ELLE FRANCES

Hoarders of moments: Card and Costin discuss set design and a glimpse of feeling

2015-05-09T00:10:00.000+01:00

Set design, the creation of environment, served to the public for routine feasting. Simon Costin's work is offered up as a personal experience to those it surrounds. While your lips pout in pronouncing his name, he looks to lining the walls of galleries and manifesting self-inspired museums. Dodging hungry minds, he's rewriting his own handbook. His industry counterpart, Gary Card, need not ask what the protocol is in the creation of everlasting atmosphere with work spanning from editorials and illustrations to exhibitions and designer collaborations with a strong sense of his own style sewn into every strand.

"Lee [McQueen] wrote to me. He was just a student then, I didn't know he was destined for greatness. We just got on, more than anything else"

Hard-drives lost, or drowning laptops are the stuff of any writers' nightmares, yet Gary Card is in constant embrace of the loss of his work "I find it very calming, get rid of it. I absolutely positively despise it by the time the jobs come down". It's all in the beauty of transition. A temporary product transported to life through the bottling of a moment as the essence of the 3D set is flat packed into a portable 2D image. Gary Card delivers the goods, his currency lies in the display of imagination, not its archive. When the end is nigh, "it's yours if you can hire the van!" But the beauty of a double ended interview reveals itself in Simon Costin's counteracting romanticism, "it's like a butterfly, it glitters for that moment and then it's gone. There is a certain liberation in that".

"I want to hear about when it was an absolutely cataclysmic balls up"

If loss of work is embraced, how does one have a hold over all that is in circulation? There is an obvious war between the corporation and creative as Card notices elements of his work in association with certain companies "who shall remain nameless", going on to say, "I often say this to myself, "isn't it nice we've had such a huge cultural effect?" When, actually, I'm just seething". A simple trip down to the shops seems to invoke an unsolicited regurgitation of his own portfolio, whether his pockets have been paid or not; "why not just employ me? It would be far nicer". The battle of Card versus conglomerate is fought and finalised in a case of rock, paper, scissors. A literal cut and paste from glossy to glass.

From club to catwalk, Gary Card remembers his band of brothers, a trio and more lead by himself, Gareth Pugh and Henry Holland. The group who aired plans for projects the friday night before the monday morning tutorial while shuffling across sticky nightclub floors, toppled treacly spirits over fancy dress. "I have a theory that it's because we give so much to so many people, all the time, that when we have an opportunity to dress up, we just go nuts. It's our rare occasion to make it all about us". Working visually doesn't birth from routinely sitting behind a desk. Instead, the Card clan bring moments of magic to society whether atmospherically (in their profession), or in these flashes of fancy. "The pace at which people consume things now seems to be a tricky thing", better master the quick-change then.

"We all clubbed together and all worked together; now, none of us go out and we all stay at home wondering what the hell went wrong".

As our eulogies over the noughties seem far distant towards the right side of the New Year, this brotherhood continues: "as set designers, we've got used to working in the wake of the Tim [Walker] effect and the huge significance he's had on the way everybody views set design". Gary Card seems proud to follow in the footsteps of the photographer who demands that opulence is constantly in fashion, but prouder still to be lead by one of the first celebrity set designers, Simon Costin.

Another use for brotherhood ballasts? Student stress. Now a legend, an untouchable, it's hard to imagine Alexander McQueen as anything but. Simon remembers his friend and their first connection: "Lee [McQueen] wrote and asked if I had any pieces left for him to borrow for the degree show. He was just a student then, I didn't know he was destined for greatness", thus cementing the fearful bond between friends at Central St Martins - no one wants to let go of greatness. "He drew to him this whole group that was creepily named "the family"… there was no money, we all sort of banded together to make the shows". While McQueen thrived from his graduate collection, Costin turned his talents to set design; both added their skills and out of the melting pot came the "Golden Chalice" collection. "I'd look at a collection, draw out threads for it and then work out extra layers of meaning to that; there's a thin line between overpowering what is being presented, and adding to it". Supporting the clean black lines of the first half, Simon Costin's stark white wall and clear water runway was injected with ink to mirror the clothes. Health and safety? While the models had sandpaper stuck to the soles of their shoes, Costin took to measuring the spray of water: "[we] decided it wasn't going to destroy anyone's Manolo Blahniks… Lee had the "Jaws" music playing" a comedic precaution for any soaking soles.

"The irony of it is, is that all of our jizz is on display at the Metropolitan Museum of Art"

Post McQueen, Simon Costin is an organiser of folkloric fetes with spilling guest lists (he's the only man who can bring Tilda Swinton and Siouxsie Sioux together on a muddy field). This fixation with oral Britannica made the display of bodily fluids a credible one, with juices flowing from the story of the Incubus and Succubus (a tale to explain away the unwanted predicament of a pregnant nun), something else was conceived: "as far as I was concerned, it was a beautiful piece of work, it wasn't graphically shocking… yet, the irony of it is, all of our jizz is on display at the Metropolitan Museum of Art". Don't mistake that dew drop jewellery to be any incarnation of the innocent.

Whether packing Hunter wellies for the woods or burrowing away tonnes of glitter in Paris, the pull towards hibernation seems unheard of to Simon. Before exiting the world of fantasy, he slipped into something slinky with the help of Sonia Rykiel who drafted him in for her lingerie launch with H&M. "They decided to go all out and do this massive event inside the Grand Palais in Paris…I just sort of scaled up a normal job, to the nth degree, in order to

encompass £2.5 million". Recreating Paris in six months was made all the more whimsical with inspiration from "illustration books from the fifties, we had to get that kind of chic French spiral that was so particular". Gard Card quips: "Who has money for a lingerie launch?!", "I don't know, even then it was quite peculiar, for something of that scale to go on, even during fashion week". Only three years ago, the six hour event is reduced to a blurry haze of rosebud bustiers, flocks of geese and glitter by the gallon: "my poor assistant had to scour all of Europe, to get almost a tonne of glitter, it took about three trips on the Eurostar, in twenty hours". And, as life influences art, Simon reminisces, "the people that you're working with are often quite mad, everything is taking place inside a sealed bubble" - you don't have to be mad to work here, but it helps.

"We measured the spread of the water and decided it wasn't going to destroy anyone's Manolos"

In conversation, each part in our pair serves the role of industry idol to one another, but neither takes it for himself. Each man carnally resigns himself to the bottom of the food chain: "nobody wants to hear about the wonderful time you did something wonderful. I want to hear about when it was an absolutely cataclysmic balls up". The tension between would-be competitors is lost in the presence of Card and Costin. Camaraderie is alive and well here.

If industry horror stories lie in dwindling budgets and swindling the look of expense, payoff, editorially speaking, is in the pages. Which must make our pair a duo of very wealthy men.

Catch up!

2015-02-13T08:08:00.000+00:00

Somewhere between writing articles/essays, and pretending to work on my website, I realised I hadn't posted anything on here by way of keeping this up to date with my words…

1 Granary launched their exciting new website, and with it came an abundance of posting! I interviewed Maiko Takeda about her upcoming work, and she managed to keep very quiet about her designs adoring Bjork in her new album. Nevertheless, it was interesting to chart Takeda's career from the last time I saw her work at Somerset House.

http://1granary.com/central-saint-martins-fashion/maiko-takeda/

I didn't think the title "lick and tickle" would get past my editor, but my cheeky writing paid off (I'll be annoying everyone on my Facebook with it for a week!). Casper Werner's upmarket up-cycling is something of intrigue - he tickles a classical dress with the start contradiction of brush bristles.

http://1granary.com/central-saint-martins-fashion/royal-academy-of-art-antwerps-casper-werner-seduction-with-a-lick-and-tickle/

Not much, but I didn't think that posting an 8-page essay would even be interesting to any of my fellow fashion historians! More soon ~

Artist Tim Shaw talks skeletons, taxidermy and surgery | 1Granary

2014-09-06T17:45:00.003+01:00

"In many ways, Tim Shaw is the fine artist you'd expect: dedicated, inspired and always working. Before we reach the halfway point in our interview, however, talk of instagram developing a "jaegermeister goggles" filter releases contagious laughter with a glint of mischief. His shoes are straight laced, coming undone at one side; just as his work is "seemingly fragile, yet robust", his personal life balances between states of regimented chaos and fun instilled in him from childhood"

READ ON:

http://1granary.com/interviews/tim-shaw-interview/

Knitwear graduate Pauline Edvall shares her "purls" of wisdom

2014-08-11T12:04:00.001+01:00

""Oogum Boogum", the best accompaniment to BA Knitwear graduate Pauline Edvall's energetic prints, rang across the runway. The tone was set, when melody and material united; securing the graduate as "one to watch". As the show closed, the designer was miles away, mentally plotting her first acts as a CSM alumni: coach surfing in France".

READ ON

http://1granary.com/#feature-27347

4 Prada Jackets, 1 Homage and a Handful of Cherubs - 20 minutes with Alexander Fury

2014-08-04T14:28:00.000+01:00

"Alex, while filled with Fury on Twitter, sits next to me collectedly as caretaker pack away the remnants of the 'Word Week' talk hosted by AnOther magazine at the Design Museum last week. Despite this being his second interview of the day, he is still animated as he fervently talks fashion, sat with the energy of a child told to keep still. With the same enthusiasm as a child perhaps, however, Alex is eloquent, his responses considered, and his knowledge unrivalled".

READ ON

http://1granary.com/central-saint-martins-fashion/graduates/lion-witch-wardrobe-4-prada-jackets-2-cities-1-homage-handful-cherubs-20-minutes-alex-fury/

THIS WEEK | Rooms Magazine | 28/07/2014

2014-08-01T09:07:00.000+01:00

Another week, and more articles for Rooms!

Neo Bohemia suggests a trip back to Woodstock in the 70s, yet balanced properly, it can be the epitome of grace, elegance and sexuality. The male gaze is a mere after thought in this trend.

http://www.roomsmagazine.com/index.php/2014/07/neo-bohemia/

Sweaters: turtleneck, fisherman, Christmas, master it well and it can be the best in your A/W clothing armoury, do it badly and you're the Bridget Jones of Christmas jumpers. See my top three brands who definitely get the pieced turtleneck spot on.

http://www.roomsmagazine.com/index.php/2014/07/pieced-turtleneck/

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ELEANOR KIRBY | 1GRANARY DEBUT!

2014-07-26T14:51:00.001+01:00

I can't stop writing - here is my first article for 1Granary, the magazine founded by students of Central Saint Martins. While being by and about the students, 1Granary is for anyone interested in fashion and the new wave of ideas that come with the university.

I hope you like my debut!

READ ON...

http://1granary.com/central-saint-martins-fashion/ba-final-collections/newly-qualified-wunderkind-ed-lees-crafty-avenue-graduation/

More?

TREND WATCH - I compared and contrasted three brands incorporating the trend "Cacti Desert", think succulents, cacti and fauna, chuck the chintzy peonies.

http://www.roomsmagazine.com/index.php/2014/07/cacti-desert/

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Tinder Trends

2014-07-25T09:30:00.000+01:00

We didn’t think dating could get any faster than speed dating, but with the introduction of apps like Grindr and Tinder, being single (and ready to mingle) was never so easy. For those of you who are unenthused by the notion of a dating app, or think you have no need for them, read on. They are more interesting than you think.

Self-described as a “location-based social discovery app that facilitates communication between mutually interested users”, Tinder is envisioned as being used by giggling girls huddled together in an office, or for men bored on their morning commute to work (and vice-versa). No one ever announced during the toasts at their wedding that they met through Tinder. We, power hungry and judgmental, just want to “like” or “lump” consciously posed profile pictures to pass the time spent sandwiched between the armpits of two sweaty businessmen on the way home.

As we all know, the internet is often slightly misleading, and we can all admit to honing the craft of taking a picture that advertises all of our (sometimes amplified) charms. As the saying goes ‘no one looks as bad as their passport photo, or as good as their profile picture’.

From quickly scrolling through Tinder there definitely seems to be a few popular trends amongst the sea of faces (there isn’t any other way to do it other than flicking frivolously through the swarm of men and women until someone catches your eye). It is hard to imagine that anyone could think a perfectly positioned mirror shot in ones toilet is alluring, but no judgment of course; it is the internet after all.

The first trend to be seen (probably first in welcoming you to the app) is the holiday snap; seen online as the modern equivalent to getting your friends over for a slideshow, yet similarly painfully executed. As with any online persona, we have the urge to show only the best of ourselves, who knows who might see it; a future partner or competitive colleague, perchance. It’s only too tempting to post pictures of you sunning it up while everyone else is wearing thermals and cradling a cuppa soup at work. Two words: show off. ‘Single male looking for female with beachy hair, slag tag or belly button piercing (both, preferred) and a desire to sleep with someone who takes any opportunity to flash their abs at a party’, the lonely hearts ad would read, if the art of putting pen to paper was more commonplace than using a block of electricity to convey ones utmost thoughts.

The second most noticeable trend is inextricably associated with the first, as the two are almost always interlinked. There is no point in going on holiday if you don’t have a hot bod to show in your skimpy swimwear. It completes the whole look. Never have we ever seen a holiday snap of someone sweltering in a ski jumpsuit to hide all their lumps and bumps, unless, like Nigella you don the burkini in an effort to preserve your porcelain skin, or modesty.

Think of the pain, hard work and discipline of going to a legs, bums and tums class, as you mutter “strong not skinny!” to yourself. They have earned the right to show off, surely? No, these are the sort of people who shoot daggers at you across the road from Wholefoods as you sip on a full fat Frappuccino. Someone definitely in need of another “guilt tripper” to complete their circle of trust.

Bound to attract ardent approval on Tinder is the added prop of a

furry friend. Melt girls’ hearts with a picture of you cuddling a puppy. Or even better, offer to babysit a niece or nephew; show that you can rear children effortlessly while still maintaining your trout pout. The sort of person who vets possible dates according to whether or not their pet Chihuahua approves are advocators of this trend, alongside girls with cat faces drawn on, possibly surrounded by the odd emoticon. The epitome of kawaii, a Japanese term coined to describe the level of cuteness forcibly imposed on us. There is only one way to explain this trend and that is these girls clearly don’t have any pets at hand and so thought they’d make themselves irresistible by turning into a feline with the help of a kohl eyeliner pencil (or sharpie for those looking for a more permanent solution; no Tinder induced tattoos noted as of yet). Despite the only rational explanation one can provide, we still don’t get the appeal. Ownership of a micro pig or hello kitty backpack is essential when trying to woo in this situation.

If you continue to seek approval, pictures of you in a dark nightclub clutching an oversized bottle of Belvedere on “Mahiki Monday” are surely going to make you the most eligible bachelor in all of Mayfair, if not London. This trend is reserved only for the very elite (or friends of whomever can afford a terribly undrinkable ten pints of vodka). Candidates who proudly sport a cleavage aided with a pair of chicken fillets, a foundation stripe across their jaw and own a wardrobe full of body-con dresses need only apply.

Sound appealing? Yes siree! Anyone willing to meet the dating requirements need only sign up. I am on tenterhooks awaiting the arrival of the first Tinder wedding invitations.

Mile High Fashion

2014-07-23T09:58:00.003+01:00

Ever since man has been able to travel, the secrets of the world have been unraveled, expressed commonly through design as foreign influences have satiated our inquisitive nature for centuries. Iconic design movements such as Rococo (of the 18^th Century) and Japonisme (which reached the height of popularity in the late 19^th Century) highlight the continuous authority of travel on discerning British works of art.

Globally speaking, fashion is an art form that no one is exempt from, whether you believe you follow the trends or not, you are liaising with the fashion industry every time you engage in buying constructed pieces of fabric to cover your modesty (to put it plainly). Unless you choose to run around naked, which would result you in undoubtedly being arrested and therefore forced to wear a ravishing orange jumpsuit (orange is the new black as we all know) or the old fashioned bold black and white stripes (Chanel was slightly late on the uptake with the Breton), heavily accessorised with the old ball and chain. Both equally chic and more fashionable than most.

The fact that it is becoming easier to travel year by year has only fuelled our quest to search for the unknown; the adventurer gene is brought out from within us as designers alike look to other cultures for inspiration. The introduction of mainstream air travel in the 1960s meant that people began to travel with great speed and the juxtaposition of fashions from other cultures, with references from our homeland, was conducted with ease.

Historical tourists echo modern equivalents: designers, students and those looking for something to fill a “gap-yah”, are no longer content with travelling to one country alone and so instead choose to globe-trot. The evolution of travel has out grown itself from necessity to emigration to frivolity and our perpetual need for new stimulation.

The easy-jet generation, a term coined by it’s namesake (who else?), were deemed as ‘the early riser for the morning cab, last minute packing, full of excitement generation’, manipulating us into thinking that travelling economy-class is something to celebrate. And it is, inexpensive equals freedom, especially when it comes to travel, the world is your oyster (or jellied eel, the poundland equivalent). With the cheapest flight out of the country being under a tenner, London is providing more low-cost travel than anywhere else, making it ever more tempting to pull information, first hand, from all corners of the globe – with no better cause than to serve fashion.

The media offers us various mutations in reference to ways of imagining identities and groups, causing material effects on how people experience the world. There is a process of construction in terms of building up an image of national culture. As the diverse nature of the media grows rapidly alongside technological advances, more and more sources are providing us with their own thoughts on a culture or trend, which are being driven to extremities. This increasing “interconnectedness” influences us socially, culturally and economically; three main topics constantly interfacing with fashion. The total antithesis to how trends travelled country to country in the 18^th Century where dolls were dressed in French and English royal houses, globally distributed, thus igniting a new style. Evidently more gourmet than our modern day fast food fashion binges, (literally represented by Moschino and their parodied romance with Macdonalds or Kaiser Karl’s throwaway Chanel supermarket).

Travel influences not only what we buy, but also what we are told to buy as voices are given to anyone and everyone with access to a computer and internet connection. Assaulting us with trends from all corners of the globe. Talking to fellow Womenswear students at LCF, it is clear that the juxtaposition of culture and concept assists the ability not only to consume, but to produce fashions that are inventive and progressive in terms of how we view popular culture. First year Ryan Sng commented that, as designers “we are attracted by things that are different because they are new and exciting. I do think it's a problem though, when designers are lazy and don't go beyond the surface of things”.

While we see fashion as an ever-changing presence within the modern world, facile representations of the domains of others are constantly manufactured as costumes from other cultures, barely reinvented, producing superficial pseudo-stylistic designs. Most recently, Karl Lagerfeld lazily added only a few tweaks to his collection in Dallas, symptomatic of the common Cowboys vs. Indians stereotype. Hardly availing his creative license to convey the world as he sees it. Taking qualm with the quantity of cowboy inspired garments would be a crude undertaking, however, the depth and variety of changes within stereotypes cause them to become just that, stale stereotypes. Are designers utilising the world in which we live (and travelling to the capacity their wallets will allow) to the best of their abilities?

Globalisation can have a more positive dynamic on fashion (despite the clichés in circulation), creating a renewed sense of “local”, in particular, local craft. Dame Vivienne Westwood, who has previously voiced many outspoken opinions on globalisation and propaganda, was quoted in saying, ‘the one thing that globalisation has taught us, is we are all on this planet together and we can’t get off it, so we do have to have some shared values’. We are not appropriating enough praise to the countries that fuel our design. References should be made to these cultures, providing recognition worthy of their mastery. Promoting, not only the designer (belonging to a dominant society), but also the craft behind the costume.

Lets not forget our fashion capital, the rest of the world travels to London too of course. With the glitterati gravitating to London Fashion Week twice per annum, the works of 58 designers are showcased to over 5,000 people visiting England’s capital each season, amalgamating in the generation of at least £100m in sales, a vast cum indeed. The crème de la crème of journalists, stylists and celebrities travel to rub shoulders with one another to discuss and gaze upon what fashion has to offer this time around, only to circulate other fashion capitals the very next week.

With LFW being an opportunity (and an honour) to represent ones country and boost the economy, why have designers like Victoria Beckham chosen to frequent other fashion weeks? I debated this topic with LCF student and ready-made designer in his own right, Christian Cowan-Sanluis, as he showed his level of understanding by discussing that although representing the country is necessary to boost economy, ‘designers are constantly aware of their business and can be swayed by more money or greater opportunities’. So perhaps their drive to progress is advantageous in representing Britain overseas, fuelling interest in the products of our small yet playfully creative island. Contrasting vaguely with the self-affirming high brow Paris fashion week, for example.

Aside from the cognitive advantages of modern air-travel towards fashion design, the postmodernist aspects of globalisation cause us to focus on our own thought processes. Being well travelled is one of the main ways in which people subconsciously learn new things. As I previously touched upon the notion of juxtaposition, the postmodern view on this is that by combining images from all over the globe, we create pastiches. Alluding to the fact that we may create fashions to parody and challenge garments of yester-year for comedic or profound effect. For example, garments for summer, inspired by a colder climate may challenge the value we put upon the four seasons.

The catalyst of changing seasons is the amalgamation of postmodernism and globalisation as we start to see the already ephemeral fashion industry speed up and morph into fast food fashion, a literal rendition of heroin chic as consumers the world over pine for their fashion fix. A glimpse of this can be seen with the introduction of “pre” and “resort” collections, to suppress our cravings just a little while longer; fashion pushers of the world teasing stylists, bloggers and purchasers alike. An inflation of this would be seasons to represent a spectrum of the world’s climate. If technology has allowed us to travel with ease, fashion must evolve alongside it by collapsing the confines of seasonal fashion. Travelling to warmer countries, avoiding the inevitable hibernation period brought by the British winter creates a need for clothing that corresponds with the forecast; particularly prevalent with those of us who make it their mission in life to out-trend everyone.

Opinions on postmodern fashion stretch far beyond trend, towards the ease of judgment when creating fashion to shock and mesmerise. Atypically, we are not meant to understand fully the meaning behind a collection, iconic representations of a culture, such as combining a kimono with your Prada pencil skirt, are all very well, but influences are often mistakable; as voiced by fashion critic, Rebecca Lowthorpe, “we are not meant to understand. We are meant to feel. Like great art – ancient or modern – the pieces [presented to us] are charged with feeling, sometimes confrontationally”. Dissecting banal global uniforms in favour of challenging the conventional image. Postmodernism down to a “T”.

Assimilating ourselves with the themes discussed does not make globalisation seem any less perplexing. It is rife with polarising opinions as to whether travel really is beneficial to everyone or lucidly uses global commodity to permit ongoing homogeneity. We are no longer confined to the restrictions of class, country or traditions, yet neither is anyone else.

“Everything has been done before”, a phrase often muttered at the design table, to which I highly disagree. If we continue to marry and challenge diverse cultures we surely can’t have exhausted all sources of stimulus issued to us. The allure of fashion is multi-faceted and thrives on freedom and fantasy.

Digital Revolution: Lost in the Pipeline

2014-07-22T11:50:00.000+01:00

‘Digital Revolution’, the words have been passed back and forth from mouth to mouth in many different formats. It seems as though technology is on the brink of promise, especially when it comes to integrating it with fashion. Brands such as Apple have enlisted figures from the fashion industry to make the technology seem even more needed. But it seems like technological fashion is going backwards instead of forwards.

Ashish X Topshop

Ashish X Topshop, another collaboration for the popular clothing brand, now an empire of clothing, accessories and make up, reduced to a gimmick with one fell swoop of the Ashish collection. Led lights lined shoes and nestled themselves within the seams of PVC backpacks, dragging me back kicking and screaming to the days when see-through rucksacks had pockets of vibrantly coloured liquid and my trainers lit up when I ran, pressing down with extra force to make sure they definitely did work. I’m all for a 90s revival, don’t get me wrong, but when something is hailed as revolutionary, I expect something a little more up to date.

iWatch

Trying to compete with the Google Glass, Apple is retracing their footsteps and poaching yet another fashion executive, enlisted to make sure we reach for the plastic come release. Less than a year after it announced the appointment of former Burberry CEO Angela Ahrendts, Apple got greedy and lured LVMH executive Patrick Pruniaux (Vice President of sales at Tag Heuer) into their lair lined with convergence boards and floating pixels. Strapping a phone to your arm is hardly high fashion though (gym fanatics have been doing that since the noughties, purely functional). Can we expect an Apple Resort collection anytime soon? Perhaps not, but that would be an idea if anyone is going to take this digital uprising seriously, it’s hardly comparable to any historical revolution, unless the Queen gets a bit over-zealous with iPad accessories and pulls a Marie Antoinette.

"Digital Revolution" @ the Barbican

The future of tech fashion has to go beyond LED lights, transcending the desirability of catwalks and couture, and coalesce with our ever-evolving need to be so current that the fashions of yesterday are already ancient. A jejune representation of this could be taking pictures or screen grabbing an image from a catwalk and hooking it up to fibre thin screens woven into fabrics. But with this loss of texture, the designs would seem flat and lifeless – much like a sad fake handbag. With this element of literally lifting from the runway and copying designs, snobbery could be taken to the extreme. The real garment, hand crafted, versus the cyberspace equivalent.

This flat electronic fashion, much like the Paper Op Art dresses of the 60s would be an elementary way of customising, the elitist equivalent of iron on diamante or patches of appliqué. Contemporary fashion has surpassed plain textures and silhouettes, so how could this digital structure really contend with today’s treadmill of maturing designs? A malleable material perhaps? This is what’s holding the revolution back. Photoshop creations will never be as good as impasto art, just as a digital representation of intricate embroidery and heavily structured silhouette could never contend with the textures and negative space of the real thing. We may just be too impatient to find the golden combination of wearable tech.

the Twitter dress

With no sign of wearable tech found in the collections at Central Saint Martins, the students at one of the most forward thinking universities around have ditched modernism in favour of referencing historical movements and hand crafting couture collections, regressing back to the days of intricate textiles. Why this incessant need to electrify one of the most luxurious analogue art forms we have left?

THIS WEEK | Rooms Magazine | 14/07/2014

2014-07-18T10:30:00.000+01:00

Catch up with all my articles from this past week ~

Calling all hoarders! The first law of Kipple is to donate, care of Dan Tobin Smith, who is collating a chromatic display of our junk as a comment on how humans use, store and waste resources.

http://www.roomsmagazine.com/index.php/2014/07/donate-kipple-to-a-sea-of-creativity/

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THIS WEEK | Rooms Magazine | 07/07/2014

2014-07-13T13:48:00.000+01:00

A week of interviews and articles for me with Rooms Magazine! Catch up below ~

I spoke to Shroomstudio’s co-founder, Christos Hatjoullis, about the creative process and the future of animation.

http://www.roomsmagazine.com/index.php/2014/07/rooms-14-presents-shroomstudio/

Is animation more than simply an art form encased by a computer screen? I spoke to Richard Barnett of Trunk Animation to discuss the multi-faceted industry.

http://www.roomsmagazine.com/index.php/2014/07/rooms-14-presents-trunk-animation/

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Made in Mexico @ Fashion and Textile Museum / GUISE Magazine

2014-07-07T13:06:00.000+01:00

Check out my latest article for GUISE!

http://www.guisemagazine.com/exhibitions/made-in-mexico-fashion-and-textiles-museum/

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THIS WEEK | Rooms Magazine | 30/06/2014

2014-07-06T13:35:00.000+01:00

Catch up on all the articles I wrote for Rooms Magazine this week ~

Scaled by surrounding mountains, the Manfredas produced a track with snippets of post-punk influences - The Doors' "This is the End" comes to mind

http://www.roomsmagazine.com/index.php/2014/06/glacial-visuals-echo-in-ivan-smagghes-uumellmahaye/

As the tennis season is in full swing, I wrote a short comedic piece on Ralph Lauren X Wimbledon

http://www.roomsmagazine.com/index.php/2014/06/ralph-lauren-tennis-fashion/

I interviewed Nikoline Liv Andersen, a Fashion designer who toys with the idea of beauty, contrasting her elegant garments with a twist of the grotesque, eerie romanticism.

http://www.roomsmagazine.com/index.php/2014/07/interview-nikoline-liv-andersen/

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THIS WEEK | Rooms Magazine | 23/06/2014

2014-06-29T13:19:00.000+01:00

Hello all! Here are the articles written for Rooms Magazine this week ~

Confined [ ] Space pop up store puts a time limit on the license to purchase - at the Hackney Shop

http://www.roomsmagazine.com/index.php/2014/06/confined-space-ethical-concept-store/

Band, Safe Barracks, launch their new single this July in Hoxton

http://www.roomsmagazine.com/index.php/2014/06/who-forgets-is-who-regrets/

CSM Professor Wendy Meakin collaborates with her student to emit the message of "Love not War" by creating artwork inspired by Japanese emblems of love, and tattoo art to lacquer the shell of a 1960s missile

http://www.roomsmagazine.com/index.php/2014/06/love-bomb-by-daisuke-sakaguchi-wendy-meakin/

Add a little spice to your festival ensemble with Levi's Festival personas - be the envy of Kate Moss with their Muddy Mary outfit, or find your Portaloo Prince amongst the crowd...

http://www.roomsmagazine.com/index.php/2014/06/levis-festival-personas/

Review: Maleficent / GUISE Magazine

2014-06-26T12:07:00.000+01:00

Maleficent, a prequel to the infamous Sleeping Beauty, is in many ways a retelling of our favourite fairytale. Angelina Jolie's soft dewy features are transformed into something austere - but was Maleficent always an evil Queen? I reviewed the film's costumes for Guise Magazine…

http://www.guisemagazine.com/film/review-maleficent/

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Interview | Christian Cowan Sanluis | Fashion Designer

2014-06-25T14:45:00.002+01:00

Fashion designer and Womenswear student at LCF, Christian Cowan Sanluis is also a friend of mine who’s designs have been featured in countless magazines and favoured by Lady Gaga who wore an outfit deemed ‘the glitter tux’, immortalised forever through illustrations and articles.

Constantly perplexing me by effortlessly juggling student life with creating his own collections, I interviewed Christian to see just how he does it…

E: What was the motive for setting up your brand so early on, before graduating as most fashion students and designers do?

Christian: I'm too impatient, I just wanted to do it now, so I decided to just begin. I felt a head start would help.

E: Designing at home or in a classroom is totally different to putting your ideas out there in magazines or press days, why take such a huge step into the unknown?

C: I always find university themes really constricting, so it's nice to do your own work. You call the shots and say what is right and what's not. So I started because I'm a control freak with my designs; I don't like being told what I think looks great isn't going to get me the marks!

E: Inspiration is found through many different areas of life, something ever changing and evolving. Do you have one driving force spurring you on?

C: I really enjoy working (so that helps). When I was younger I was heavily influenced by nature shows, (David Attenborough!!) and I always gravitated towards insects and the weirder animals. So I think that was my first influence, since then I've just wanted to create fun fashion that makes people feel empowered.

E: How do you handle your success? Are you getting used to some things more than others?

C: Ha ha! I don't feel like much is different to be honest, but I have noticed more people are up for working together which is great, I love to collaborate and work with someone who has a different skill set.

E: Do you celebrate each milestone? How?

C: I get really excited for like 5 minutes and then feel unsatisfied, ha!

E: Always looking to the next project! Your collections really do seem effortless, you're so calm and almost secretive during term time, there must be a lot more to it than meets the eye - to you get any help with sourcing fabrics etc or is it more of a one man "band"?

C: I wish I had some bit team! But apart from help from my friends when they are round, (I use them as slaves) I do most of the work. Of course when it comes to the look book, video & presentation, there's tonnes of people involved. Which is nice.

E: Do you use the same processes as we do at LCF? Research - initial designs - samples - developed… or it is a totally different ball park?

C: No not really, I collect images I love on my phone, write notes of ideas, lots of scribbles and then draw them up. From there I devise a story to base the collection from.

E: What do you work towards?

C: I want to create a collection that feels young, energetic, fresh and fun! I want it to make people smile and laugh (in a nice way).

E: Do you really follow things like fashion week and go to exhibitions or do you think there are more ways to be in touch with the industry?

C: I always see what's happening through Instagram etc. I go to exhibitions when I can but I don't really attempt the LFW shows, although I do go to the parties that are around as its nice to see everyone - and get a free drink.

E: Personally, I think that fashion, music, art, films etc can all be integrated, do films/music inspire you? What's your favourite film?

C: Yes, definitely! Music probably influences me the most. I grew up glued to the TV, watching music videos. The internet is a main source of inspiration and video games, so that's definitely where I feel at home.

E: The digital age! Would you ever consider designing for a film as many designers have done in the past (e.g. Gaultier for "Fifth Element")?

C: I'd love to! I just need someone to ask me!

E: What do you think is your greatest extravagance/indulgence?

C: Food. I have the worst diet ever, a lot of snacks come through my front door.

E: Too tempting to pass up, ha! So what's next for you and your brand?

C: I'm just trying to improve on what I do and get my work out there. I'd love to build up my stockists and have a great team onboard.

E: An empire in the making! Your designs are always immaculate, name something you think has been horrifically overdone in fashion?

C: Those Rottweiler t-shirts, they need to stop.

E: And something that needs more 'representation' in fashion?

C: I must say living in London I feel like everything is on show, we can't really complain.

E: Lastly, where's your go to place away from the fashion industry? Be it a place of tranquility or just somewhere a little different/exciting.

C: My mum's house near Cambridge, it's on a farm and her dogs are awesome so when it all gets a bit much I hide up there.

E: Thank you Christian! It was great to chat, good luck with all your future collections, we can't wait to see everything!

Follow Christian on Instagram (@christiancs94) and Twitter (@ChristianCXMCS) for updates on his new collections.

Want to intern for Christian? Get in touch! "Know any sassy people who would be up for helping with my SS15 collection and some extra projects? Send them my way!"

E x

Return of the Rudeboy @ Somerset House

2014-06-17T16:08:00.001+01:00

In a society where it seems as though subculture is a mere whisper of the past, the anarchy of Punk is slipping away as a memory while everyone is pacified by hands fused to their iPhones.

The upcoming Rudeboy exhibition at Somerset House is the injection of gritty subculture London needs. Curated and created by film and music’s Dean Chalkley and fashion’s favourite Harris Elliott, the duo have chosen to represent (and introduce some of us) to the sartorial subculture known for painting the town with urban style and swagger.

Mohair, pork pie hats and a sharp buzz cut were flooded with American Jazz and R&B – British dandy meets gangster, and infusion of notoriety and high society. Saville Row meets Shoreditch.

With a heavy emphasis on Bespoke British and soulful music, a tale of two cultures is realised, ballasted by visuals, portraits and playlists, within the unsuspecting neoclassical walls of Somerset House. A fitting exhibition space as if cast into the foundations.

Return of the Rudeboy exhibited at Somerset House is open to the public on the 13^th June until 25^th August 2014. Free Admission.

Inside the Industry with Dazed & Confused / Pigeons and Peacocks

2014-06-16T21:07:00.000+01:00

The Evolution of Fashion Image Making

"The lecture halls at LCF's John Princes Street site, usually reserved for the voices of professors, was opened to the editors of Dazed and Confused this week for the College's ongoing series Inside the Industry. With an audience of young and emerging talent gathered to absorb wisdom, many of us wished silently to ourselves, "If only success were infection"…"

http://www.pigeonsandpeacocks.com/2014/06/inside-the-industry-dazed-and-confused/

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Fashion and Furnishings / Pigeons and Peacocks

2014-06-16T20:55:00.001+01:00

"The similarities between fashion and furnishings are greater than you think! When used in the home, pattern can convert an interior into something it is not. Wallpaper has the ability to cover the cracks in walls and hide uneven surfaces. Curtains shut out the world outside and create a new facade within…"

http://www.pigeonsandpeacocks.com/2014/06/fashion-and-furnishings/

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Flashback: Ab Fab / GUISE Magazine

2014-06-15T15:30:00.000+01:00

As we await the release of the Ab Fab movie by Jennifer Saunders - who has frequently admitted that her procrastination frequently gets the better of her, we must be patient - I looked back on the retrospective of costumes adorning Edina Monsoon and Patsy Stone. A note to the costume designer, we expect nothing less than psychotic come 2015!

http://www.guisemagazine.com/tv/flashback-ab-fab/

Here are some of my favourite costumes from the TV show we love so much!

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Haute Cuisine/Haute Couture UN-EDITED

2014-05-30T17:24:00.001+01:00

With the release of fashion model Daisy Lowe's “guilt free” cookbook looming, we debate the often over-looked similarities between the art forms we love to feast on (be it with our eyes or with our mouths).

Model turned chef is not a rarity as fashion’s darling Daisy follows in the footsteps of Sophie Dahl and actress turned self proclaimed lifestyle guru, Gwyneth Paltrow (who is now found most in her kitchen, consciously uncoupling egg whites from their yolks) in their bid to become vegan mutations of Nigella (ever so slightly less vivacious and carb absorbing). However, the allure of a twenty something model can be bettered by nothing, the promises of which are whispered to you as your fingers click to pre-order on Amazon. You can be a model too if you just buy my book.

Fashion and food are synonymous with the word ‘lifestyle’ as they are the make up of our day-to-day lives; art forms that everyone interacts with regularly (one would hope). Transparent salutations to this are presented in the form of “lemon chiffon cake”, the dessert mille-feuille of French origins or the mutton sleeve. All signifiers that style of fashion and food allude to the trends of life's great many pleasures.

Just as designers redesign and take inspiration from their predecessors. Fashion students are taught to look to the past in order to learn and further evolve the design of clothing, pushing the extremities of social ideals, taste and ergonomics. The same can be said of cuisine as gourmet chefs have teased our taste buds (even if only imagined). Unpalatable fodder, or a gilded creation from Heston? Many of us will never know; as we sit at the other side of the TV screen or read the latest cookbook, we may watch the culinary revolution unravel.

Fashion and food are both key indicators of luxury. Throughout history, competitive hostilities between those frenzied by any art form have occurred as they each try to outdo one another. The most delectable representation of this can be found in the Marie Antoinette, Sofia Coppola’s vision of 18^th Century France seemed to include sweet delights and raspberry laced champagne as much as the candy coloured corsetry and mile high tresses (tall enough to inspire jealously in the matriarch of the Simpson family). Fancifully handed to us by Coppola with a little help from Siouxsie and the Banshees, the lifestyle was sold to us immediately. The mix of voguish aperitifs meant that a facile life of pleasure and luxury was at our fingertips whenever we pressed play.

Food in film can not only convey luxury but desire also. As an animal instinct one could argue that food is salient to our livelihoods more than clothing, however, it has grown into a necessity just as electronics, cars or gym memberships are most urgent on our list of previously nonessentials. The life of Riley.

The most prevalent example of food and desire is comically found within the cartooned strokes of Lady and the Tramp. An infamous scene for an animation, filled with ardour and ever so imitable. It is within reach; even the most incongruent of home cooks can conjure a spag bol with limited incineration. Meaning that although less elegantly executed, our own romantic foodie memories can be created (even if they leave us with threads of spaghetti tickling our chin).

It only takes a few evenings of watching Masterchef to notice the trends within cuisine, as easily supplemented to us as a quick flick through of Vogue. Square plates, scallops for starters and a trio of desserts, all heavenly concoctions, yet, so changeable with every season.

We may review both industries as pretty throw away, but imagine if at the end of creating your masterpiece someone had eaten it faster than you took to rustle it up. A new collection every few months, or a new meal every few minutes? It’s all a matter of taste.

Fashion and food can work well together: luncheons at which the crème de la crème of the industry dine together, cajoling with collaborators and scheming (I see it as more of a military operation than quant dinner party, everyone has their own agenda). Nevertheless, the two can also have a bittersweet relationship.

I have been told many times that women have a love affair with handbags and shoes because buying them isn’t dependent on whether or not they feel bloated – you don’t need to look into a mirror to gaze at the leather strapping your feet together, neatly framing your pedicure. Getting your nails done can occur pre or post Sunday roast; however, shopping for a date night outfit is an occasion ever so dependable on figure. Meaning that food can be our best friend or worst enemy. A light lunch with girlfriends or a midnight dash to the fridge that leaves us penitently prodding our tummies as the thought of being too fat to fit into our Calvins darkens our doors.

Previously mentioned model slash celebrity chef Sophie Dahl conveys the dysfunctional affairs we share with food while thoughts of what to wear tomorrow linger in our minds.

It seems that cooking for ourselves has become as quant as the image of 1950s housewives sewing from their mail order patterns in an effort to emulate the Hollywood elite. We have become proprietorial over our kitchens once more in a bid to become the image of perfection, with illusions of congeniality.

Good food and good fashion don’t need to institute guilt fuelled fits of clammy palms. Any aspect of the creative arts should instead ignite fervour to even the most apathetic of people; our lives orbit these art forms irrefutably and so positive relationships are a needs must when the devil drives

Click the link below to read the condensed version.

http://www.pigeonsandpeacocks.com/2014/05/haute-cuisine/

Film 4 Summer Screen @ Somerset House / GUISE Magazine

2014-05-21T00:30:00.001+01:00

My fifth article for Guise Magazine, I can't thank my editor Anastasia enough for this exciting opportunity - I absolutely love writing for Guise, it has been two months already! I have been awarded such a great level of confidence, helping me to pursue my writing more prolifically.

With Film 4 Summer Screen at Somerset house looming, I chose a few of my favourite cult classics (tickets for which can be found -here-) and studied their iconic costumes - a catalyst to their fame? Or simply one of many art forms included within the medium of film?

http://www.guisemagazine.com/events/film-4-summer-screen-somerset-house/

My next article shall be a review of Disney's Maleficent on the 28th May, stay tuned!

A huge thank you to everyone who has supported my writing throughout the years of blogging and writing as a Columnist for Guise! This is an exciting chapter ~

E x

Ernie Glam & the Club Kid scene / GUISE magazine

2014-05-12T20:10:00.002+01:00

My fourth article as a columnist for Guise Magazine has gone live!

I interviewed club kid Ernie Glam about his arsenal of costumes, how Buggs Bunny influenced him, and his recent plans with "Party Monster" friend, Michael Alig.

Click the link below to read on...

http://www.guisemagazine.com/fashion/ernie-glam-and-the-club-kid-scene/

Here are some more of my favourite images of Ernie Glam and the Club Kids

(they deserve more than one!!)

The Club Kids

Ernie Glam - then and now

Michael Alig

From an issue of Project X magazine (founded by Alig)

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Fashion and Satire

2014-05-09T19:23:00.000+01:00

Making fun of fashion? Never!

Debating the notion of fashion and how satirical views have shaped and changed it, undermine, yet constantly reference social ideals and historical culture as means of our stylistic evolution.

Although there are obvious links between fashion and individual identity, one might create subsections within these two themes; class and the tensions between social hierarchies and individualism in particular. Fashion can be a means of portraying ones self, beliefs and taste, as well as even ones career or status.

Social hierarchy in terms of fashion is extremely integral to the development of trends through emulation. Historically, the literal expression of social standing became mandatory as sumptuary laws were introduced in the fourteenth to sixteenth centuries, encaging ‘by legal means what individiuals might wear’. Meaning that, legally, fashion was a direct label indicating profession or social standing. This created tensions as the regulations that were reflected in dress began to break down and were the catalyst in fuelling the rise of the urban bourgeoisie. This early resistance to the laws regarding dress gradually manifested itself in the form of emulation as lower classes echoed styles from the upper classes, creating similar garments as a way of breaking free from their typecasting and in turn generating new, socially elevated, identities for themselves.

Tensions between cultural ideals and the lower classes manifested themselves as satirical views of society. As one of the most influential caricaturists of his time (the late 18^th Century), James Gillray continues to influence satirists today. According to his profile on the Tate website, The Art of Caricature, ‘satire has often been seen as the disposable art of an urban, commercialised culture, one of the plethora of consumer goods which are continually outdated and replaced by new offerings’, the writer talks about how, not dissimilar from many art forms, satire is a fleeting commentary that lasts no longer than the trend or subject matter at hand. This means that as with the consumer goods sold to society as a whole, satire is a momentary (albeit, more often than not, humourous) criticism. These criticisms outline the tensions between social ideals and the lower classes as, by making a mockery of those in power within society (the elite), the caricatures comment on the identity of class from an alternative perspective; simply perusing the archives of fashion advertisements or back issues of Vogue, we are given a slightly bias account of the fashions of the time.

Satire provides means for interpretation of social ideals and therefore creates a more open and two-sided colloquy between fashion and class.

Frequently satirised, the aristocratic subculture regarded as the Macaronis were a group of men who studied effeminacy. This caused social uproar as the identities of these men shown through their clothing, strongly opposed that of the more traditionally dressed Bourgeoisie. Referring to the work of Valerie Steele, noticed that of the Macaronis’ fashion, ‘many critics suggested that the Macaroni had ‘a good quantity of hair… for his head produces nothing else’, but one writer used a more devastating image that associated external appearance with internal corruption: ‘Their toupees imitate their high elevated thoughts, which, teeming with maggots of various kinds, display to the world their humour’. This is a form of caricature, varying only slightly from the artistic examples of James Gillray, showing that a written or spoken caricature is probably more powerful and subjective because of the reader/listener’s license to embellish.

Another example of satirical fashion (clothing satirising culture and society surrounding the wearer) was found in punk fashion. This subculture, originating in the 1970s, was heavily portrayed through fashion. A uniform corresponding to the punk mantras of resistance was created, extremely comparable to Duchamp's Dadaist 'ready-mades', the punk movement made fashion out of the most mundane daily objects such as a pin… a razor blade, a tampon - distinguishing punk as the movement of (un)fashion. The practice of elevating everyday objects became known as bricollage and was an easy and cheap way of punks adorning their bodies in a shocking and outlandish way (to the rest of society), commenting to the rest of society that having taste was not the be all and end all of fashion.

Punk also made more noticeable links between fashion and historical culture. The image of a jacket worn by a member of the punk subculture in 1977, with the iconic symbols, not unfamiliar to members of the public, of the union jack and the swastika, shown side by side one another is unequivocally aimed to shock. This jacket is evocative and

references the Nazis. With the end of the Second World War being only thirty-two years prior to when this photograph was taken, the experiences were still ripe within a great deal of the older members of the British public. As the swastika is paired with the union jack, viewers are presented with the image of British patriotism, memories of a war that caused destruction and devastation within communities.

Despite the motto of “punk” being the notion of anti-capitalism and controversy, its visual representation was soon adopted by fashion designers; the political connotations dispersed and elements of the style are still widely used. In a sense, the exterior of the punk was plucked by designers and clothing lines, disassociating the fashion from the meaning behind it, satirising a subculture which had previously satirised the very elite who were being sold such designer garments. "Punk" has become more of a trend rather than a subculture with social antitheses.

One may draw from more extreme examples of satirising fashion to create new identity by commenting on social division linked with modernity. In an interview written in Vice, the Comme des Fuckdown designer, Russ Karablin, referred to his

brand as a ‘kind of slap in the face to all the high fashion stuff they wear. You know, like calm the fuck down’. This reference to a “slap in the face” adds pungency to the already satirical play on words alluding to the famous brand by Rei Kawakubo, Comme des Garcons. The brand Comme des Fuckdown has been popularised by the hip-hop band fronted by A$AP Rocky; an example of differing sects or the pop culture industry work together in unison, creating a new viewpoint and connecting with a new audience of both the two industries. This ‘clash of lifestyles’ means that fashion has become more unpredictable and has dissipated the old hierarchies of the industry, we are no longer accepting that we must be dictated to us regarding what we
wear, but instead creating our own rules with regards to identity and status; creating a Postmodern view on fashion, elevating both fashion and music industries with the connection of the designer brand. Simultanaeously lowering the tone of Comme des Garcons in this instance and therefore subjecting the brand to being questioned as to whether the price tag really does mean that designer labels elevate ones social status if other brands can satirise it and make it almost meaningless.

The conclusions we may draw fashion and satire are that the tensions have shifted frequently between admiring and emulating the elite.

Historical and more modern examples of satirical fashion act as a narrative towards social views on fashion trends, in terms of how different classes (primarily the demographic who cannot afford high fashion) reacte towards followers of fashion who have the power to control their identities in a flexible manner. This dissipation of hierarchies have resulted in fashion that was far more ambiguous, playful and freeing.

Fashion design as a process and industry is naturally aspirational and involved with updating and changing identity, for the individual and gaining respect or power from others while being associated or accepted into a class or social group.