Amelia’s Magazine | Pre-LFW interview: Orschel-Read

LFW_CharlieLeMindu_01

Who cares if womenswear is wearable? As a gent, recipe generic I certainly don’t. Hair stylist to the stars, more about buy more about Charlie Le Mindu opened the On|Off shows yesterday – winning zero points for wearability, viagra buy but a whopping 10 out of 10 for wow factor.

Charlie has been styling hair for shoots and shows for ages now, but his first catwalk show, as part of Blow Presents, was only last year. In the six months between then and now, he’s had time to polish his wares, and this time we had an even deeper delve into his psyche…

LFW_CharlieLeMindu_Illustration
Illustration by Maryanne Oliver

With the sound of church bells welcoming a funeral cortege, the first model appeared with a giant, jewel-encrusted cross atop her sleek black wig. Wearing a most provocative outfit made of lace, Le Mindu’s pieces lie somewhere between your wildest dreams and your darkest nightmares.

LFW_CharlieleMindu_02

As the pounding music kicked in, with screams of ‘CHARLIE” peppered in the track, the stream of models slowly sauntered down the catwalk, expressionless and lost in their own thoughts. The outfits became racier – with one model, wearing a huge hair-trimmed construction, having little but a thick pony tail to hide her modesty.

LFW_CharlieleMindu_03

While Charlie’s SS 2010 show was all about the blonde, AW 2010 was definitely all about black. Black, black black. Black lace, black hair, black shoes and black knickers. Any use of colour would have ruined the drama of fashion’s favourite colour.

LFW_CharlieleMindu_04

The most prominent theme was undoubtedly death, with crucifixes, ashen skin and hair/head pieces influenced by the mantilla. Whilst some might find Le Mindu’s creations a little on the silly side, the craftsmanship, attention to detail and range of techniques he employs are outstanding. He’s comparable to the few designers who really push the boundaries, and, like dearly beloved McQueen, he toys with raw and emotive subjects. And when it’s not hair, it’s stoles with cuddly-toy heads or bird feathers.

LFW_CharlieleMindu_05

Amongst a hell of a lot of designers who’ve taken to playing it safe in these turbulent financial times, thank GOD for Charlie Le Mindu.

LFW_CharlieleMindu_06

LFW_CharlieLeMindu_01

Who cares if womenswear is wearable? As a gent, shop I certainly don’t. Hair stylist to the stars, price Charlie Le Mindu opened the On|Off shows yesterday – winning zero points for wearability, but a whopping 10 out of 10 for wow factor.

Charlie has been styling hair for shoots and shows for ages now, but his first catwalk show, as part of Blow Presents, was only last year. In the six months between then and now, he’s had time to polish his wares, and this time we had an even deeper delve into his psyche…

LFW_CharlieLeMindu_Illustration
Illustration by Maryanne Oliver

With the sound of church bells welcoming a funeral cortege, the first model appeared with a giant, jewel-encrusted cross atop her sleek black wig. Wearing a most provocative outfit made of lace, Le Mindu’s pieces lie somewhere between your wildest dreams and your darkest nightmares.

LFW_CharlieleMindu_02

As the pounding music kicked in, with screams of ‘CHARLIE” peppered in the track, the stream of models slowly sauntered down the catwalk, expressionless and lost in their own thoughts. The outfits became racier – with one model, wearing a huge hair-trimmed construction, having little but a thick pony tail to hide her modesty.

LFW_CharlieleMindu_03

While Charlie’s SS 2010 show was all about the blonde, AW 2010 was definitely all about black. Black, black black. Black lace, black hair, black shoes and black knickers. Any use of colour would have ruined the drama of fashion’s favourite colour.

LFW_CharlieleMindu_04

The most prominent theme was undoubtedly death, with crucifixes, ashen skin and hair/head pieces influenced by the mantilla. Whilst some might find Le Mindu’s creations a little on the silly side, the craftsmanship, attention to detail and range of techniques he employs are outstanding. He’s comparable to the few designers who really push the boundaries, and, like dearly beloved McQueen, he toys with raw and emotive subjects. And when it’s not hair, it’s stoles with cuddly-toy heads or bird feathers.

LFW_CharlieleMindu_05

Amongst a hell of a lot of designers who’ve taken to playing it safe in these turbulent financial times, thank GOD for Charlie Le Mindu.

LFW_CharlieleMindu_06

What was it like collaborating with Pavel Rudanovsky on the conceptual ‘UnFashion Show’ series?
‘UnFashion’ was a great platform to test out ideas of what can be presented under the umbrella of a ‘fashion show’. We integrated contemporary dance and ballet, here alongside experimental live music and three dimensional interactive sets, here into a fashion show with a narrative. It helped me work out the balance between the need for spectacle in a show and the need to exhibit a garment design in manner where it can be clearly understood.

01 Orschel-Read SS10 photographer Paul MorganImagery throughout depicting Orschel-Read SS10, buy photographed by Paul Morgan

Did you always know that you wanted to design couture for men or is this something you realised upon studying at Central Saint Martins?
I launched my ready-to-wear label at London Fashion Week in September 2009. I showed it alongside the bespoke collection. I knew I wanted to design for men long before I studied at Central Saint Martins, but it was while I was there that I pursued the concept of couture for men. We are at an exciting time in menswear where couture for men is once again relevant; it is no longer solely for kings and emperors, it is for you and I.

09 Orschel-Read SS10 photographer Paul Morgan

How did you break into the fashion industry, and do you have any advice for our readers on things they can do to stand out in the industry?
Starting up a label is a very large gamble especially in the current economic climate. It is important to understand that the financial and time commitments will far exceed what you initially estimate! I strongly suggest that if starting your own label is something you aim to do, that you seek a few internships with new generation labels. It is in these situations where you can understand all the processes that you will need to undertake yourself when starting your own brand.

14 Orschel-Read SS10 photographer Paul Morgan

You’ve recently had a couple of designs worn by Lady Gaga, who showed that your designs can be worn and adapted into a woman’s wardrobe. Are you happy for women to wear your clothing, and what was it like working with Lady Gaga?
I see no divide between man and woman. We have differences but far more similarities. Therefore of course I was pleased that Lady Gaga chose to wear my menswear.

15 Orschel-Read SS10 photographer Paul Morgan

Is there any one man that you would love to see wearing your designs, who you feel sums up your ethos as a designer?
I would have loved to have dressed the late Henry Cyril Paget, 5th Marquis of Anglesey. Known to his friends as ‘Toppy’, he looked like an Aubrey Beardsley illustration. Beyond eccentric, he had his car modified to spray perfume from its exhaust, walked with a poodle bedecked with pink bows under his arm and hired an entire theatre company with whom he performed almost nightly to entertain his servants and the locals of Bangor. What I admire lies beneath his seemingly frivolous bejewelled exterior. He was a true social agitator and living artwork. He forced people to reconsider preconceived notions of what was acceptable in a male. He could not simply be categorised as a mere eccentric and therefore socially tolerable within a walled-off heterotopia. He was an avant-garde, who like Marchesa Luisa Casati, Quentin Crisp and David Bowie, irreversibly reshaped the opinions of the panoptic mainstream.

18 Orschel-Read SS10 photographer Paul Morgan

What is your inspiration for FW10, and what can we expect from your upcoming LFW fashion show/presentation?
The foundations of this collection come from the ceiling mural of Stockholm’s Storkyrkan cathedral and the subtle beauty of female birds, with William Morris inspired prints. This season I am focusing on balancing tailoring with a classic sportswear feel, in earthy tweeds, digitally printed leathers, knit and fine tailoring wools. As always it is designed and produced in-house in London.

27 Orschel-Read SS10 photographer Paul Morgan

How do you unwind after the stresses of LFW?
Last season I took a break and enjoyed some quiet time at home. Mistake! I hated the anticlimax. So this year I will seek distraction and go on holiday.

28 Orschel-Read SS10 photographer Paul Morgan

What has been your career’s biggest highlight to date?Every time I produce a bespoke garment that supersedes the client’s expectations I experience the greatest contentment and reward available within my career choice.

30 Orschel-Read SS10 photographer Paul Morgan

Is there anything in particular that you are looking forward to accomplishing this decade?
I look forward to being part of a grand revolution within menswear that has already begun. My show on the 24th of February with Vauxhall Fashion Scout is my next explorative submission towards this.

Categories ,’UnFashion Show’, ,5th Marquis of Anglesey, ,Aubrey Beardsley, ,Central Saint Martins, ,Cyril Paget, ,David Bowie, ,Lady Gaga, ,London Fashion Week, ,Marchesa Luisa Casati, ,Orschel-Read, ,Pavel Rudanovsky, ,Quentin Crisp, ,Stockholm’s Storkyrkan cathedral, ,Vauxhall Fashion Scout, ,William Morris

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Amelia’s Magazine | KTZ: London Fashion Week S/S 2013 Catwalk Review


KTZ S/S 2013 by Krister Selin

After the Felder Felder show I trekked from Somerset House to Goldsmith’s Hall over by St Paul’s to catch PPQ. As is standard, the PPQ show was massively oversubscribed and with the queue already blocking off streets I didn’t even bother to be turned away with my standing ticket. There was no way I was going to risk missing the mighty KTZ.


KTZ S/S 2013 by Gabriel Ayala

So I legged it to Somerset House like some sort of deranged fashion yo-yo and got seated for the action. Lida from The First to Know who handles KTZ‘s PR looked impeccable in one of their A/W 2012 creations with oversized gold religious emblems. As I waited for the show to start I fantasised about what we might see this season. From 1980s Memphis design to religion, via Africa, it’s been an ever exciting journey with Kokon to Zai and I couldn’t wait to see what they’d crafted this season.


All photography by Matt Bramford

When the pounding music started and the first model appeared I knew instantly that I wasn’t going to be disappointed. Slightly androgynous with a slicked back hair-do and loose pony tail that swished as she marched, the model wore a cropped lace shirt and intricate capri pants with cutaway details, accessorised with oversized pearl earrings and clutch bag. KTZ is one of those rare shows where the audience whoop and cheer at every look.


KTZ S/S 2013 by Krister Selin

The KTZ aesthetic came shortly afterwards, with a model sporting a baseball cap in an intriguing lace full-sleeve dress and a face mask akin to something worn by a very, very fashionable surgeon.

The aesthetic structure of each garment had been inspired by the intricate delicacies of Art Nouveau patterns, in particular William Morris; classic cuts transformed by the whiplash motifs of the era and the fluid, organic lines that differentiate Art Nouveau from other movements. These were expertly applied to the fronts of corseted frocks and the hemlines of short, circular skirts.

The colour black featured heavily as is pretty standard at a KTZ show – translucent tops with thick, black Art Nouveau-inspired embellishments and thigh-high boots in patent leather, teamed the KTZ with huge gold logo accessories, such as an epic bracelet that enveloped the full length of a model’s arm.

Now I would normally say that if you’re a fan of cutesy florals on feminine dresses, steer well clear of KTZ. While that’s still strictly true of this fantasy label, we were then treated to some feminine shapes with sculpted upper halves and playful bulbous skirts. It allowed me to think that this might almost be wearable by people other than Rihanna and Will.i.am.


KTZ S/S 2013 by Gabriel Ayala

Welcomed bursts of colour began to fill the catwalk: a peach tone not seen since 1980s bridesmaids dresses that worked effortlessly with this monochrome-heavy collection, and an effervescent green number for good measure seemed a bit of an odd choice, but if KTZ ever become predictable I’ll stop bloody going.

The detail, craftsmanship and translation of a theme was simply awe-inspiring and rendered me breathless in under 12 minutes – a sensation I sadly haven’t experienced in a while.

Long may KTZ reign!

Categories ,1980s, ,Art Nouveau, ,Bridesmaids, ,Gabriel Ayala, ,Harajuku girls, ,Kokon To Zai, ,Krister Selin, ,KTZ, ,lace, ,London Fashion Week, ,Matt Bramford, ,Peach, ,Pearlescent, ,S/S 2013, ,Somerset House, ,SS13, ,William Morris, ,Womenswear

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Amelia’s Magazine | LFW 09 – Eley Kishimoto – Textile storytelling

KISH_SS10_0125

As much a departure from their last SS collection as possible, cheapest Eley Kishimoto’s SS/10 catwalk brought us 70′s styling with Peter Pan collars, pills chunky heels and a full plate of prints. But with brazen pattern combinations their mark was unmistakable. What they called “Beyond The Chintz” was an ode to interior textiles….and no furnishing was safe. With oversize sofa florals, gem colored curtain stripes and eastern pillow prints, the design duo stitched together a collection of nostalgic ethnic fusion.

KISH_SS10_0439

KISH_SS10_0099

William Morris’ decorative signature could be felt in tenting blouses with creeping vines while Scandinavian elements were present in a negative-space two tone spring jacket.
Borrowing from the whisper of red, white and blue pieces from SS/09, we saw pointy graphic prints, crotchet shrugs, and boxy dresses in sunbleached blues.

KISH_SS10_0044

KISH_SS10_0158

Last year’s shiny tailored dresses and complimentary tonal tights were abandoned for gauzy cottons and slouchy socks paired with chunky heels. The latter, although adorable, occasionally misfires when the slippery socks cause toes to ‘hang ten’ over the shoe’s front edge.

Hemlines bounced from knee to mini and blouses were loose and boxy in chiffons and lightweight cottons. A striking all over pheasant feather print turned a twill mechanic’s jumpsuit into a super chic one piece that stole the show.

KISH_SS10_0415

Other showstoppers were a pair of tablecloth gingham egg shaped dresses with large citrus polka dots outlined in black fringe and worn with pouf sleeve jersey shirts with their own boldly colored polka dot clusters. Only Eley and Kishimoto could make that work.

KISH_SS10_0304

Travels to East India seemed to provide fodder for some earthy tones and more surprise combos with, my personal favorite, a full skirt with mint green bleeding into a bamboo pattern and belted off beneath a fitted brown diamond print blouse. If only winter weren’t on its way!

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The collection felt like a midday nap on a threadbare sofa in the sunroom of your grandma’s house where every textile tells a story and the sunshine looks like lemonade.

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Categories ,british fashion council, ,Eley Kishimoto, ,London Fashion Week, ,Peter Pan, ,prints, ,S/S2010, ,Somerset House, ,textiles, ,William Morris

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Amelia’s Magazine | William Morris – Story, Memory, Myth at Two Temple Place: Exhibition Review

William Morris Story Memory Myth Will Pryce
Photography by Will Pryce.

This William Morris art exhibition in a neo-Gothic mansion on the bank of the Thames is exactly the kind of visual feast you might expect. The venue – Two Temple Place – is a new gallery on London’s art map, with the aim of showcasing publicly-owned art from regional collections across the UK. In this case, the contents of the inaugural William Morris: Story, Memory, Myth exhibition hail from the William Morris Gallery in Walthamstow, under redevelopment until July 2012. If you are familiar with Morris’ work, this new setting and exhibition according to narrative influences will shed new light, and if you have never seen his artwork or books, you are in for a unique selection of some rarely-seen and astonishing pieces.

William Morris Story Memory Myth Romance of the Rose
Detail of The Romance of the Rose embroidered frieze by Edward Burne-Jones and William Morris. Linen embroidered with silks, wools and gold thread. Embroidered by Margaret Bell and her daughter Florence 1874-82. Copyright William Morris Gallery, London.

A cursory stroll through the exhibition makes it easy to understand the sympathy the opulent setting holds with Morris’ work. The mansion’s original owner William Waldorf Astor wanted a house ‘which would personify literature’ and with the help of Gothic Revival architect John Loughborough Pearson he realised this dream in 1895. Similarly, the exhibition focuses on the narrative threads through Morris and his associates’ careers, and rooms are divided along literary thematic lines. At times it becomes challenging to take in the extraordinary artworks and their intricate backdrop at the same time, but this a minor complaint: once your eyes have adjusted, you become accustomed to this sense of overawe.

William Morris Story Memory Myth Love Leading the Pilgrim
Love Leading the Pilgrim through the Briars from The Romance of the Rose embroidered frieze by Edward Burne-Jones and William Morris 1874-82. Linen embroidered with silks, wools and gold thread. Embroidered by Margaret Bell and her daughter Florence. Copyright William Morris Gallery, London.

The Lower Gallery is about the inspiration Morris and his friend and fellow artist Edward Burne-Jones drew from 14th century poet Geoffrey Chaucer’s works. There are several trial pages, preparatory drawings, studies and stained glass panels, but most visitors are rightly drawn to the exquisite embroidered friezes based around Chaucer’s translation of The Romance of the Rose, an influential text from the Middle Ages. The five rarely-seen panels making up Morris and Burne-Jones’ artistic reinterpretation of the poem consist of linen embroidered with silks, wools and gold thread – they took an amazing eight years to complete and are just back from being conserved at The Royal School of Needlework. I adored the dancing female allegorical figures depicting the Virtues, Beauty’s gold wings and the Love Leading the Pilgrim Through the Briars panel with its dizzying briar rose patterns. And don’t miss The Pilgrim at the Heart of the Rose, a moving tapestry of pale greens, taupes and golds depicting the moment in the story where the pilgrim finds the ‘rose’ – a female figure – and reaches out to her.

William Morris Story Memory Myth Will Pryce
Photography by Will Pryce

As you round the corner, you encounter an incredible central staircase of carved mahogany, flanked by characters from The Three Musketeers, and a frieze above depicting scenes from Shakespeare. Look down, and you are surrounded by a marvellous floor of marble jasper, porphyry and onyx – it’s the stuff of dreams.

William Morris Story Memory Myth Design for Medway
Design for Medway furnishing fabric, 1885. Pencil and watercolour on paper. Copyright William Morris Gallery, London.

William Morris Story Memory Myth Design for Acanthus
Design for Acanthus furnishing fabric, 1876. Pencil and watercolour on paper. Copyright William Morris Gallery, London.

Upstairs, an array of Morris-designed furnishing fabrics are on display, with an explanation of the role patterns played in his career. Works like Medway and Evenlode illustrate the influence of Morris’ relationship with the Thames on his work, and this is further underscored by the presence of the river just a few metres away. We learn that Morris was particularly concerned to design patterns which could help hold memories and be passed down through generations. The scrolling acanthus design was one he used frequently, linking him back to the Ancient Greek tradition, another enduring motif was The Holy Tree, representing life and creation.

My highlight pieces were the Cinderella and Beauty and the Beast with swan border tiles from 1862. These function as ceramic storyboards, delicately painted in vibrant colours, and are exactly the type of tile any fairy-tale lover would want installed in their house. Equally wonderful were the bright Brer Rabbit furnishing fabrics based on the Afro-American folktale and featuring repetitive rabbit patterns hidden amongst flowers, plants and vines.

William Morris Story Memory Myth Beauty and the Beast tiles
Beauty and the Beast tile panel with swan border tiles, 1862. Hand-painted on tin-glazed earthenware Dutch blanks. Painted by Lucy Faulkner for Morris, Marshall, Faulkner & Co. Copyright William Morris Gallery, London.

Eventually you will encounter the main event, the Great Hall, where it’s amusing to try and spot the twelve characters from Sir Walter Scott’s Ivanhoe, including Robin Hood and Maid Marion, in carved and gilded mahogany. The centrepiece is the embroidered wall hanging Pomona, depicting the Roman goddess of fruit trees, referred to here as the ‘Apple Queen’. The acanthus leaves, grapes and blossom are breathtaking, and you can just about see the swishing of her dress as she catches the gathered apples in its folds. Next to her is the Woodpecker tapestry about Picus, who was transformed into a woodpecker by Circe because he didn’t reciprocate her love.

William Morris Story Memory Myth Will Pryce
Photography by Will Pryce

William Morris Story Memory Myth Woodpecker tapestry
Woodpecker tapestry, 1885. Made by Morris & Co. Copyright William Morris Gallery, London.

In the last section are Icelandic saga-inspired pieces and published editions of Morris’ The Earthly Paradise, for which he created wood blocks to illustrate the unrealised book, The Story of Cupid and Psyche.

William Morris Story Memory Myth Cupid Going Away
Cupid Going Away, 1866. Illustration for ‘The Story of Cupid and Psyche’ in The Earthly Paradise by William Morris. Wood engraving. Copyright William Morris Gallery, London.

You can also examine works created in response to the Arthurian legends, such as the gorgeous The Story of Tristram and Isoude stained glass panel about the love story between the Cornish knight and Irish princess – the vibrant green, red and yellow light is mesmerising.

William Morris Story Memory Myth Arthur and Lancelot glass panel
Design for King Arthur and Sir Lancelot stained glass panel, 1862. Black and sepia washes and pencil on paper. Copyright William Morris Gallery, London.

William Morris Story Memory Myth St George
Saint George and the Dragon, 1868. Gouache on paper. Copyright William Morris Gallery, London.

If there is an overall message to take away from this exhibition, it might be about the wonderfully adaptive and collaborative process which storytelling takes across mediums and centuries. Visitors will have much to add in terms of their own knowledge and fondness for the stories told, do get along to tell your part –on until 29 January 2012.

Opening hours
10am – 4:30pm Monday, Wednesday, Thursday, Friday, and Saturday.
12 – 5pm Sunday
Closed on Tuesdays.

Free admission. See my listing for full details.

Categories ,Acanthus design, ,Ancient Greek, ,Beauty and the Beast, ,Brer Rabbit, ,Cinderella, ,Circe, ,Edward Burne-Jones, ,Geoffrey Chaucer, ,Ivanhoe, ,John Loughborough Pearson, ,neo-gothic, ,Pomona, ,Royal School of Needlework, ,Shakespeare, ,Sir Walter Scott, ,The Earthly Paradise, ,The Romance of the Rose, ,The Three Musketeers, ,Tristram and Isoude, ,Two Temple Place, ,Will Pryce, ,William Morris, ,William Morris Gallery, ,William Waldorf Astor, ,Woodpecker tapestry

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Amelia’s Magazine | Camberwell College of Arts: Mixed Special Illustration Graduate Show 2012 Review

Mixed Special Camberwell illustration 2012
Painting by Charlotte Mei.

This year’s graduate shows are nearly upon us so what better way to kick off the new season than with a reminder of some of the brilliant talent that I discovered last year. (And failed to blog about back then, due to the demanding needs of a very small baby. Now I just have a slightly larger very demanding baby, but at last I’ve found the time to catch up.) Mixed Special was the great name given to the show from Camberwell College of Arts illustration graduates, many of whom have gone on to create new collaborative projects. Since it’s been so long in the making this review will also pick up on what’s been happening for some graduates in the year since their show.

Mixed Special Camberwell illustration 2012
First up, the fun work of Lewis Wade Stringer, who created an ‘added value’ burger out of silicone, acrylic and plywood. Shown vacuum packed as a finished object, I imagine that in it’s separate pieces it would hold great appeal for small children. The burger theme continues to be strong in Lewis’ life – you can purchase his burger tote bag, delivered in a disposable carton with bespoke sticker, over here on Burgerac.

Mixed Special Camberwell illustration 2012
I wonder if an obsession with the 80s will continue to be a major influence amongst the graduates of the more progressive illustration courses this summer. Aaron Ziggy Cook is a member of the Day Job illustration collective, who showcased a stunning array of goodies at Pick Me Up in April. His love of 80s iconography and painterly pastels is evident in a series of interior themed designs.

Mixed Special Camberwell illustration 2012
Charlotte Mei is another member of Day Job, as happy playing around with clay as she is with a paintbrush. A sense of humour is a key component of her wonderfully tactile clay creations. At Pick Me Up I was particularly taken with her human and vehicle sculptures; and a plethora of editorial jobs undertaken since graduation testify that her unique creations are in demand. She was also part of the marvellous Jiggling Atoms exhibition that took place last October.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Completely Unexpected Tales by Holly Mills are a series of illustrations based on short stories by Roald Dahl which combine delicate swathes of watercolour, fine line detail and integral typography. Holly won the V&A student illustrator award in 2012. Confusingly, there is another Holly Mills illustrator, based in Melbourne (also well worth checking out).

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Hasmita Hirani was inspired by the Mahabharata epic poem to doodle a series of narrative scenes across large sheets of paper – read an interview about her process here. Hasmita has recently collaborated with old friend Hana to create Rolled Paper Pencils featuring beautiful abstract designs in bright colours, available at the brilliant Poundshop.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Ellie Denwood‘s End of the Line are a series of eery atmospheric monochrome prints based on trips to the end of the Underground Line.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Emily Jane McCartan is another illustrator who made use of the ceramics facilitates at Camberwell, covering clumpy clay shapes with big daubs of paint; her gouache prints for What the Moon Brings feature the same painterly splodges as her ceramic glazes. Her mission, to encourage a 70s craft revival. I like it! You can buy some of Emily’s wonderful creations on Etsy here.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Phoebe Stella Garrick Summers‘ modern take on medieval maps features pubs rather than churches at the centre of daily life. Her interests lie in art psychotherapy.

Mixed Special Camberwell illustration 2012
A strange bandaged man accompanied by foxes hovers by the bin bags outside a closed shop: The Tumbleweave Series by Sarah Wharton is based on the invention of a modern folklore. I’d love to know what Sarah is up to now.

Mixed Special Camberwell illustration 2012
I like the simplicity of mushrooms by Katie Johnston. More recently I admired her stuffed rocking horse head, on display at Pick Me Up with Day Job.

Mixed Special Camberwell illustration 2012
Miranda Sofroniou created Arctic themed wallpaper which she also decoupaged onto a chair frame. She is currently working on her third children’s book.

Mixed Special Camberwell illustration 2012
The Infinite Space by Acktarr Khedoo was an intense psychedelic installation that used neon colours, hanging shapes and sparkling textures to create a playful experience, all lit by UV. It was a lot of fun to explore: it’s a shame I can’t figure out what he is up to now.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Amelia’s Magazine contributor Kristina Vasiljeva produced bold skeins of Peckham inspired African fabric which showcased her love of fashion illustration.

Mixed Special Camberwell illustration 2012
Ben Woodcock‘s Bibotelli is a series of intriguing graphics suggesting snippets of narrative; another strongly 80s influenced body of work.

Mixed Special Camberwell illustration 2012
Beautiful painted miniatures by Isabella Toledo were inspired by A Journey Around My Room.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Yet more 80s style from Ellie Andrews, this time combining a rounded airbrushed style with a pastel palette & plenty of colour shading, some produced as risograph prints. One of her designs was used for the launch of Boxpark in Shoreditch. Check out some of Ellie’s latest work in It’s Nice That.


Using animation Daniel Clarke created an ode to J.G. Ballard‘s short story Chronopolis – depicted here in sombre darks and swirling pastels, viewed through a round porthole. Daniel’s obsession with architectural form is evident in his work with Day Job.

Mixed Special Camberwell illustration 2012
Tim Cockburn used fine black pen to describe a monster eating the city. He is now part of the Brothers of Stripe collective, who showed at Pick Me Up.

Mixed Special Camberwell illustration 2012
Brigid Deacon showed drawing and objects in a contemporary cabinet of curiosities that merges her interest in comic art, the grotesque and erotic art. She has since become involved in People of Print.

Kraggy Mixed Special
This 80s-tastic palm tree t-shirt design by Kraggy was adapted as a repeat pattern for his website. Buy the look here.

ruxandra ene bird
Ruxandra Ene‘s intricate and eye-catching depiction of Utopia was inspired by William MorrisNews from Nowhere.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Ella McLean chose the environs of Peckham as the basis for a great risograph zine created using her favoured palette of limited colours. She too is now part of the great Day Job collective: make sure you check them out.

It’s been great to check back in on the illustrators I liked nearly a year ago and find out what some of my favourites are doing now… but it begs the question of what to do with old websites, blogs and social media feeds. Quite a few of the illustrators above have not updated their websites with anything new in a whole year: perhaps an indication that illustration has been left behind? Some twitter feeds built expressly for the promotion of student shows are dead as a dodo, but I was pleased to see that someone is sporadically maintaining the @MixedSpecial feed to promote last year’s graduates. University of Brighton students have taken over the feed created by the previous year and are continuing to tweet full pelt with a new name @carparkshow: surely the best way to make use of a ready made following for the newest batch of graduates. I look forward to what 2013 brings…

Categories ,80s, ,@MixedSpecial, ,A Journey Around My Room, ,Aaron Ziggy Cook, ,Acktarr Khedoo, ,Arctic, ,Ben Woodcock, ,Bibotelli, ,Boxpark, ,Brigid Deacon, ,Brothers of Stripe, ,Burgerac, ,Camberwell College of Arts, ,Charlotte Mei, ,Chronopolis, ,Completely Unexpected Tales, ,Daniel Clarke, ,Day Job, ,Ella McLean, ,Ellie Andrews, ,Ellie Denwood, ,Emily Jane McCartan, ,end of the line, ,Folklore, ,Hana, ,Hasmita Hirani, ,Holly Mills, ,illustration, ,Isabella Toledo, ,J.G. Ballard, ,Jiggling Atoms, ,Katie Johnston, ,Kraggy, ,Kristina Vasiljeva, ,Lewis Wade Stringer, ,Mahabharata, ,Miranda Sofroniou, ,Mixed Special, ,News from Nowhere, ,Peckham, ,People of Print, ,Phoebe Stella Garrick Summers, ,Pick Me Up, ,Risograph, ,Roald Dahl, ,Rolled Paper Pencils, ,Ruxandra Ene, ,Sarah Wharton, ,The Infinite Space, ,The Poundshop, ,The Tumbleweave Series, ,Tim Cockburn, ,University of Brighton, ,utopia, ,va, ,What the Moon Brings, ,William Morris

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Amelia’s Magazine | Camberwell College of Arts: Mixed Special Illustration Graduate Show 2012 Review

Mixed Special Camberwell illustration 2012
Painting by Charlotte Mei.

This year’s graduate shows are nearly upon us so what better way to kick off the new season than with a reminder of some of the brilliant talent that I discovered last year. (And failed to blog about back then, due to the demanding needs of a very small baby. Now I just have a slightly larger very demanding baby, but at last I’ve found the time to catch up.) Mixed Special was the great name given to the show from Camberwell College of Arts illustration graduates, many of whom have gone on to create new collaborative projects. Since it’s been so long in the making this review will also pick up on what’s been happening for some graduates in the year since their show.

Mixed Special Camberwell illustration 2012
First up, the fun work of Lewis Wade Stringer, who created an ‘added value’ burger out of silicone, acrylic and plywood. Shown vacuum packed as a finished object, I imagine that in it’s separate pieces it would hold great appeal for small children. The burger theme continues to be strong in Lewis’ life – you can purchase his burger tote bag, delivered in a disposable carton with bespoke sticker, over here on Burgerac.

Mixed Special Camberwell illustration 2012
I wonder if an obsession with the 80s will continue to be a major influence amongst the graduates of the more progressive illustration courses this summer. Aaron Ziggy Cook is a member of the Day Job illustration collective, who showcased a stunning array of goodies at Pick Me Up in April. His love of 80s iconography and painterly pastels is evident in a series of interior themed designs.

Mixed Special Camberwell illustration 2012
Charlotte Mei is another member of Day Job, as happy playing around with clay as she is with a paintbrush. A sense of humour is a key component of her wonderfully tactile clay creations. At Pick Me Up I was particularly taken with her human and vehicle sculptures; and a plethora of editorial jobs undertaken since graduation testify that her unique creations are in demand. She was also part of the marvellous Jiggling Atoms exhibition that took place last October.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Completely Unexpected Tales by Holly Mills are a series of illustrations based on short stories by Roald Dahl which combine delicate swathes of watercolour, fine line detail and integral typography. Holly won the V&A student illustrator award in 2012. Confusingly, there is another Holly Mills illustrator, based in Melbourne (also well worth checking out).

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Hasmita Hirani was inspired by the Mahabharata epic poem to doodle a series of narrative scenes across large sheets of paper – read an interview about her process here. Hasmita has recently collaborated with old friend Hana to create Rolled Paper Pencils featuring beautiful abstract designs in bright colours, available at the brilliant Poundshop.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Ellie Denwood‘s End of the Line are a series of eery atmospheric monochrome prints based on trips to the end of the Underground Line.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Emily Jane McCartan is another illustrator who made use of the ceramics facilitates at Camberwell, covering clumpy clay shapes with big daubs of paint; her gouache prints for What the Moon Brings feature the same painterly splodges as her ceramic glazes. Her mission, to encourage a 70s craft revival. I like it! You can buy some of Emily’s wonderful creations on Etsy here.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Phoebe Stella Garrick Summers‘ modern take on medieval maps features pubs rather than churches at the centre of daily life. Her interests lie in art psychotherapy.

Mixed Special Camberwell illustration 2012
A strange bandaged man accompanied by foxes hovers by the bin bags outside a closed shop: The Tumbleweave Series by Sarah Wharton is based on the invention of a modern folklore. I’d love to know what Sarah is up to now.

Mixed Special Camberwell illustration 2012
I like the simplicity of mushrooms by Katie Johnston. More recently I admired her stuffed rocking horse head, on display at Pick Me Up with Day Job.

Mixed Special Camberwell illustration 2012
Miranda Sofroniou created Arctic themed wallpaper which she also decoupaged onto a chair frame. She is currently working on her third children’s book.

Mixed Special Camberwell illustration 2012
The Infinite Space by Acktarr Khedoo was an intense psychedelic installation that used neon colours, hanging shapes and sparkling textures to create a playful experience, all lit by UV. It was a lot of fun to explore: it’s a shame I can’t figure out what he is up to now.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Amelia’s Magazine contributor Kristina Vasiljeva produced bold skeins of Peckham inspired African fabric which showcased her love of fashion illustration.

Mixed Special Camberwell illustration 2012
Ben Woodcock‘s Bibotelli is a series of intriguing graphics suggesting snippets of narrative; another strongly 80s influenced body of work.

Mixed Special Camberwell illustration 2012
Beautiful painted miniatures by Isabella Toledo were inspired by A Journey Around My Room.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Yet more 80s style from Ellie Andrews, this time combining a rounded airbrushed style with a pastel palette & plenty of colour shading, some produced as risograph prints. One of her designs was used for the launch of Boxpark in Shoreditch. Check out some of Ellie’s latest work in It’s Nice That.


Using animation Daniel Clarke created an ode to J.G. Ballard‘s short story Chronopolis – depicted here in sombre darks and swirling pastels, viewed through a round porthole. Daniel’s obsession with architectural form is evident in his work with Day Job.

Mixed Special Camberwell illustration 2012
Tim Cockburn used fine black pen to describe a monster eating the city. He is now part of the Brothers of Stripe collective, who showed at Pick Me Up.

Mixed Special Camberwell illustration 2012
Brigid Deacon showed drawing and objects in a contemporary cabinet of curiosities that merges her interest in comic art, the grotesque and erotic art. She has since become involved in People of Print.

Kraggy Mixed Special
This 80s-tastic palm tree t-shirt design by Kraggy was adapted as a repeat pattern for his website. Buy the look here.

ruxandra ene bird
Ruxandra Ene‘s intricate and eye-catching depiction of Utopia was inspired by William MorrisNews from Nowhere.

Mixed Special Camberwell illustration 2012
Mixed Special Camberwell illustration 2012
Ella McLean chose the environs of Peckham as the basis for a great risograph zine created using her favoured palette of limited colours. She too is now part of the great Day Job collective: make sure you check them out.

It’s been great to check back in on the illustrators I liked nearly a year ago and find out what some of my favourites are doing now… but it begs the question of what to do with old websites, blogs and social media feeds. Quite a few of the illustrators above have not updated their websites with anything new in a whole year: perhaps an indication that illustration has been left behind? Some twitter feeds built expressly for the promotion of student shows are dead as a dodo, but I was pleased to see that someone is sporadically maintaining the @MixedSpecial feed to promote last year’s graduates. University of Brighton students have taken over the feed created by the previous year and are continuing to tweet full pelt with a new name @carparkshow: surely the best way to make use of a ready made following for the newest batch of graduates. I look forward to what 2013 brings…

Categories ,80s, ,@MixedSpecial, ,A Journey Around My Room, ,Aaron Ziggy Cook, ,Acktarr Khedoo, ,Arctic, ,Ben Woodcock, ,Bibotelli, ,Boxpark, ,Brigid Deacon, ,Brothers of Stripe, ,Burgerac, ,Camberwell College of Arts, ,Charlotte Mei, ,Chronopolis, ,Completely Unexpected Tales, ,Daniel Clarke, ,Day Job, ,Ella McLean, ,Ellie Andrews, ,Ellie Denwood, ,Emily Jane McCartan, ,end of the line, ,Folklore, ,Hana, ,Hasmita Hirani, ,Holly Mills, ,illustration, ,Isabella Toledo, ,J.G. Ballard, ,Jiggling Atoms, ,Katie Johnston, ,Kraggy, ,Kristina Vasiljeva, ,Lewis Wade Stringer, ,Mahabharata, ,Miranda Sofroniou, ,Mixed Special, ,News from Nowhere, ,Peckham, ,People of Print, ,Phoebe Stella Garrick Summers, ,Pick Me Up, ,Risograph, ,Roald Dahl, ,Rolled Paper Pencils, ,Ruxandra Ene, ,Sarah Wharton, ,The Infinite Space, ,The Poundshop, ,The Tumbleweave Series, ,Tim Cockburn, ,University of Brighton, ,utopia, ,va, ,What the Moon Brings, ,William Morris

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