the cancer care and support charity. Unfortunately, as of only last week, Kim’s dad won’t see the project through its fruition. But Kim will dedicate the project to his memory.

So, how do you do it? Well, Kim’s vowed to buy only vintage and from outlets like eBay, and she’ll spend more time in charity shops which also benefits all of the organisations that run them. I had a chat with her about the project and how she thinks she’ll manage it all…

Vintage shop, illustrated by Karolina Burdon

What gave you the idea for Preloved, Reloved in the first place?
Well I always like to dress a little differently. My style is mainstream with a retro edge, I suppose. I always seem to end up with a daft New Year’s resolution – last year I cycled from London to Paris for The Institute of Cancer Research. I like using my time to help others and spread awareness.

Were you a fan of vintage and upcycling before you started the project?
Yes! I always admire my friends’ outfits; well, those who wear vintage and second-hand fashion. Upcycling is something I have experimented with for ages at home and now is the time to make sure I actually finish some projects!

Where will you source your outfits?
Charity shops, vintage stores, eBay, my mum’s wardrobe…! I made a lined cape last night from linen and satin for balmy summer nights (booking a holiday soon!).

Charity shops, illustrated by Rukmunal Hakim

What does the project hope to achieve?
I want to raise awareness of numerous charities related to my Dad’s illnesses. I want my friends to know that too much of an unhealthy lifestyle is probably going to lead to an early demise. I also want to raise the profile of vintage and second-hand fashion; I remember as a kid we use to take the mick out of anyone who dressed from a charity shop. I myself as a student had a stigma against them. Now it’s become kitsch, cool and quirky. It’s good for the environment.

How much do you hope to raise and what are the funds likely to be used for?
£2500 is my Just Giving target – it goes directly to Macmillan. However, with my shopping at many different charity shops, my cash goes straight to them – win win all round! I have my thinking cap on about how to expand the project though.

eBay! Illustration by Avril Kelly

Why did you choose Macmillan?
My dad (and his dad) had cancer – he died last week unfortunately. And it wasn’t the cancer that killed him, it was his heart and his adult-onset diabetes. A poor lifestyle in his twenties and thirties caused it and he was only 57 when he passed. So as I said before, this project benefits other charities focussing on these causes too through me spending money at their outlets.

Not that far in, but have you come accross any problems so far? Has anything that happened that you weren’t expecting?
Avoiding shops is quite hard as I realised I can’t just pop into the Topshop sale and treat myself – which I suppose is good for my wallet and I’m going to do less impulse-buying on the way home from work.
With my Dad passing, I haven’t had as much time to go browsing shops as much as I’d like. This weekend, however, I’m going to the Girls of Guildford vintage fair and gig – for some serious retail therapy, cupcake-nomming and also to check out some great live music away from the bustle of London.

Vintage, illustrated by Jess Holt

What are you wearing today? Where’s it all from?
Dark blue skinny jeans, leather knee boots that I already owned with black and cream patterned blouse from River Island that I bought from Cancer Research UK. I’m also wearing red rose earrings from Magnolia Jewellery.

Do you plan to make or alter any of your clothes? If so, how?
Yes – I love sewing and making jewellery too – I made a cape last week and have upcycled a pair of old, torn jeans from my uni days into a denim mini. I have a small collection of retro patterns including a lovely dress with a pussy bow. I love being able to create something out of fabric I love: last year I went to a lovely Indian wedding and couldn’t find The Outfit – so I made a purple maxi-dress with a halterneck and glammed it up with ribbons dangling down my back. Saved myself a fortune too!

Illustration by Gilly Rochester

What else do you get up to?
I run Never Enough Notes – a music e-zine, and I’m cycling the London-Brighton this summer with my brother and friends to raise money for the British Heart Foundation.

What would be your perfect Preloved, Reloved outfit?
For daytime it would easily be vintage jeans, brown boots that look a bit worn-out, a floaty shirt or cheeky tee, a tweed jacket and a battered satchel.
For evening, I love ball gowns and retro dresses so would be something glam that I could wear with a pair of 1970s heels! Oh there’s way too much choice, I love it!

Photographs by Kim Sklinar

You can follow Kim’s efforts at the Preloved, Reloved blog; donate online here.

Junky Styling S/S 2010 by Aniela Murphy.

Annika Sanders and Kerry Seager are self-taught fashion designers. They started up Junky Styling after they received lots of compliments for their deconstructed and restyled secondhand suits made to go out clubbing in during the 1990’s.

What prompted your approach to dressmaking?
Our approach was initially borne out of a lack of money but it soon became a necessity for individuality and quality. At first Annika’s mother did most of the sewing so our designs were heavily directed by her.

Have you seen many changes over the years?
Aside from all the wrinkles on our faces? We have seen the tangible development of a marketplace that never existed before. Education has enabled the sustainable movement to become more widely accepted and understood, approved and now many new brands think about sustainability before they even start designing.

Where did you go out in the past and do you still go clubbing?
We went to a wide mixture of venues that hosted a similar dressy scene. It was such a brilliant time, and we still enjoy socialising and a bit of a shuffle. But we always try to ensure that we are not the oldest at the bar…

Read the rest of this interview and see more illustrations of Junky Styling’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
You’ve been going for a very long time. Have attitudes to ethical fashion started to change yet?
Consumers are starting to question the huge exploitation of people and the environment that permits their clothing to be so cheap, treat because it doesn’t add up. There is still a long way to go but the fashion industry is slowly changing the way it does business.

What has the People Tree brand achieved?
We support 5, website like this 000 farmers, case artisans and their families in developing countries by producing well designed fairtrade and sustainable products. For us it’s about creating sustainable livelihoods that put food on the table at the end of the day.

You’ve collaborated with both Bora Aksu and Karen Nichol. What have they brought to People Tree?
We’ve worked with Bora for four years because we share the view that good fashion design should last for years. He is a master of beautiful, feminine draped designs that we produce in organic and fairtrade cotton, and we’ve already started designing an exciting new collection for S/S 2012. Like me Karen is passionate about handicrafts and she loves traditional Japanese textiles and designs. She works with our hand knitters in Nepal to create beautiful appliquéd and hand embroidered embellishments
You’ve been going for a very long time. Have attitudes to ethical fashion started to change yet?
Consumers are starting to question the huge exploitation of people and the environment that permits their clothing to be so cheap, see because it doesn’t add up. There is still a long way to go but the fashion industry is slowly changing the way it does business.

What has the People Tree brand achieved?
We support 5, try 000 farmers, artisans and their families in developing countries by producing well designed fairtrade and sustainable products. For us it’s about creating sustainable livelihoods that put food on the table at the end of the day.

You’ve collaborated with both Bora Aksu and Karen Nichol. What have they brought to People Tree?
We’ve worked with Bora for four years because we share the view that good fashion design should last for years. He is a master of beautiful, feminine draped designs that we produce in organic and fairtrade cotton, and we’ve already started designing an exciting new collection for S/S 2012. Like me Karen is passionate about handicrafts and she loves traditional Japanese textiles and designs. She works with our hand knitters in Nepal to create beautiful appliquéd and hand embroidered embellishments
How did the idea of working with old porcelain come about?
I was tired of producing other peoples’ ideas (as a stage producer) so in 2007 I decided to start working on my own project, dosage which soon developed into my rapidly growing label, stomach Sägen. I go to flea markets as often as I can for inspiration and to collect source material; I have amassed a huge collection of vintage buttons as well as piles of chipped and damaged porcelain that is no longer wanted. I like to work with my hands and I love turning items from the past into modern accessories.

Sägen means Old Saga in Swedish – why did you chose this name for your brand?
I come from a small island called Gotland in the middle of the Baltic Sea and I have wonderful memories of listening to all the old myths when I was a kid. I came up with the idea for Sägen when I was there and the name reflects my interest in recycling a little bit of history into new treasures, so I find the name very suitable.

How do you cut the porcelain and set it in silver?
I cut and grind the porcelain with machines, which is a very dirty, dusty and dangerous job: I have been close to losing my fingers many times. When I am working in my basement studio I forget about everything else, instead focusing on the patterns that I am obsessed with. I decide what shapes to make up depending on the motifs in the porcelain, then I set the porcelain in silver (which is 98% recycled) so that it curves, bends and stretches around the shape I have cut out.

Ivana Basilotta S/S 2011 by Bex Glover.

Ivana Basilotta is Italian but has lived in Germany as well as the UK. She channels her observations of different cultures into her work, treatment sometimes the ideas flowing so fast that her pen can’t keep up and her scissors can’t cut the fabric fast enough. Quite often she only realises she was inspired by a certain idea once the collection has been finished. Having previously studied business Ivana is well placed to run her label, prostate and feels that a good business knowledge is as important as the creative force of a design house.

A committed vegetarian, she designs with peace silk, which is made in India without the killing of the silk moth. Because peace silk is spun as a fibre rather than reeled as a thread it is warmer and softer than ordinary silk. “I cannot imagine eating meat,” she says. “I find it strange that people eat dead animals.” She feels that being a vegetarian brings a great sense of freedom and well being, and it is an easy way to lead a greener life. “Farm land that could directly produce food for humans is used to farm and feed animals for slaughter, which uses up far more resources.” She does not like to imagine the stress and sorrow that farmed animals must experience, and wants no part in it…

Read the rest of this interview with Ivana Basilotta in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
bex_glover_howies_collection
Howies by Bex Glover.

Howies has since 1995 pioneered the creation of ethical active clothing with a strong design aesthetic. Based in Cardigan Bay, case Wales, remedy the company has built up a devoted fan base via its affiliation with outdoor sports such as surfing, order mountain biking and skateboarding. Products are made from high performing sustainable fabrics that will last, with a proportion of profits ploughed back into grassroots social and environmental projects via the Earth Tax. Although some clothes are made in China and Turkey they ensure best practice by employing the same factories as other companies they trust, such as M&S…

Read the rest of this interview and see more illustrations of Howie’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Hetty Rose by Lesley Barnes.

You make bespoke shoes… if I wanted a pair of shoes for myself how would the process work?
I create a collection each season from which clients can choose a design, ailment then they decide which vintage Japanese kimono fabric they would like their shoes made up in. Clients can alter the shape and height of the heel so that the shoes are totally unique to them. I usually meet them personally if they are UK based, and we have tea whilst I measure their feet and bring them fabric samples to muse through. It’s a very interactive purchase, with the client involved in every step of the design because I want them to have an emotional attachment to the shoes so that they will treasure them and love wearing them. I email them photos during the process of making the shoes so they can see them being created. At the halfway point they are ready for a fitting and after that I finish off the sole and attach the heels. The whole process takes around six to eight weeks and prices start from £350. With international clients everything is done via email – it’s exciting for them to receive a pair of shoes all the way from a little workshop in England.

How else can someone get a pair of your shoes?
Following increased sales and press attention we have decided to extend the Hetty Rose brand to a wider audience, who will be able to own a precious piece of designer footwear at a more affordable price point and without the long wait for a pair of bespoke shoes. Our Ready to Wear collection features some of our best selling styles in kimono fabrics, and can be bought directly from our website. In the future I plan to add more accessories such as bags, baby shoes, homewares and ties for men…

Read the rest of this interview with Hetty Rose in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Written by Amelia Gregory on Monday January 24th, 2011 10:57 am

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,bespoke, ,Eco fashion, ,Essex, ,Ethical Fashion, ,footwear, ,Henrietta Samuels, ,Hetty Rose, ,japanese, ,kimono fabric, ,Lesley Barnes, ,menswear, ,Ready-to-wear, ,recycling, ,shoes, ,Ties, ,Upcycling

Amelia’s Magazine | Alternative Fashion Week 2010 at Spitalfields Market: a review of Day 2

doves promo
Alternative Fashion Week Spitalfields 2010

Alternative Fashion Week is a funny old beast, look one that I’ve been getting to know rather well over the past week. And really getting to become rather fond of. Every day I rock up at 1.15pm with no idea of what the day’s catwalk show will bring. Generally I come skidding to a halt on my bike just as the stout lady with the microphone finishes giving her daily spiel to the audience, which is a funny old mixture of family, friends, industry pundits (apparently, though I didn’t seen anybody I know) and interested city boys and labourers.

Alternative Fashion Week Spitalfields 2010

On Tuesday I was still a novice, so I asked the lady at the back with a clipboard if I could sit down – being as I was press and that’s what it said on my ticket. “No.” She told me bluntly. “Not if you haven’t reserved a seat.” Oh alright then.

Alternative Fashion Week Spitalfields 2010
Don’t hassle this lady. She’s very busy. She ensures that everyone gets out on the catwalk on time.

One major issue with this event is the lack of surrounding information – Alternative Fashion Week doesn’t have much of an online presence and the bumpf that I got sent in the post was basic to say the least. It certainly didn’t warn me that I needed to RSVP or go fuck myself. I always find it amusing how, because of the way I dress and the fact that I carry a big professional camera with me (photographers generally being the scum of the earth and all that), I am treated in a certain way. Oh world of fashion, you do make me larf. Still, I like to travel incognito, so it suits me.

Alternative Fashion Week Spitalfields 2010
Some of the audience really aren’t going to help you get ahead in fashion – bemused city workers look on.

Alternative Fashion Week Spitalfields 2010
The band. They’re quite naff.

Now I actually think that the lack of a seat was a blessing in disguise – I spent about ten minutes on day one attempting to watch the catwalk shows front stage before realising that there was far more fun to be had hanging around the back, where a big old melange of models, designers, city workers, pervy middle aged male photographers and screaming organisers raced about like mad things – it made for far more interesting photos, and I got to boss the girls around when they come off stage. (Something none of the other photographers seemed to do. It must be something to do with my background as a fashion photographer because I have no qualms with telling a model how to pose. Though of course the rest of the cameras descended in front of me like locusts once I’d arranged a shot.) So whilst I can report generally on the outfits, I have no idea what any of the catwalk presentations were like. Not that I think that matters – it’s the clothes that are important, right?

Alternative Fashion Week Spitalfields 2010
“Hello young lady, can I take a photo of you because you don’t appear to have a bra on.” Believe me, there was only a pair of nipple tassles under that jacket.

The standard at Alternative Fashion Week is massively variable but amongst the huge quantity of stuff there are some really interesting designers to be found – ones that I would wager money on becoming successful. So it’s important to give into the undeniable exuberance of the occasion: everyone is quite simply having a ball. Some of the “models” may be slightly ropey, some of the designs outstandingly bad, but the fact that such an event exists to promote up and coming talent is a good thing. It’s just a shame they don’t have more resources to make sure that each designer gets as much promotion as possible: I had real trouble trying to figure out which was which. And that I at least had the choice of a seat if I had wanted.

Alternative Fashion Week Spitalfields 2010
Model or mum? You decide. Perhaps both. There are all comers here.

Alternative Fashion Week Spitalfields 2010 Alex Seroge
Alex Seroge showed a very strong collection.

Alternative Fashion Week Spitalfields 2010
Great styling from Hayley Trezise.

Over the week I have got better at making a note of who all the designers are, no mean feat when juggling camera, iphone and twitter updates. So if you see your work on my website and it hasn’t been properly credited do drop me a note and let me know. I’ve also learnt a lot about what you should and shouldn’t do at Alternative Fashion Week if you want to make an impression – and that shall be the subject of another post.

Alternative Fashion Week Spitalfields 2010
Alternative Fashion Week Day Spitalfields 2010

Kimberley Startup.

Alternative Fashion Week Day Spitalfields 2010
Havering College get ready to go on stage.

Alternative Fashion Week Day Spitalfields 2010
Adel Andic.

Alternative Fashion Week Day Spitalfields 2010
Maartje de Man.

Alternative Fashion Week Day Spitalfields 2010
It’s tough when your bum is hanging out in the street.

Alternative Fashion Week Day Spitalfields 2010
Checking through the running order backstage.

Alternative Fashion Week Day Spitalfields 2010

Having free-fallen into the darkest depths of despair after the imploding of his band The Czars in 2004, page John Grant now makes a welcome return to the music scene with the help of Texas soft-rockers Midlake, sick who provide the acoustic backdrop for his rich, sickness delicate, velvet-lined vocals.

Drawing on the musical influences of early 1970s Americana, reminiscent of Jackson Browne, Neil Young and – dareIsayit – Elton John, Grant’s debut solo offering does have an easy AM melody radio vibe to it; however, don’t be fooled as the stark contrast of the subject matter demands a closer listen.

Queen of Denmark is a heartbreaking and soul-baring record dealing with the joys and pains of love, depression, destruction, isolation, being gay, wanting to kill yourself, and redemption – so pretty light-hearted stuff, really.

The album opens with ‘TC and Honeybear’, a poignant torch song about insecurity, love and loss, showcasing Grant’s tender baritone bursting with emotion against neat finger picking, fluttering flute and celestial soprano. This is followed by ‘Marz’, a track with dreamy sentiments which wouldn’t sound out of place for an eerie film’s closing credits about lost youth. Here we are projected back to the comfort blanket days of Grant’s youth when life’s complexities passed him by. Grant wistfully reflects on the beauty of childhood innocence by listing the fantastic Willy Wonka-style names of sweets and treats of his local candy store.

Even when Grant is battling with his own crippling insecurities, he manages to do this with heart-clutching humour and sincerity. ‘Sigourney Weaver’ opens with melodramatic-infused synth, where he compares himself to the actress when she battles with the aliens; a parallel that he draws to how he was feeling following his move from Michigan to Colorado, on the cusp of puberty, and being ostracised at school for being gay.

In dealing with gloom, Grant often uses humour and wit as an antidote for his pain and suffering, which he demonstrates aptly in the sprightlier ‘Silver Platter Club’. As orchestral string arrangements are traded for Beatles-inspired ragtime, complete with parade-style trumpet, Grant gets his own back by poking fun at the ‘jocks’ he went to school with who had the looks, athleticism and natural effortless masculinity, which he longed for when he was growing up, along with the durable personality: ”I wish I had no self awareness like the guys I know…who float right through their lives without a thought”.

This upbeat pace continues to weave itself into the record’s tapestry in ‘Jesus Hates Faggots’, where Grant draws on his traumatised experience of growing up gay in a religious household in small town America to direct his bile against his family and conventional society as a whole. Grant dramatically opens with: “I’ve been uncomfortable since the day I was born” to muted synth and dirty bass, with further revealing lyrics about having to face his internal demons about coming to terms with his sexuality: “I can’t believe that I’ve considered taking my own life because I believed the lies about me were the truth”.

In ‘Caramel’, Grant adopts a Jeff Buckleyesque vibrato to expose himself like an egg without as shell on one of the strongest tracks on the album. Essentially a tale of an overwhelming and consuming love, the honest and tender lyrics accompanied by simplistic piano and hypnotic synth leaves you with the feeling of being suspended into the thick darkness of space, drifting to the edges of the unknown, whilst admiring the luminous beauty of the stars from afar.

The album comes to a dramatic close with title track ‘Queen of Denmark’, which takes on a Nilsson-cum-Meatloaf slant, lyrically delivered with heartbreaking yet humorous candour: “I wanted to change the world but I couldn’t change my underpants…(my hairline) keeps receding like my self confidence”. A highly charged ballad that deals with relationship and self-destruction alike, Grant’s vocals swell with his distaste for himself and the world in general to the point where he is almost exploding with anger and frustration. A bipolar track which has Grant swinging between emotional extremes like a pendulum, it’s a raw and honest account of a person on the verge of complete annihilation and a fitting grand finale to an album fuelled by a deadly cocktail of impossible pain, regret, fear, alienation, hatred, anger and self-discovery.

Despite the danger of being labelled as just another emotionally battered singer-songwriter, Grant manages to succeed where others have failed by combining his deeply sad experiences with caustic wit and foresaking his dignity to gain compassion and sympathy. However, all of this is not without credit to Midlake. If Grant’s warm baritone and heartfelt lyrics are a high-rolling Michelin-starred gourmet meal then Midlake’s flawless orchestral arrangements would be the fine vintage wine washing it down.

The path of transforming pained experiences into exquisite art forms is a well trodden one and Queens of Denmark is certainly Grant’s testament to this. For someone who has suffered such debilitating self-criticism and self-hatred throughout their lives to the point where they have even questioned the notion of living, you can’t help but want Grant to succeed.

And with the album released to critical acclaim, a US tour already underway and a European tour starting in June, Mr Grant’s darker days may have well and truly found their place behind him.

Hayley Trezise at Alternative Fashion Week 2010. All photography by Amelia Gregory.

Day two at Alternative Fashion Week was my first full day in attendance at Crispin Place in Spitalfields, cheap and the minute I rounded the corner into the market I was met by Hackney Community College lined up to go on stage. From a brave man bearing streaks of red body paint and what looked like an extremely bad Doctor Who monster costume to the girls in towering swathes of messed up material, pilule it looked like there had been a serious riot in the art department. A promising start it was not, but such is life at Alternative Fashion Week.

Alternative Fashion Week 2010 Hackney Community College

Hackney Community College “wows” at Alternative Fashion Week.

After a tacky collection of short leather skirts that might be favoured by the denizens of Essex nightclubs things quickly began to look up. Charlie Chambers recycled old clothing to show an eclectic mash up of print and colour on barefoot girls.

Alternative Fashion Week 2010
Tacky.
Alternative Fashion Week Day1 2010 Charlie Chambers

Charlie Chambers. Not tacky.

Sample Remix is the label of designer Stacey Richards, who had named her collection Acedia, meaning “state of torpor“, often the result of spiritual atrophy. To describe this out of balance state she used strange proportions. The result? A collection chockfull of corsetry and bondage references, which meant it was a great hit with photographers. I particularly liked the delicate metal mouth muzzles which were made in conjunction with a jewellery designer. Not practical by any means, and I’m not sure what they mean, but a lot of fun visually and bound to be a hit with stylists.

Alternative Fashion Week 2010 Sample Remix by Stacey Richards

Stacey Richards of Sample Remix.

A towering collection of blonde girls had been selected to model Kimberley Startup’s collection, titled Come On Now Kimi, Grow Up. In brightly coloured shoes and socks they sported sculptural clothing in pastel shades of lime, orange and lilac. A puffball dress inspired by the stackable rings of a children’s toy was perhaps not the most flattering of outfits, but the styling was clever, particularly the use of actual toys – I enjoyed the wooden train set over shoulder look. Better than a fur stole any day.

Alternative Fashion Week Day 2 2010 Kimberley Startup

Kimberley Startup herself.

Next up was a highly polished collection from Georgia Nash, also heavy on the wooden toy front. Based on the Nutcracker – ‘The nut was too strong to crack’ – it even featured painted toy soldiers attached to the heels of shoes and a strong colour palette of red, black, cream and forest greens. I loved the layered ruffles in different fabrics and the use of oversized pearl beading embellishments. When I spotted Georgia herself backstage she was also wonderfully dressed in cascading layers.

Alternative Fashion Week 2010 Georgia Nash

Georgia Nash backstage.

Tanya Smith showed The Natural Look, with a purple and coral collection featuring huge rounded shoulders and massive print collars inspired by the shapes of exotic flowers at Kew Gardens. There were a few very promising pieces in this collection and I look forward to seeing what she does next.

Alternative Fashion Week 2010 Tanya Smith
Tanya Smith.

Dorota Damian is a petite blonde Polish girl and for this show she took inspiration from the traditional shapes and embellishments of her homeland to present a strong monochromatic tailored collection. Her website may be naff, but if you can overlook that there were some very pretty and accomplished garments in her line up.

Alternative Fashion Week 2010 Dorota Damian

Dorota Damian.

Hayley Trezise won my styling award of the day, thanks to her troupe of frizzyhaired feathered models in gently tailored ruffled concoctions in a range of neutral tones. Better still, her Raggedy Compare Readings collection used entirely recycled fabrics. I’d love to know more about this designer.

Hayley Trezise at Alternative Fashion Week 2010

Look out for my next blog post, day three, coming soon…

Written by Amelia Gregory on Tuesday April 27th, 2010 4:14 pm

Categories ,Alternative Fashion Week, ,Charlie Chambers, ,Dorota Damian, ,Essex, ,Georgia Nash, ,hackney, ,Hayley Trezise, ,Kimberley Startup, ,Sample Remix, ,Stacey Richards, ,Tanya Smith

Amelia’s Magazine | Jerwood Drawing Prize 2011: Exhibition Review

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
Homage to Anonymous by Gary Lawrence (detail).

This year the Jerwood Drawing Prize grows more influential than ever. During his speech at the opening of the exhibition last night art historian Tim Marlow told us that there were a record number of entrants this year: 1, ampoule 779 artists submitted 3, ambulance 354 entries in total. In describing the continuing importance of drawing judge Tim Marlow drew our attention to the new Degas exhibition at the Royal Academy of Arts which opens this weekend. It concentrates on Degas‘ relationship with the new disciplines of photography and film as he explored ways of recording movement in ballet 150 years ago. Despite the prevalence of these other mediums today they can never entirely replace the visual discipline of drawing.

Without further ado here’s the work of the winners, order and my favourites from a selection of everything else.

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
I was drawn to Homage to Anonymous by Gary Lawrence the minute I stepped foot in the gallery. This giant biro drawing is a complex, surreal, fantastic piece of artwork. Gary accepted this years Jerwood Prize turned out in scruffy tracksuit bottoms with a greying beard and described his drawing as ‘a tribute to all the anonymous artists through history who made work but are unrecognised.’ The Essex based artist took a year to create his work of art, which was based on a view of Pothea on the Greek island of Kalymnos, which he visited on holiday. Over time the drawing gradually transmogrified into something far more complex, taking on historical references to town views by other artists across time.

The Cut (detail) by Jessie Brennan Jerwood Drawing Prize review 2011-The Cut (detail) by Jessie Brennan
The Cut (details) by Jessie Brennan.

Jessie Brennan‘s five metre long The Cut was inspired by oral histories of the Lea River Navigation Canal, and features a delicate array of found objects piled up in curious arrangements. Scale becomes distorted when you realise the presence of little people at the foot of the drawing.

Sketch by Nicki Rolls
Nicki Rolls took second prize in the Student Awards for her Sketch, a black and white film that screens against a sketchbook.

Lake by Kristian Fletcher
A very well deserved first prize went to Kristian Fletcher of the University of West England, who boasts ten years experience in the construction industry. His dimly lit Lake consists of an eery industrial space where hard edged architecture looms over an ominous section of chainlink fence.

Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain Andrews
Surrealism was a common theme amongst short listed entries. I particularly liked Pattern of Faerie Tales by Iain Andrews, which was stacked up loosely on a table. Giant fish lie on chicken feet tables and maidens sit beneath crepuscular bugs, in scenes inspired by the words of Tolkien.

Interior by Adam Bainbridge
Adam Bainbridge‘s Interior combines memories with absurd imaginings: tracking the formation of clay ornaments in soft focus.

Gefallener by Johanna Love.

Untitled 2 by Janine Rook.

The abstract patterns of dirt were big news: Johanna Love and Janine Rook traced the minutest amounts of fluff in delicate detail.

Untitled by robert Battams
Abstract paper layers featured in several artworks. Robert Battams used graph paper to stack patterns inspired by the fragmentations of digital recording.

Kasia Depta-Garapich‘s Organic Structure, Animation Still merges drawing, sculpture and animation in a curious fluttering object of semi-transparent layers.

Untitled by Leahy Clark
Simon Leahy-Clark stacked newspaper in random grid formations created around the missing content.

Polly Yates (folds)
Polly Yates considers herself a weaver of paper: circular cutouts and felt tips create the push and pull of space in Untitled (Folds).

Jerwood Drawing Prize review 2011-Lottie Jackson-Eeles
Explosions of colour and pattern will always turn my eye. I loved Imagery Imaginary Volume 1 by Lottie Jackson-Eeles, a concertina-ed sketchbook tracing her journeys through London in glorious colourful detail. Peeks between the pages reveal details such as wind mills and towerblocks. Do take a look at her website: there is some fabulous work on there.

Shepherd's Fry Up by Steven Lowery
Steven Lowery‘s artwork is a protest agains the mindlessness of celebrity infested tabloids and reality TV, set against a love of improvisational music – the tightly crafted words and images curling in and out of each other in Shepherd’s Fry Up.

Mouth Full of Triangles by Sally Taylor
Mouth Full of Triangles 4 by Sally Taylor is a clever and curiously amusing piece.

Jerwood Drawing Prize review 2011-Ground Truth and Deep Grief by Louisa Fairclough
Ground Truth and Deep Grief by Louisa Fairclough are simple watercolour paintings of tents, formed after ritual cycle rides taken along the Severn river at full moon. She sleeps on the ground, at the edge of the river: feeling the pulse of the tides.

Drawing Room by Fran Richardson is a large charcoal artwork, an evocative space of flouncy curtains that invites the viewer inside.

Girl Bag by Evju_Kristian
Photorealism in Girl Bag by Kristian Evju cleverly catches the sense of limbo within a narrative.

25a GF067 by Reginald S. Aloysius
Reginald Aloysius used pencil and enamel paint to create an eery netherworld, where ancient temples and airplane routes collide.

Fashion meets art. Inspired by memories and moths, Tree (Catocala) by Ash Summers perhaps unwittingly echoes the ikat patterns of the new season’s fabrics.

This year there was a greater prevalence of barely there diminutive abstracts, surely a reflection of influential judge Rachel Whiteread‘s tastes.

The Jerwood Drawing Prize is a must for all practicing artists, whatever your discipline. It runs until 30th October at the Jerwood Space and then heads out to BayArt in Cardiff and Burton Museum & Art Gallery in Devon. Full listing information here.

Written by Amelia Gregory on Wednesday September 14th, 2011 5:51 pm

Categories ,2011, ,Adam Bainbridge, ,Animation Still, ,Ash Summers, ,BayArt, ,Burton Museum & Art Gallery, ,cardiff, ,Charcoal, ,Deep Grief, ,Degas, ,Devon, ,drawing, ,Drawing Room, ,Essex, ,Fran Richardson, ,Full Moon, ,Gary Lawrence, ,Girl Bag, ,Ground Truth, ,Homage to Anonymous, ,Iain Andrews, ,Imagery Imaginary Volume 1, ,Interior, ,Jerwood Drawing Prize, ,jerwood space, ,Jessie Brennan, ,Judge, ,Kalymnos, ,Kasia Depta-Garapich, ,Kristian Evju, ,Kristian Fletcher, ,Lake, ,Lea River Navigation Canal, ,Lottie Jackson-Eeles, ,Louisa Fairclough, ,Mouth Full of Triangles 4, ,Nicki Rolls, ,Organic Structure, ,Papercutting, ,Pattern of Faerie Tales, ,pencil, ,Photorealism, ,Polly Yates, ,Pothea, ,Rachel Whiteread, ,Reginald Aloysius, ,review, ,Royal academy of arts, ,Sally Taylor, ,Severn, ,Shepherd’s Fry Up, ,Simon Leahy-Clark, ,Sketch, ,Steven Lowery, ,Student Awards, ,surrealism, ,The Cut, ,Tim Marlow, ,Tolkien, ,Tree (Catocala), ,University of West England, ,Untitled (Folds)