Fortuna

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Maria Francesca Pepe (by Helen)

by

Maria_Francesca_Pepe_Abby_Wright_LFW
Maria_Francesca_Pepe_Abby_Wright_LFW

MariaFrancescaPepe LFW A/W 2011. Illustration by Abby Wright.

It was extremely dark in that first room. Save for a few lamps casting red strips of a blood-like glow. Certain points were lit up on the model, information pills the shining metal spikes, dosage the dull sheen of black leather and the pointed hat. I will be honest now. I had to check that the model was in fact a mannequin. She was. But checking was interesting. The light was so low and I was terrified she would move suddenly. An intimidating mannequin.

red

Hels MFP 5

Hels MFP 1

I wasn’t sure whether the rest of the models would be mannequins too, but as we entered slightly more light filled rooms, it was obvious that these ones were real. But they were also a higher level of scary. Two looked like mermaids trapped on rocks. Occasionally shifting, they looked confident, bored and yet super vulnerable and TRAPPED. I felt myself want to look at them closer, but then one of them looked me in the eye. Which was a shock. These models, with their purposefully lank, long hair, dark eyes, glossy and pale skin, ghostlike sheer dresses, and fabulous golden accessories looked like aliens. Of course ridiculously beautiful aliens.

Hels MFP 5

Hels MFP 5

Photography Helen Martin

I have to say that I was mesmerised by the back of one model. She had a golden, Egyptian styled headpiece, in the shape of eyes. The three main headpieces were forged by hand in resin and carbon steel, then varnished in opalescent acrylics and hand studded with brass and Swarovski hexagonal studs. They are designed in the style of medieval shields and helmets. The tiara for me was my favourite however, it looked regal and yet delicate and pretty. Also empowering, I imagine a useful attribute for whichever land she/you/me might be in. In contrast, although also empowering, MariaFrancescaPepe‘s shoes looked like something you could definitely cause GBH with. Not pretty, pretty – fierce! In a more sultry way than Rihanna fierce. With enormous spikes at the top, their cream colour, did little to belie their extra ridiculous height and metal danger.

Hels MFP 3

Hels MFP 3

Photography Helen Martin

Like the tiara, the majority of the presentation focused on eyes. Earrings, rings and chains…. EYES. This was a small issue for me. Ever since my brother told me the details of his eye operation at five years old, and then watching Dali’s eye slitting scene – ugh- I’m feeling sick as I write, I have been afraid of anything touching eyes. Or just weird eyes. And in truth… Dali. Cue sweeping generalisation alert: In terms of films, books, art and what I have seen; the 30s, like the 70s, seem like the scariest decades to me. Thus, when the saddest and scariest looking model of them all, looked at me right in the eye, with her incredibly, INTENSELY mesmerising own eyes, I didn’t know what to do. Transfixing model.

Hels MFP 5

Model looking at me… Photography Helen Martin

It’s not surprising that MariaFrancescaPepe has been heavily influenced by Dali’s surrealism for this collection. As I read: ‘Objects of magical meaning and of inner strength. A mask hides and reveals at the same time. Eyes are a mirror for the soul. Dali’s surrealism lesson has been learnt.’ The presentation was tribal and punky, but also ethereal and ghost-like. Almost like facing your own deep reality, that of the soul’s and our desires. The ‘ahhhhhhhhhhh’ music added to these fearful and reflective thoughts. It was as if MariaFrancescaPepe had gone through Indiana Jones’s chest of treasure, added in some Alien, X Files, lots of Dali and then Marilyn Manson on top. Sounds odd, is odd – but also very interesting. It comes as no surprise that Lady GaGa apparently ‘embodies’ MariaFrancescaPepe’s accessories.

Written by Helen Martin on Friday February 25th, 2011 6:28 pm

Categories ,Abby Wright, ,Alien, ,brass, ,cuffs, ,Dali, ,Dominatrix, ,Ethereal, ,Eyes, ,Fortuna, ,Freemasons’ Hall, ,Helen Martin, ,jewellery, ,lfw, ,LFW A/W 2011, ,MariaFrancescaPepe, ,Mermaids, ,Pretty, ,Spikes, ,Swarovski, ,X Files

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Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Maria Francesca Pepe (by Helen)

by

Maria_Francesca_Pepe_Abby_Wright_LFW
Maria_Francesca_Pepe_Abby_Wright_LFW

MariaFrancescaPepe LFW A/W 2011. Illustration by Abby Wright.

It was extremely dark in that first room. Save for a few lamps casting red strips of a blood-like glow. Certain points were lit up on the model, information pills the shining metal spikes, dosage the dull sheen of black leather and the pointed hat. I will be honest now. I had to check that the model was in fact a mannequin. She was. But checking was interesting. The light was so low and I was terrified she would move suddenly. An intimidating mannequin.

red

Hels MFP 5

Hels MFP 1

I wasn’t sure whether the rest of the models would be mannequins too, but as we entered slightly more light filled rooms, it was obvious that these ones were real. But they were also a higher level of scary. Two looked like mermaids trapped on rocks. Occasionally shifting, they looked confident, bored and yet super vulnerable and TRAPPED. I felt myself want to look at them closer, but then one of them looked me in the eye. Which was a shock. These models, with their purposefully lank, long hair, dark eyes, glossy and pale skin, ghostlike sheer dresses, and fabulous golden accessories looked like aliens. Of course ridiculously beautiful aliens.

Hels MFP 5

Hels MFP 5

Photography Helen Martin

I have to say that I was mesmerised by the back of one model. She had a golden, Egyptian styled headpiece, in the shape of eyes. The three main headpieces were forged by hand in resin and carbon steel, then varnished in opalescent acrylics and hand studded with brass and Swarovski hexagonal studs. They are designed in the style of medieval shields and helmets. The tiara for me was my favourite however, it looked regal and yet delicate and pretty. Also empowering, I imagine a useful attribute for whichever land she/you/me might be in. In contrast, although also empowering, MariaFrancescaPepe‘s shoes looked like something you could definitely cause GBH with. Not pretty, pretty – fierce! In a more sultry way than Rihanna fierce. With enormous spikes at the top, their cream colour, did little to belie their extra ridiculous height and metal danger.

Hels MFP 3

Hels MFP 3

Photography Helen Martin

Like the tiara, the majority of the presentation focused on eyes. Earrings, rings and chains…. EYES. This was a small issue for me. Ever since my brother told me the details of his eye operation at five years old, and then watching Dali’s eye slitting scene – ugh- I’m feeling sick as I write, I have been afraid of anything touching eyes. Or just weird eyes. And in truth… Dali. Cue sweeping generalisation alert: In terms of films, books, art and what I have seen; the 30s, like the 70s, seem like the scariest decades to me. Thus, when the saddest and scariest looking model of them all, looked at me right in the eye, with her incredibly, INTENSELY mesmerising own eyes, I didn’t know what to do. Transfixing model.

Hels MFP 5

Model looking at me… Photography Helen Martin

It’s not surprising that MariaFrancescaPepe has been heavily influenced by Dali’s surrealism for this collection. As I read: ‘Objects of magical meaning and of inner strength. A mask hides and reveals at the same time. Eyes are a mirror for the soul. Dali’s surrealism lesson has been learnt.’ The presentation was tribal and punky, but also ethereal and ghost-like. Almost like facing your own deep reality, that of the soul’s and our desires. The ‘ahhhhhhhhhhh’ music added to these fearful and reflective thoughts. It was as if MariaFrancescaPepe had gone through Indiana Jones’s chest of treasure, added in some Alien, X Files, lots of Dali and then Marilyn Manson on top. Sounds odd, is odd – but also very interesting. It comes as no surprise that Lady GaGa apparently ‘embodies’ MariaFrancescaPepe’s accessories.

Written by Helen Martin on Friday February 25th, 2011 6:28 pm

Categories ,Abby Wright, ,Alien, ,brass, ,cuffs, ,Dali, ,Dominatrix, ,Ethereal, ,Eyes, ,Fortuna, ,Freemasons’ Hall, ,Helen Martin, ,jewellery, ,lfw, ,LFW A/W 2011, ,MariaFrancescaPepe, ,Mermaids, ,Pretty, ,Spikes, ,Swarovski, ,X Files

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Amelia’s Magazine | Meet Laura Wilson: Featured Artist from That Which We Do Not Understand

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Amelias_Magazine_TWWDU_Laura_Wilson_FORTUNAAmelias_Magazine_TWWDU_Laura_Wilson_FORTUNA
Laura Wilson is a recent graduate who runs a collaborative creative blog and illustrates for online feminist magazine Bitchtopia. She has a deep interest in neo-Paganism and ancient symbols of the divine feminine. Fortuna was inspired by the use of tarot cards for divination, and the Pagan triple Goddess of the Moon. ‘I wanted to depict the ways in which opening our minds to mystery can enhance our souls and enable us to embrace a fuller spiritual life. As a feminist, womanhood and matriarchal ideas have a big influence on my life and my art.’

Laura Wilson-Do No Harm
Where did you source the imagery used in Fortuna, and what inspired your choice of what to include?
I was inspired by divination, particularly tarot cards, and had a look through my own deck for some ideas. The artwork on tarot cards is always so beautiful, even if you don’t believe they hold any kind of power, they’re still a gorgeous collector’s item. I wanted to illustrate the idea of divination opening a person’s ‘third eye’ to the possibility of magic, and allowing them to access their spiritual intuition. I was also inspired by images of Hindu deities such as Vishnu and Kali, which prompted the many-armed character.

Laura Wilson-Pastel I
How do you create your illustrations? What processes do you use?
I like to use both traditional and digital methods in my work – for Fortuna, I started with an ink and watercolour painting, which I then added more colour to digitally. I tend to use a lot of pencil, inks and watercolours in most of my illustrations, but recently have been pushing myself to create more work just digitally, as it can be a lost less time consuming! I think I’m still in a phase of experimentation with my art; I haven’t found the process that works best for me yet, so I’m still trying out new things and finding my feet.

Laura Wilson-Pastel II
You describe yourself as a Neo-Pagan, how would you define this?
I’m not sure if I would really call myself a Neo-Pagan, but I am definitely very interested in and inspired by the culture of Paganism. It was something that I was very involved in for a while, but over time I’ve moved away from believing in one thing and I’m now in a state of just being very open to the possibilities of spirituality while at the same time being aware that we can’t really be sure of much in this world. That’s one of the things I admire most about Paganism; it acknowledges the mystery and mysticism of the universe and never tries to claim that it has the one right way of thinking; Paganism accepts all beliefs and understands that there’s no single right path through life. Generally speaking, it just believes in the importance of Nature and our ties to the earth, and that everything in the universe is connected.

Laura Wilson-GEEKED cover
What do you most like to illustrate and why?
One thing that shows up a lot in my work is mermaids; I think of them as sort of my creative muse. I’ve always loved the idea of these beautiful, terrifying creatures, who can be so alluring but use their appeal to cause shipwrecks and drown sailors. The femme fatale is a very interesting concept to me. I also tend to work with fashion illustration; but in a way that is body positive and inclusive. I think that fashion has got stuck in this rut of only representing this tiny demographic of skinny white people, when that doesn’t accurately represent society at all. I want to push for more diversity in fashion illustration, and depict more variety in body shapes and sizes, skin colours, disabilities and people outside of the gender binary.

Laura Wilson-2cute 2care
As a recent graduate of illustration what is the biggest thing you have learnt since leaving university?
That you have to keep pushing yourself to create new work and keep looking for opportunities. And that you have to force yourself to make time for art! It’s been a bit of a shock suddenly being away from art school and not having the support of my tutors and classmates anymore, and having to fit creating work around a job. But I’m very lucky to live with two of my ex classmates, and share a studio together, which helps keep me motivated. The three of us also run a blog together, theonethreethree.com, to keep us creating new work every week.

Laura Wilson-Whispers
What kind of work do you contribute to Bitchtopia?
Bitchtopia is an awesome feminist culture magazine which covers current events, art, music, fashion… and loads more. It’s written by an amazing community of women from around the globe, and I’m really honoured to be a part of it. I create feminist artwork for them to post, as well as illustrations to go alongside their articles, and have recently designed some prints for them which will be going up for sale in their store.

Laura Wilson-The Deep
What are your hopes for the future?
I’m looking forward to hopefully more collaboration with Bitchtopia and other feminist collectives, as well as working on some personal projects. I’ve also been meaning to create a zine for a while, so will hopefully get that moving forward soon – it will be a visual mash-up of feminist fashion illustration, alternative culture and Neo-Paganism.

Read more about Laura’s work here and buy her stunning limited edition Fortuna print here. It would be so inspiring to have you on your wall!

Written by Amelia Gregory on Monday November 17th, 2014 11:01 pm

Categories ,#TWWDNU, ,Bitchtopia, ,Feminist, ,Fortuna, ,Goddess of the Moon, ,illustration, ,illustrator, ,interview, ,Laura Wilson, ,neo-Paganism, ,Pagan, ,That Which We Do Not Understand

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