BRICKS FASHION AND PHOTOGRAPHY
BRICKS EDITOR IN CHEIF / VICTORIA ELIZABETH COOPER CONTRIBUTORS: NAOMI GRIME, LEVI MCDONALD, LAURA COCKBURN, WE ARE ISLANDERS, SHANNA BENT, EMILY HUGHES, LYNNE ROWE, SERENA RENOLDS, HANNA HANSEN, PHOTOGRAPHY: LEVI MCDONALD, LAURA COCKBURN, LUCY CREWDON, SERENA RENOLDS, HANNA HANSEN, STYLING SOPHIE BENSON, MUA’S
SARAH MORTEN COVER PHOTO: SERENA REYNOLDS FOR GENERAL ENQUIRIES AND PRINT SUBMISSIONS CONTACT BRICKSMAGAZINE@LIVE.COM FACEBOOK / BRICKSMAGAZINE TWITTER / @BRICKS_MAGAZINE
WITH THANKS TO DYLAN JAMES ANDREWS PERRY-JAMES SUGDEN
CONTENTS 8. We are Islanders
56. Knit Tutorial
Interview with the irish design
Learn how to knit a hooded cowl
with lynne rowe
12. REECE CURTIS WALWYN
60. A DIFFERENT KIND OF GRIMES
Collection photographed by levi macdonald
Introducing fashion designer naomi grimes lookbook
20. Hometown Glory By Serena Reynolds
68. Pony Girl Editorial Shoot by Laura Cockburn
34. Shanna Bent Introducing the fashion designer
38. MY WORLD Photography by hannah hansen
46. Katie Darlington
A beautiful editorial photographed by Levi Macdonald
54. Emily Hughes
Introducing designer emily huges and her final graduate collection
WE ARE ISLANDERS ‘We are islanders’ is a fashion label based in Dublin ran by a little team of three. ‘WAI’ is a result of continuing examination of what it means to live on the island of Ireland,. They like to look outward not inward and challenge accepted norms through fashion design. We were lucky enough to have a quick chat with the designer and artist behind the label, Rosie O’Reilly.
Hi Rosie! Tell us a little bit about yourself... I’m a visual artist and maker. I’m concerned with asking important questions about the environmental and social story of our time. What is your very earliest memory of fashion? My mum on the machine with liberty print fabric making me pants, tops, dresses, bloomers .... When did you decide you wanted to do it on a more serious level? Through re-dress.ie I’ve been working, researching & running events all around better practice in the fashion sector since 2008. The label has been in conversations for years; 2013 was the right year to do it. How did ‘We are Islanders start? If you stand by the sea long enough something’s going to happen; the name came about after building a wooden boat (Currach) over a month on the East Coast. It’s sums up the ethos of the label ‘question & look outwards, harness old and new skills’. I was lucky9
enough that two other people had the same idea of what a contemporary Irish label should look like. It involves Rosie O’Reilly-Designer & Artist / Kate Nolan Production & Deirdre Hynds -Marketing. Do you have a particular muse or someones style you admire when you think of your designs? Anyone who challenges the norm is usually worth checking out. We’ve recently watched The making of ‘Tidal’ on your website, could you explain what it’s about and where the inspiration came from? I was exploring rising sea levels & tide lines visually after Sandy hit New York looking at the high tide mark left on the physical landscape but also exploring the socio-cultural mark left on the people and the city after the disaster. Dublin will experience this tidal & climatic change and 4/704 was an instillation to mark 4 of the 704 annual high tides that mainly go un-noticed in Dublin, representing apathy to natural systems that are fundamental to our day-to-day living. The installation consisted of 3 x 3mtr high self-contained dying units on Sandymount strand, each with a garment inside. Through a buoyancy system, the mark of the tide’s undulation was transferred onto the
clothes over 48 hours, creating a ‘textural time lapse’. The high tide was marked and noticed. Clothing was used as medium for translating the mark to highlight social and environmental apathy in the fashion industry. We saw the crash of the high tide in Bangladesh this year where over 1200 people died producing clothes for us. Does living in your environment (Ireland) inspire your collections in anyway? Island life is a huge influence. Namely; 4 seasons in 24 hours, it forces you to look outward and not inward. I knowing my weaver, my knitter and my printer. The Coastline is always changing. What else inspires you? Art and scientific enquiry of any sort. What can we expect from you in 2014? Get 4/704 to another strand, dye from other tides, keep questioning, trade in Copenhagen in January and get planning the next instillation. See ‘We are Islanders’ collections at www.weareislands.com
Reece Curtis Walwyn A collection by Walwyn photographed by Levi Macdonald.
Hometown Glory Photography by Serena Reynolds Model - Taylor B at TBW Models Hair and Make up - Allison Mason
This Page: Coat Vintage Mink Shoes - Nike Left Page: Jacket: Etro Bag : Hermes Sunglasses: Forever 21 Earrings: Stylist own
This Page: Jacket: Vintage Mink Scarf : Hermes Earrings : Stylist own
This Page: Sweater : Juicy Couture Jeans: Models own Bracelets: Barneys NY Hat: Club 55 Shoes - Nike
MThis Page: (As Before) Jacket: Etro Bag : Hermes Sunglasses: Forever 21 Earrings: Stylist own
This Page: Jacket : Max Mara Sweater : Ralph Lauren Necklaces : Di Reynolds Jeans : Models own Bag : Etro
SHANNA BENT LONDON BASED FASHION DESIGNER
Shanna Bent is a fashion designer based in London that graduted at Central St Martins. Her high function garments are perfect for the modern city woman. Her pattern cutting is exeptional which allows her to create beautiful original structures in her pieces. When we came across her website, we wanted to ask her more about the creative process behind her Inundate collection. Here’s what she had to say... Hi Shanna, have you always lived in London? Yes, I grew up in Putney, London. What was your childhood like? I was always interested in everything arty. My favourite kid`s show used to be Art Attack where I would look forward to copying Neil Buchanan`s concepts. I became more intrigued with fashion when I started to attend secondary school and would make handbags from recycled jeans but was always too embarrassed to tell people they were by me.
We would then make our `territory` by threading up a machine and spreading paper patterns on an available worktop then would have breakfast whilst waiting for the power to be switched on at 9... Every day was basically a survival of the fittest. Did you enjoy this way of working? Although it’s quite nice being able to work a standard 9-5, I still miss the late nights and busy weekends to meet project deadlines. Are you in the studio everyday? Not yet, but I will be soon when I make a start on my second collection. What are your main inspirations? Everything. I love taking regular visit various museums and exhibitions. I also have high admiration for Japanese art and techniques.
What was the inspiration behind your ‘INUNDATE’ collection? I came across a photography exhibition at Somerset Were your parents pretty creative too? House called “A Drowning World” by Gideon Mendel My mum apparently used to be able to draw pretty whom collates images and footage of people well but she isn’t a big fan of modern art. I remember enduring life post natural disasters. I did further inviting her to my exhibition whilst I was studying at research on flooding and the ultimate cause appeared Central Saint Martins, she was pretty perplexed by the to be global warming so in keeping with this theme, whole experience. I experimented with multi-wearable and reversible What is your favourite piece of clothing? aspects in aim of reserving natural resources and for My favourite item of clothing is my grandmother`s the consumer to “buy less and wear more” along with white blouse with a lace collar and gold and pearl like a combining both light and heavy fabrics which permits buttons. It`s oversized on me so I wear it as a tunic and the collection to be worn throughout all seasons in it always gets so many compliments! celebration of longevity and practicality. Tell us a little bit about your designs... I don`t design with myself in mind, I design what I would like to be seen worn by other people. I like to combine art with function as without function, the entire purpose of clothing is defeated. What is a typical day like for you? I am currently working at the moment for another brand so I haven`t actually been designing sincehanding in my Final Major Project. During final year, my daily routine consisted of travelling 1.5 hours in the morning to queue outside our Curtain Road site by 7:30 as it`s a first come, first served basis for table space and sewing machines.
My collection consists of an array of separates which can be mixed and matched and worn on the reverse to create new outfits, a convenience ideal for the modern city female. As well as being highly functional, I took aesthetic inspiration from Japanese pattern cutting methods to create intricate and twisted shapes to replicate tornadoes and storm chaos. How do you like to spend your spare time? I love dining out and tasting different cuisines as well as attending various networking events as you never know who you may meet..
You have an amazing resume and have worked with some brilliant design houses including Alexander McQueen, do you think it’s important to get lots of industry experience before doing your own collections?
What can we expect from you in 2014? Hopefully my website will launch early 2014 and my next collection will follow Where can we buy your designs?
Definitely. I would advise anyone to invest their time and partake in internships. There is a difference in being taught how to do something and actually doing it for a real purpose. You also build up contacts along the way and those people could potentially recommend you to future employers.
I am currently in touch with stockists that will be revealed soon...
What is the most valuable thing you’ve learnt so far whilst working in the fashion industry? Regarding developing your own brand, only 10% involves design and the other 90% consists of business and marketing strategies.
To see more of Shanna’s design process visit www.showtime.arts.ac.uk/ShannaBent
my world Images By 16 year old Hanna Hansen from the uk
KATIE DARLINGTON A collection shot by Levi Macdonald Mua & Hair Stylist by Molly Sheridan @ Colours agency Model: Rachael Hood @ Model Team Styled by Ian Todd
EMILY HUGHES When Emily sent us an email of her graduate collection, there was no way we couldn’t put it in our pre-launch issue. We had to ask her a few questions about her designs. Hi Emily, where are you based? Originally, I was born in surrey. When I was younger I moved to the Lake District when I this is where I grew up. Did you study fashion at University? Yes, I was taught at the university of Central Lancashire in Preston where I studied fashion design for 4 years. I loved the course, the forth year is the most relevant year, it was the most testing but at the same time the best year of my life. Final year is about finding your signature as a designer. You can only achieve that by finding your strengths and pushing them to the maximum. Your tutors help you a lot with it, they are constantly trying to get the best out of you, they are amazing in what they do. What is your favourite piece in the collection? My favourite piece in the collection is the red leather dress with the lined up children print. I love everything about it, the silhouette, the colour of red leather and the print and the colours in it. It’s a very sleek and powerful piece. Design is heavily influenced by your inspiration, what is it that inspires you? First of all I’ve been taught that you can design from any thing and everything, it could be an object, a piece of vintage clothing, a certain culture or a place. I’m inspired
by so much, but what I do as a designer is draw a theme out of something. My designs are very much heavy in concept. When you’re not designing what are you doing? In my spare time I like to travel, visit exhibitions and art galleries and of course go fabric sourcing. I love browsing through books and various fashion resources. I think it’s always really important to look at clothing both old and new. What is the most valuable thing you’ve learnt whilst studying fashion? Stay true to what you believe, if you believe an idea can work, and you can’t go a day without thinking about it, even if people disagree, put your all into it. Sometimes there’s nothing better than your own instinct. You can get the best out of something your passionate about. Oh and keep a thick skin, fashion can be a rocky road, an emotional roller coaster! What does the future hold for you? I’d love to do my masters but not for a few years get, my main focus right now is getting as much experience as I can to grow as a designer - who knows where I’ll be in the future.
Yarn supplied by Artesano Yarns (www.artesanoyarns.co.uk) Model photography: Rory Lewis (www.rorylewis.co.uk) Model: Izabel Amelia Rowe (email@example.com)
KNIT A HOODED COWL Make your own fashion statement by using the simplest of knitting stitches. This stunning and versatile chunky cowl is made with 100% wool from British Breeds. Wear it over the shoulders for extra warmth, or create a catwalk look by wearing it around the neck and over the head. Knitting Kit: 7mm circular needle (80cm long) Stitch marker Wool needle Artesano British Wool 100g Shade Turquoise (010) x 3 hanks – Yarn A Shade Purple (007) x 1 hank – Yarn B Note: Wind each hank into a ball before starting to knit. Tension: 13 sts and 18 rows on 7mm needles to make a 10cm square Finished Size: Approximately 58cm long and 36cm wide Construction: The Bricks Cowl is knitted in the round on circular needles to allow you to create a tube of knitting with-
out a seam. When knitting with circular needles, the right side is always facing you. Patterns Notes: When instructed to change colour, tie the new colour around the old colour with a knot and push the knot up to the top of the old colour. Start knitting with the new colour. When cutting or joining yarns, always leave a long tail end of yarn so that you can weave it into the wrong side of your work when finished. Instructions: Using Yarn A and 7mm circular needles, cast on 98 stitches loosely. It’s really important to cast on loosely otherwise the cast on end of your cowl will be much tighter (and smaller) than the cast off end. Spread your 98 stitches all around the circular needle and bring the tips of the two needles together. Next, join the round ready to start knitting. This is an important step and avoids creating an uneven edge. To join the round: 57
1. Slide the first stitch from the left needle to the right needle 2. Insert the left needle into the front of the second stitch in the right needle. 3. Insert the left needle into the front of the second stitch on the right needle. (see image 2) 4. Place a stitch marker over the tip of the right needle (it will sit between the two crossed stitches) (see image 4). The stitch marker will identify where one round ends and the next round begins. Slip the stitch marker at the end of every round. 5.Start knitting according to the pattern that follows. Rows 1-4: Purl all stitches. Rows 5-7: Knit all stitches. Rows 8-14: Repeat Rows 1-7. Rows 15-18: Purl all stitches. Row 19: Knit all stitches. Cut Yarn A and Join Yarn B (see pattern notes). Continue in Yarn B. Rows 20-21: Knit all stitches. Rows 22-35: Repeat Rows 1-7 twice. Rows 36-39: Purl all stitches.
Row 40: K all stitches. Cut Yarn B and Join Yarn A (see pattern notes). Continue in Yarn A. Rows 41-60: Repeat Rows 20-39. Next Knit 68 rounds (knitting every round on circular needles creates stocking stitch). Cut Yarn A and Join Yarn B (see pattern notes). Continue in Yarn B. Next, Knit 12 rounds. Cut Yarn B and Join Yarn A (see pattern notes). Continue in Yarn A. Next, Knit 1 round. Work the ribbed neck edge as follows: Next round: *Knit 7 stitches, Purl 3 stitches, repeat from * to the end of the round. Repeat the last round 5 more times. Cast off all stitches loosely until 1 stitch remains on the needle. It is important to cast off loosely otherwise your cast off edge will be quite tight. Cut yarn leaving a long tail end. Remove needle from last stitch. Thread yarn onto a wool needle. Insert the wool needle into the top of the next stitch to the left of the last stitch, from front to back then insert the wool needle through the last stitch. Pull yarn gently through the last stitch. This joins the round and avoids a gap or an uneven edge. Weave all yarns ends into the wrong side of work and trim.
A DIFFERENT KIND OF GRIMES Fashion designer Naomi Grime shares her final fashion graduate collection with us.
Photography by Lucie Crewdson Stylist/producer/set designer: Sophie Benson Hair & make-up: Sarah Morten Model: Jameela Elfaki
5 minitues with Naomi Grime Where did you grow up? I grew up in a very small village called Clayton-le-Moors in Lancashire surrounded by a very large and loving extended family. I have lived in clayton all my life in fact I spent my first 21 years in the same house and when I finally moved out with my boyfriend I moved 3 doors up from my parents. Have you come from a creative background? Yes very much so, my grandma was always very creative, she used to knit me numerous dresses, jumpers ect (sometimes much to my mums disappointment) she spent a long time knitting me a full Scottish family of teddies and a Christmas scene which still sits proud under my mums Christmas tree. I spent plenty of afternoons at my grandmas playing dress up with paper dress up doll books. My mum is also very creative and handy on a sewing machine, she used to make a lot of her own clothes in her youth and is now a very creative and adventurous florist. Do you design with a specific muse in mind? I always try and make up a muse in my mind, I try andthink of the craziest person, someone who has no fears when it comes to fashion and no boundaries on what she would wear. I try not to limit myself with a age because I like to think if you’re confident enough to pull it off you would wear my collection at any age. What is the most valuable advice you were taught in fashion school? Without a doubt the most valuable lesson I was taught in my final year was that you can design from anything, my tutors were constantly pushing us to find inspiration in the most unusual places, and they created many projects based around this. Without this outlook I would not have come to the conclusion I did in my final collection. What was the inspiration behind your final graduate collection? The inspiration from my final collection came from some photographs I took of my neighbour’s wheelie bins, very strange I know, but my tutor was always pushing that you can design from anything. After much frustration and many crits, while walking my
dog I spotted a neighbours wheelie bin with a floral cover on it. I went back home and grabbed my camera and decided to see how others identified their bins, I got the pictures printed off and very nervously hid them in the back of my sketchbook at the next crit. I slowly pulled them out expected my tutors to think I had finally lost it and they loved them! I worked and worked on the concept and decided that I wanted to turn it on its head and have such a grungy source of inspiration but make it very luxurious with the fabrics. I even went to the extreme of throwing rubbish all over my living room floor in the early hours of the morning to take photographs in order to design prints. My boyfriend thought I’d gone crazy. I even routed for hours through different cupboards for particular brands and certain colours. For my silhouettes and details I looked at the amazing work of Pierre Cardin, in particular his designs from the 60s I looked at all elements of his work to draw as much inspiration as possible, I studied not only at the fashion but the furniture and jewellery. Were you in the studio everyday? Absolutely, my collection would not have made it on the catwalk at graduate fashion week without being in the studio every day. In fact some days we stayed and worked through the night, I even had my mum in for a few nights sewing and doing a starbucks run. Coffee was very essential during my final year. Could you tell us a little about the creative aspects behind the lookbook? The shoot was influenced by, and created around, my portfolio work. Locations and set pieces were utilised to reflect the theme and palette of the collection, and the team was hand picked specifically for what they would bring to the shoot. Sophie (set designer) was asked to produce and style the shoot after working with my collection on an editorial, and created the concept and set, art directing the shoot and and bringing the team together. Lucie was chosen for her beautiful art-influenced, lo fi style in her photography work. Sarah was brought in for her creativity and ability to interpret a theme.
â€œThe most valuable lesson I was taught in my final year was that you can design from anythingâ€? - Naomi Grime
PONY GIRL Photography - Laura Cockburn Model - Chelsea Symonds HMUA/Styling - Stephanie Hanlon
Cover page: Hat - H&M, Coat - River Island This Page: Top - QED London Hat - Stylists own 71
Previous pages: Top & Leggings QED London, Shoes - Converse, Accessories - Stylists own This Page: Leopard print jacket & dress - Topshop
wishlist Euan McWhirter www.euanmcwhirter.com
Forever 21 www.forever21.com
Ralph Lauren www.ralphlauren.co.uk
Reece Curtis Walwyn www.reececw.com
River Island www.riverisland.com
Shanna Bent www.showtime.arts.ac.uk/ShannaBent
Juicy Couture www.juicycouture.com
The White Pepper www.thewhitepepper.com
Katie Darlington www.katiedarlington.co.uk
Max Mara gb.maxmara.com
We Are Islanders www. weareislanders.com
Natalie B Coleman www.nataliebcoleman.com