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Editor in Chief Charlotte ClĂŠ charlotte@quillmagazine.co.uk

Columnists Daniel Evans Richard Blackmoore Valerie Gartner Lauren Sharkey Felicity Taylor Phoebe Amoroso

Graphic Design Kyveli Charalampidou

Fashion Editorials Pia Pereira

Contact hello@quillmagazine.co.uk

Advertisement advertisement@quillmagazine.co.uk Quill Magazine Spring/Summer Issue 2014. All images within this issue fall within the terms of copyright or are part of the public domain as far as the publisher is aware. See the magazine online at www.quillmagazine.co.uk


CONTENT ART 06 ARTIST Raúl DE NIEVES 14 Notes of Transatlantic Desolation 20

JEWELS BY JAR

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Zaria Forman’s Pastel Drawings

34 SOUND OF IKEBANA, NAOKO TOSA 38 THE POWER OF REINVENTION

FASHION 44 MADEMOISELLE LA SAPE 50 IT’S ALL ABOUT IMAGE AND BOLD STATEMENT 60 Inside Jill Rock’s Atelier : OPART 70 THE FUTURE OF TEXTILES: FROM BIO-LACE TO NERVOUS SYSTEMS IN YOUR CLOTHING 80

for the love of MONEY

FOOD 88 TO NEVER EAT AGAIN: HOW TECHNOLOGY IS CHANGING OUR RELATIONSHIP TO FOOD 92 EAT OUT IN LONDON

Publisher Quill Magazine. Printing in whole or in part is expressly forbidden without written permission from the publisher. The publisher declines any responsability for manuscripts and photos sent directly. The views expressed in the magazine are those of the contributors and are not necessarily shared by the magazine. All right reserved.


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Artist Raúl de Nieves By D a n i el Eva n s

All images courtesy of Raúl de Nieves

Each pair of his shoes, and even each individual shoe, can be very much its own creation. The best way to engage with these sculptures is in collection – from all the bursts of colour and shape, you will start to find the sense of the intricacy and chaos at work.

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When I first saw the sculptures created by Raúl de Nieves, I didn’t know where to start. Each pair of his shoes, and even each individual shoe, can be very much its own creation. The best way to engage with these

a collection to peruse. Below Quill Magazine has asked Raúl de Nieves about his work.

sculptures is in collection – from all the

What is the inspiration behind your

bursts of colour and shape, you will start

shoes?

to find a sense of intricacy and chaos at

The shoes present new ideas on the

work. Many of the sculptures are somehow natural, as if they’ve grown that way, like corals from warm, tropical reef, and yet you will see that they are the product of painstaking attention to detail, like the bright jewels of highest royalty. The most

practicality of sculpture and installation, as well as the empowering and transformative magnificence of apparel. What do you want people to think when they see them? What are you trying to say

obvious aspect to these sculptures is that

or achieve?

they’re shoes. It is also by viewing them

I want them to imagine birth, psychedelic

in collection that you will most appreciate

experiences, life; the idea of bacteria taking

what this brings to the table. As anyone

over an object. Labour, love, freedom of

who has a closet full of shoes will be able to

individuality.

tell you, aside from their practical purpose, shoes also serve an aesthetic one, perhaps none more so than heels, which de Nieves

How do you make them? What materials do you use?

favours. It’s very fitting, then, that these

I use my old shoes and give them a new life.

sculptures are so transformed, to be put on

Each bead starts to make a form so there’s

show, and that de Nieves has given us such

a great part of the process that becomes meditative. Balance plays another great part in the works. Watching the beads dry in seconds allows for quick repetitive patterns.

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Are any of them actually wearable? Yes of course some can be wearable, but I’m trying to surpass the idea of practicality, and letting form become the main focus. What is important to you in artistic creation? Spirituality and culture is very important. Are any of your shoes or other creations exhibited anywhere? Where can people see your work? I show with LOYAL gallery in Malmo, this coming month I will have new works in Los Angeles. I also have a performance residence at ISSUE Project Room for the year of 2014. I will be performing as part of the Whitney biennial this coming year under Robert Ashley and Alex Waterman’s opera Vidas Perfectas (Perfect Lives).

Will you make any more shoes? What are you working on right now? What can we expect from you in the future? Yes. More shoes are in the works - in the summer I will be creating a pop-up store at ISSUE Project called “Heel Yourself ”. This installation will be centred around a conceptual “pop-up shoe store” wherein a variety of shoe sculptures will be arranged. Each piece will be fully wearable and functional affording guests a complete immersion within the lavish atmosphere, and the uncanny experience of existing inside each individual piece. Each shoe will have its own purpose and capability. For example, some will function as actual synthesizers whereby the viewer can improvise musically, creating their own sound composition.

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Cats or dogs? Dogs, I want to have a doggy named SHEETO. Tea or Coffee? I love caffeine.

Summer or winter? Summer, I grew up in Mexico so the heat is my best friend. Cowboys or aliens? ALIENS. Truth or dare? Dare.

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Notes of Transatlantic Desolation By R i cha r d Bla ckm o o r e Images so u r ced fr o m t he W hi t n ey Mu seu m o f A m er i c a n A r t

An examination of the way in which the American painter Edward Hopper and the English poet Phillip Larkin address the bleakness of everyday life in the United States and Britain during the 20th century. In one instance, the degree of convergence between the two becomes eerie.

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It is the ability to sublimate bleakness by means of the crucible of their art that conjoins the American painter Edward Hopper and the English poet Phillip Larkin. Working roughly at the same time across the Atlantic and in their respective medium, both men transform the weighty daily currents of loneliness and alienation into paintings and poems that are as striking for their subject matter as they are for the force of

sentimentality (and oftentimes wickedly and unforgivingly funny) Larkin produced some of the most haunting verses in English out of the inescapable and distressing daily experiences of dreariness, desolation and monotony.

their immediacy. In paintings such as the

As research will show, this connection has

famed Nighthawks, where customers gather

previously been noted (the internet, alas, at

in a half-empty diner, or the almost sickly

times makes one feel that there is no such

depictions of a factory amidst the muggy

thing as an original thought), for in The

yellow air in East River, Hopper stunningly

London Review of Books, Alan Bennett

captures the penetrating isolation and anxiety

is invited to speculate on what he would

of American urban life along with the objects

give Larkin for his sixtieth birthday. He

and buildings that populate it.

writes: “I would give him, too, any work

Phillip

Larkin,

who

famously

said,

“deprivation was to him what daffodils were for Wordsworth,” elegiacally, if also snidely and sarcastically, composed poems about gloomy events in English life, respectively. Always firmly removed from the orbit of

by Edward Hopper, whose paintings could often pass as illustrations to the poems of Larkin.” So although most admirers of both the painter and poet will have most likely already registered this correlation, there is an instance— uncharted to my knowledge— where their visions seem to coincide almost perfectly. In poem XXII of his early collection The North Ship, Larkin writes the following:

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Also during his twenties (according to the publication date Larkin would have been 23), albeit a few decades earlier, Edward Hopper at 26 painted The El Station, a bleak and desolate depiction of an amorphous, almost sexless and ghostly figure expecting a train. While dawn has already fallen on Hopper’s scene, the darkness of the platform against the simple and indeed shell-like pinkish facades of the neighbouring houses causes one to shudder. The aggravating rupture from the home, and the senselessness of the journey are apparent in both poem and painting. In the following stanza of the same poem, Larkin

T he El S t a t i o n b y Ed wa r d H o p p er

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Jewels by JAR By Va ler i e G a r t n er Imag es co u r t esy o f T he Met r o p o li t a n M u seu m o f A r t

JAR, the legendary jewelry brand of Joel A. Rosenthal, is currently exhibited with over 400 pieces, ranging from diamond encrusted Zebra heads to beautiful flower bouquets, at the Metropolitan Museum of Art. This will be the first retrospective of JAR in the United States as these pieces are normally to be found exclusively in Paris, where Joel A. Rosenthal and his business partner Pierre Jeannet are located. Part of what makes JAR such an iconic jewelry brand is indescribable, but if attempted it would be the sheer

aesthetic, authenticity and devotion with which each piece is crafted. The recurrent themes of JAR, flowers, are not mere copies of living flowers, but rather themselves living, blooming and three-dimensional creations, that rival nature’s subjects in beauty and delicacy. These jewelry creations ultimately appear to transcend the boundaries of stone and precious metals, they become alive and demand attention in their own respect.

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JA R Ger ani um br o o ch 2 0 0 7 Dia mo nds, al umi num, si lver, a n d g o ld P r i vate co l l ecti o n P hotograph by Jozsef Tar i . C o u r t esy o f JAR , Pa r is.

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JA R Ca meo and Ro se Petal Br o o ch 2011 R u b ies, di amo nds, si l v er, g o ld P r i vate co l l ecti o n P hotograph by Jozsef Tar i . C o u r t esy o f JAR , Pa r is.

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Zaria Forman’s Pastel Drawings By R i cha r d Bla ckm o o r e Im a g es co u r t esy o f Z a r i a Fo r m a n

The Brooklyn based artist Zaria Forman speaks to Quill about how her art can change people’s perspective on climate change and the challenges of creating a backdrop for the ballet Giselle.

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It comes as no surprise to learn that critics have often labeled Zaria Forman’s work with pastels as photographic. In fact, at a quick glance, her landscapes of glaciers, icebergs, and varied bodies of water are so

don’t really see on the East Coast, where you

realistic that they could easily be mistaken for

can see a storm from really far away. It is very

photographs. While she does sometimes work

rare to find that vast openness. My mother

from a photograph to gather inspiration, her

was very inspired by it and she always wanted

elegant and imposing paintings are the result

to move to New Mexico. That is what I was

of nothing more than her memory being

trying to depict with my paintings in college,

quarried by soft pastel on paper, all created

they reminded me of that. Then we started

in her studio apartment in Park Slope—a

leaving the country for a month every sum-

Brooklyn neighborhood notoriously popular

mer. I was inspired by all these landscapes.”

with artists.

It is interesting to note that while Forman’s

While growing up in Piermont, New York,

work shares the same subject matter as her

Forman travelled to some of the most re-

mother’s, her medium is markedly different.

mote parts of the world, accompanying her

Instead of it being an active choice to carve

mother (a landscape photographer) who

out her own path in painting rather than

would capture images of nature at its most

photography, it is more apt to say that her

violent and dramatic. It is clear that these

gravitation towards pastels was instinctive.

trips cultivated her early artistic impulses, and

She says: “There is a chemistry and technique

she speaks of them with excitement as well

with pastel. It’s much more simple, I love

as nostalgic fondness: “When I was young

that stripped down process. It wasn’t really

we used to travel to the West of the United

a choice that I made, to make drawings in-

States where you get a phenomena that you

stead of photography, it’s just what ended up happening. I was always grateful that I loved pastels because it meant that I wasn’t just copying my mother even though we have the same subject matter.”

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www.zariaforman.com These are Zaria Forman’s upcoming shows: Present timeless thythms: sensing change Carla Massoni Gallery, Chestertown, MD April 4 - May 24 Winter Group Exhibit Mark Murray Gallery, New York, NY Ongoing Polar Light: Greenland Zaria Forman and Rena Bass Forman Look North, Inuit Art Gallery, Brooklyn NY Ongoing Coming up... Space // Squared A group exhibition curated by Sven Davis

White Walls Gallery, San Fransisco, CA May 10 - June 7 Ice to Island Solo Exhibition Winston Wachter Fine Art, Seattle WA Opening Reception June 10, 2014 Environmental Impact - A traveling museum exhibition Erie Art Museum, Erie, PA August 1 - September 30, 2014 Peninsula Fine Arts Center, Newport News, VA, Oct. 25, 2014 - January 4, 2015 Brookgreen Gardens, Murrells Inlet, SC, January 31 - April 26, 2015 The Art Museum, SUNY Potsdam, Potsdam, NY, September 1 - October 31, 2015 Additional Venues Pending

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Sound of Ikebana, Naoko Tosa By Va ler i e G a r t n er All i m a ges co u r t esy o f N a o ko To sa

“Sound of Ikebana„ is artist Naoko Tosa‘s latest Video Art Project. It consists of liquids mixed with various colour particles that are

connection with the colourful imagination of

then put on a vibrating surface. The impact

Naoko Tosa leads to an artistic expression of

of the vibrations onto the liquid is conse-

the Japanese seasons through this modern

quently captured by a 2,000 frames per se-

technique of Ikebana : the blooming cher-

cond high-speed camera, allowing us to ex-

ries in spring, the red autumn leafs fighting

perience the movement in utter stillness. The

against the coming winter, snow and camelli-

technique of Ikebana, a traditional technique

as in winter and finally the cool summer mor-

for flower arrangements, is translated into

nings. During the full video sessions Naoko

the technological age, by virtue of capturing

Tosa selects adequate Haiku, Japanese short

the phenomenal moments in which the co-

poems, that go along with the visual process.

loured liquids arrange themselves naturally

This, as well as the modern interpretation

with one another to form an exquisite bou-

of the Ikebana technique, is Naoko Tosa΄s

quet of colour. The physicality of this result,

nod towards creating an aura of wonder and

which takes its energy from sound waves, in

nurturing a connection between the current Asia and its long standing culture.

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The Power of Reinvention By C ha r lo t t e C lé I m a g es co u r t esy o f Pa i g e Br a d l ey

A lot of people appear to associate their own life stories with your sculptures. Has there been a particularly moving story

that I only create half the circle and it is the

that changed your perspective on one of

collector, or the art appreciator, who finishes

your works?

the circle for me. Now, I always ask people to

“You just took the words right away. That is

write to me or respond when they are moved

exactly what happened to me. I was telling somebody about what the sculpture meant to me at a show and the lady said asked whether I’d like to know what it meant to her. And then, she said that it was her remission from cancer. I was just taking aback and realized at the same time that the lady had now created my sculpture in a way much more powerful than I could have ever done it by myself. It was from that day forward that I realized

by my work because it really adds to it. You know, I am by myself in this studio, I don’t hear a lot of what the people feel about my sculptures unless I go to a show. Some people even retitled the sculptures for themselves. I had one client, who collected about fifteen of my pieces, and every single time he got a new one he would have a new name for it. It was just playful for him and he really enjoyed it. It was part of his creative outlet. He didn’t have to make the pieces but he added to the creative process.“

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Expansion is one of your most talked about works, was its breaking intentional or did it happen in the heat of the moment? “It was part of moving to New York City. We were talking about going to a new place that was so big and challenging after living in my small hometown. I also came from a town where people were like: “Oh woah you could do that. Oh my gosh you can draw, you can sculpt, that is great.” But in New York you weren’t impressing anybody by doing that. They wanted you to be a visionary, they wanted you to do something that had never been done before and say something meaningful while you were doing it. Whether or not you could make something pretty didn’t matter. That was one of those moments were I said to myself: “This is heavy, I have to rebuild myself.” I had to destroy what I built, I had to start again. So, I made this sculpture that was kind of self-portrait and I started dreaming of what I wanted to do with her. When I was a child I had a little birthday book that had little sayings by everybody’s birthdays and mine happened to be: “Where there is darkness let me bring light”. That always stuck with me. I thought maybe this is a time where I need to bring some light to the darkness, for myself. I was in a place where nobody cared about figurative art. It wasn’t contemporary art, it was old art, it was classical, it didn’t matter. I took this perfectly good sculpture that I created and I said: “Here we go, I am starting over .”I just dropped the sculpture and it cracked into so many pieces on the floor. My first feeling was sheer panic as to what I had done, and 40


ART

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FASHI


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MLaademoiselle Sape ART DIRECTION AND STYLING BY PIA PEREIRA PHOTOGRAPHY BY GIOVANNI MARTINS MAKE UP BY SOMI JANG HAIR BY ROMANDA SEVELLE ANNA B @PRM

STYLING ASSISTANT DAHLIA F. SAID

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Dr ess b y Eva Lo jo do va, hea d p iec e b y Geo r gi e H o w lin g , ea r ri ngs by M a ria P ia n a and ri ng by H u e Ta w n C han. O p p osite p a ge: Si l k ju mp su it b y Eva L o jod ova , vest by J H Z a n e, ea r ri ngs by 46 M a ria P ia n a.


Fel t vest a n d si l k t r o u ser s b y Eva L o jod ova , silver jew el ler y b y M ari a P i ana . W hite b u ck le cour ts by K u r t Geiger.

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It’s all about Image and Bold Statements By La u r en S ha r key Im a g es co u r t esy o f S a b i n e P i e p er

The future of fashion journalism is a minefield. Have magazines lost control of what they write and what you read? ‘A picture says a thousand words’ doesn’t ring true anymore. The industry needs to evolve, give more, and accept that fluff doesn’t cut it.

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journalist has to be able to see much further than only focusing on the garments. A variety of ideas and points of view is always positive”, says Nerea Eguia, blog editor and

The future of fashion journalism is a

social media manager of Fashion156.com.

minefield. Have magazines lost control

Higher education courses teach students to

of what they write and what you read? ‘A

look at the wider influence and attempt to

picture says a thousand words’ doesn’t ring

promote this.

true anymore. The industry needs to evolve,

Every Monday, Condé Nast’s fashion college

give more, and accept that fluff doesn’t cut it.

holds a Twitter debate that manages to discuss worthwhile topics such as sexualisation and stereotypes. Just one problem: it’s not picked up by the mainstream media. Condé Nast’s own publication, Vogue, only briefly features the debate online. The ensuing thoughtprovoking articles that we might expect are non-existent. Money talks in the business of magazines. And where does that money come from?

An actress stares at you from the cover; ‘100 Hot Buys’ and ‘Spring Essentials’ pop in pink and red tones. Inside, pages after pages of adverts displaying the latest trends bombard you with multi-textured clothing, dangerouslooking shoes and rainbow-bright lips. You occasionally stop the page-turning to peruse Karl Lagerfeld’s newest Chanel campaign. Words are scarce in these publications. It’s all about image and bold statements. This is ‘fluffy fashion’ - the one phrase the industry tries to avoid. Yet it’s all you can seem to find lurking on newsagent shelves. It’s time to introduce some culture and intelligence.

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Readers want to be stimulated, not bored to death by ‘10 ways to wear a leather jacket’. Real hard-hitting articles are the missing link. The average person buying these magazines is an educated adult who wants to read designer profiles and see how they can incorporate catwalk trends into their everyday wardrobe. But they also want to read about the ugly side of the fashion industry: the issues that are brushed under the carpet, and the people challenging old-fashioned ideals. Unconventional production methods and the digital world’s fashion impact give more insight into the glitz and glamour business.

images and dream of a luxury lifestyle. Others are waking up to this lack of commentary. Add up everyone who reads papers, owns a smartphone, listens to the radio, and tweets. You’re still not at the 40 million people that read magazines in the UK. “In this environment of Twitter and fast information, magazines are more necessary than ever. They offer considered content and space, calm, curated ideas”, said the

This ‘behind the scenes’ experience is

Managing Director of Condé Nast. Print

well documented but it’s as far as major

doesn’t look like it’s a dying breed but it does

publications will go. No talk of ethics, race,

have some competition.

or controversy. ‘Silence is golden’ has never been so appropriate. The perfect readers are happy to browse through inspirational

Independent and online publications enjoy freedom of speech. They aren’t bound and gagged by eagle-eyed brand PRs looking for nothing less than a ‘halo effect’. This is where you’ll find topics being discussed that will never grace the pages of Vogue. Honest reviews and in-depth pieces are rarely

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i n s i d e j i l l r o c k’s a t e l i e r

OPART Art Direction and Styling by Pia Pereira Photography by Minah Son Make up by Somi Jang Hair by Kristopher Smith Kinga @PRM Styling Assistant Dahlia F. Said

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EDITORIAL

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S ki r t : Ja n e Bo w ler T -S hi r t : Eley K i shi m o t o A 4 N eck l a c e: G eo r g i e H o w l i n g


Shor ts: Mar ti na Spet lo va Lo n g Vest : Ja n e Bo w ler S ho es: El ey K i shi m o t o P i n k Ba g : W i l b u r & G u ssi e

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EDITORIAL

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Bl a ck Shir t: Car o l i na Fer nandez G o ld & W hi t e d r ess: Ja n e Bo w ler S ho es: S o f t G r ey R ed H ea d P i ec e: G r a i n n e Ma her Ba g: Fior el l i Oppo si te page: G r ey d r ess: C a r o li n a Fer n a n d ez Qat a r H a t : G r a i n n e M a her S k i r t : S o f t G r ey Br ac el et/N ecklace: Jane Bo wl er

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EDITORIAL

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EDITORIAL

To p/ S kir t: Eley K i shi mo to A4 Neckla ce: G eo r gi e Ho w li n g Bla z er : Ma r c M o r r i s M o k O p p o si t e p a g e: S k i r t / To p : El ey Kishimoto A4 Neckl ace: Geo r g i e Ho w li n g

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The Future of Textiles : From Nervous Systems to Bio-Lace

S t ea lt h- Wea r - Ho o d i e- S er gi o 1

By Feli ci t y Ta y lo r

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FASHION

Fashion is endlessly reinventing itself. A dozen

trends are sliced, diced, and

overpriced to make the new season’s styles seem fresh and fierce. What’s the new black? Is this season’s trouser a bootleg or a straight

researchers increasingly work with designers

leg? Which decade is the label referencing

in helping to blow conventionality apart at

in this collection? True innovation is all

the seams. Nowadays, if it can be imagined, it

but impossible when the designer’s creative

can pretty much be done.

resources remain the same year after year. After all, a textile is just a textile. Right? That’s where you’re wrong.

Most of the textile innovators belong to one of two groups. Firstly, the A.V.M.s (Animal, Vegetable, Mineral) whose materials have as

Technology is handing tomorrow’s fashion

their starting point a natural process, but are

leaders a whole Birkin bag full of new toys

then bio-scientifically manipulated to create

to play with. From having limited textile

something unique and with potential as a

options such as: woven or knit, natural or

fashion textile. Secondly, the Networkers.

synthetic, hot pink or pale pink, scientists and

These people develop e-textiles and ‘smart’ fibres which link the wearer with their environment resulting in garments which can be multifunctional and responsive.

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For The A.V.M.s sustainability is their watchword and virtually all the textiles developed by this group are easily recycled or biodegradable. First up is the dress by Australian research company Bioalloy in collaboration with artist Donna Franklin made entirely from microbial

cellulose

formed

through the introduction of bacteria into vats of wine. It’s not a thing of beauty (yet); nor is it fully functional (again, yet) as the cellulose’s short-chain structure means it becomes rigid and prone to tearing when dry; however it is a staggering achievement in its own right, and

development

of

the

process is ongoing. Fashion

designer,

research

fellow at Central Saint Martin’s and founder of the design BioCouture,

Suzanne Lee also works with

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Caro le Collet, Biola ce

consultancy


FASHION

microbial cellulose but she feeds hers on sweet green tea. Lee is a fashion designer, which helps, so her pieces are beautifully tailored and dyed so they appeal aesthetically as well as conceptually. Her problem with her microbial textile is one of duration. The fabric is very absorbent and she explains that were it worn in the rain it would probably become waterlogged

and

eventually

collapse under its own weight, leaving

the

fashionable

individual with nothing on their conscience on their body. A slightly less glamorous and soggier version of Cinderella. Carole Collet, founder of the Textile Futures Research Centre at Central Saint Martin’s, does research into a similar area, but looks further into the future, imagining a time post 2050 when plants can be genetically 73


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re nais s a ncec ha mb a ra


FASHION

engineered to grow textiles without any need for further human intervention. Bio-Lace, her most recent project, is thought provoking, startling in its technological feasibility and stunningly beautiful. Strawberry plants with modified DNA would fruit as normal above ground, whilst below ground their root systems would form lace which could be harvested and used for fashion, all without harming the plant. With less direct dependence on animals and endangered resources, the A.V.M.’s textiles are arguably more ethically sound. A project developed at Symbiotica (a joint science/art research lab in the University of Western Australia) by Oron Catts and Ionat Zurr, proposes that instead of farming animals which are then slaughtered to provide us with leather, you can just farm cells within a laboratory environment. Called: Victimless Leather - A Prototype of a Stitch-less Jacket Grown in a Technoscientific Body, involved the seeding of embryonic mouse stem cells over a miniature jacket shape made of bio-degradable polymers. Created as a speculative and provocative ‘semi-living’ sculpture, Victimless Leather caused much discomfort and criticism due to ethical concerns about the abuse of living matter. Particularly since following its showing at MoMA, it had to be ‘killed’. The mouse stem cells which formed the jacket were no longer supplied with nutrients without which they could not survive. Cue existential anxt from Paola Antonelli, Director at MoMA: “all of a sudden I’m here not sleeping at night about killing a coat”. Now, onto the Networkers. Multifunctionality is at the heart of the Networkers’ approach. You want a dress? Fine. But what if you could have a dress that could light up? What about a dress that has its own mechanized nervous system that reacts to you? One that shields you from surveillance? One that keeps track of your mood and physical state and then communicates these with you via your smartphone? Hussein Chalayan was one of the first designers to embrace the possibilities of technology with his A/W 2007 collection. He showed dresses incorporating LEDs and garments which transformed themselves whilst being worn on the 75


catwalk. Where Chalayan led, others followed :the sparkling dress Katie Perry wore to the MET gala in 2010 and Nicole Scherzinger’s 2012 ‘Twitter Dress’, which displayed in LEDs the tweets she received during the course of the evening. Mere mortals too can now flash with the best of them. CuteCircuit (the label behind Perry’s dress) has a range of illuminated garments on their website. Their new K-Dress will unfortunately set you back a hefty £2,500.00 after which you would presumably have a wallet as light as your new dress.

fibre which can store energy produced by the wearer during the day and then slowly release it causing the garment to change colour and light up. From attention grabbing to attention deflecting, Adam Harvey, a New York based artist, has designed a range of ‘anti-drone’ clothing, part of his larger Stealth collection. Harvey has used metallised fibres which reflect heat and hide the wearer’s thermal

Since then the LED has been dethroned by

signature thus rendering them invisible to

the optical fibre, which can itself be woven

drones watching from above.

into a textile resulting in a much less bulky

Metallised fibres, as well being bang-on

garment. Karma Chameleon, a collaborative research project between XS Labs and Maksim Skorobogatiy, goes even further. They have developed an advanced composite

for the metallics trend, are also being used for their conductivity. Abby Liebman, a student at Cornell University in New York, has designed a dress using a nano-coated conductive cotton textile which can charge an

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Je n ny Tillots on

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iPhone via solar panels. Jenny Tillotson has a somewhat more poetic take on the technotextile concept. She is a Senior Research Fellow in the sensory, aroma and medical

All in all, it’s a pretty good time to be a fashion

field at the Innovation Centre at Central

junkie. Research and technology are allowing

Saint Martin’s, and has designed and created a

designers such freedom with their choice of

multi-sensorial garment called Smart Second

textiles that they can now realise the weirdest

Skin. This organza silk dress, a biomimetic

and most wonderful of concepts. Catwalks

design, is ‘veined’ with a network of medical

are sure to be groaning under the volume of

tubing and has sensors which can detect

brilliance and virtuosity on show. Will any of

changes in the wearer’s emotional state.

this make it to the high street? Who knows.

The dress can then release the best-suited

Maybe our children’s children’s children will

fragrance or combination of fragrances to

be kitted out in ‘Victimless Leather’ jackets

the wearer’s mood at the time.

and perfume bottles will be ancient artefacts. But one thing’s for sure, I will never look at a bacteria laden week-old cup of tea in the same way again.

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V ic timle ss Le a ther p ro j ec t deve lop e d by Th e Tis s ue Culture & A rt Pro jec t Vi c t i ml es s Leat her pro jec t devel o ped by The Ti s s ue C u l t u re & Art Proje ct

FASHION

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for the love of MONEY Art Direction and Styling by Pia Pereira Photography by Pia Pereira Make Up by Abbie May Hopkins Hair by Kristopher Smith Joe Sanders @D1 Models Styling Assistant Dahlia F. Said

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EDITORIAL

Ba b y p ink po l o shi r t by Laco st e, chu n ky kn i t t ed gr ey sw ea t er a nd t r o u ser s b y Ca mi l a Meji a, bel t and sho es vi n t a ge.

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8 2 Sui t by Mari ka Jasmin e G r a sso, vi n t a g e sca r f .


EDITORIAL


8 4 Polo shi r t by Laco ste, t r o u ser s b y M a r i ka Ja sm i n e G r a sso, ov er si z ed c o a t b y L i n h T hu y P ha m . O p p osi te page: Sui t by C a m i la Mej i a , sca r f b y Yves S a i n t L a u r en t .


EDITORIAL

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FOO


D


To never eat again: how technology is changing our relationship to food By P ho eb e Am o r o so

The 1973 sci-fi film Soylent Green presents a dystopian future in which much of the population survives off supposedly nutritious food blocks, containing the basics

Rob Rhinehart, the 24 year old American

to keep people alive. The film’s subsequent

entrepreneur and software engineer-turned-

horrific revelations aside, the idea of taking

chemist may have just done that. He is the

food down to its basic nutritional principles

brains behind the tastefully named – pun

– turning it into pure sustenance – has long

fully intended – all-inclusive nutritious drink

fascinated us. What if you could refuel the

Soylent. For Rhinehart, preparing food

body much like refuelling a car?

and eating it was an incredibly boring and tiresome process that weighed heavily on his time. Armed with Soylent, he is the man who may never have to eat properly again.

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FOOD

Rhinehart began by turning his kitchen into a chemistry laboratory with all substances that a human body needs on a daily basis laid out in jars. He consumed nothing but Soylent for 30 days and monitored his blood, physical and mental performance. Despite being

one month, Rhinehart had nearly perfected the formula and had reduced his monthly food bill from $500 to $154.

panicked that he would end up in hospital, he

Not alone in his enthusiasm to do away with

found that he lost weight, could run longer

food, a crowdfunding campaign attracted

at the gym, and felt more energetic and alert.

over $2 million from over 20,000 backers.

This was not without hitches: he initially

Soylent is currently in production and will be

struggled to control energy release and

shipped out to US customers in early 2014,

discovered that magnesium poisoning was

expanding internationally later in the year.

rather unpleasant. However, by the end of

So what is the attraction? Arguably, the idea is brilliant when the costs of production, transportation and storage of food are considered: Rhinehart promotes Soylent as

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a product that could have a dramatic effect on hunger and malnutrition worldwide. But what with the original idea of solving first world problems, of liberating ourselves from the need to source, prepare and consume food – essentially of emancipation from the human condition? The idea is certainly not revolutionary. Beyond the fact that liquid diets are already deployed in medical contexts, food is hardly the starting point of the separation of an essential part of life and its means of delivery.

sustenance. Undoubtedly though, in our fast-paced lives, there may be times when even the most devoted foodies welcome the liberation of their time from preparing and consuming food. In stark contrast to the Soylent ideology, there is a continuing epicurean school of thought that looks beyond functionality to prioritise enjoyment. Throughout history, there has been a focus

Take sex, for example. It’s an essential

on stripping pleasurable activities of their

part of human life; as a species, we enjoy

detrimental or unwanted consequences.

procreation. But as a species, we also really

Sex, for example, can be a lot more relaxing

enjoy copulating for the sake of it. We rarely hear people lamenting the nuisance caused by the need to reproduce. Although in vitro fertilisation is most commonly used for medical reasons, for those with the funds, it could solve all the hassle – just like a nutrientdrink. Soylent is the IVF of the masses. In his defence, Rhinehart recognises that his concoction is not going to be appealing to people who get more enjoyment from food than he does, which we’re assuming is quite minimal given his drive to isolate

when condoms reduce the risk of unwanted spawn. Furthermore, the pill is often invoked as allowing the sexual liberation of women, and freeing them from the economic constraints tied to pregnancy. Sex is, therefore, freed from reproduction. This notion has permeated into the realm of food. Anyone familiar with the original film adaption of Roald Dahl’s Charlie and the Chocolate factory will recall the wallpaper with the lickable fruit, or perhaps the neverending gobstopper. Just as the proponents of Soylent relish the liberation of their time, the opposing camp are hoping for delicious

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impaired through chemotherapy treatment. Furthermore, the device could be used by diabetics who like the taste of sugar, yet need food without the negative health impacts. The question is whether this is really possible. Can we do away with the sustenance? Can we keep the flavours without the calories?

to regulate their blood sugar levels. More generally, the device could be used to wean people off, which could potentially benefit wider society, given recent reports of its negative health effects and addictive, drug-

Modern technology may, fortunately, save

like qualities. The taste simulator may be some

us from any desperate binge-and-purge

way off in development but its possibilities

measures. Scientists from Singapore have

are intriguing. What it demonstrates is that

developed a taste simulator that uses electrical

the pleasure we get from food cannot be

and thermal stimulation of the tongue to

rationalised and phased out. That’s why space

trick the brain into thinking that it is tasting

food includes hamburgers or neopolitan ice-

food. The team from the National University

cream (which incidentally you can buy for a

of Sinapore, led by Nimesha Ranasinghe,

fiver on Amazon).

were able to recreate strong sour, salty and bitter sensations from electrical stimulation, and weak minty, spicy and sweet sensations through thermal stimulation.

We may attempt to reduce our bodies to machines: they are indeed operating systems that

require certain basic inputs. In fact,

it’s easy to see Soylent casually slipping into

Although it currently very much resembles

modern life as an item of convenience. Yet

a large clunky box that might be found in

nothing seems to be able to substitute our

a sixties sci-fi movie, Ranasinghe has high

need for enjoyment. However alien the taste

expectations for its applicability, particularly

simulator, the ideas behind it speak to the very

within medical contexts. He believes that the

essence of what it means to be human. We are

device would be used to help cancer patients

defined by our desires. As for which school of

redevelop their sense of taste, which is

thought will drive technological development, imagine a slice of calorie-free chocolate cake and you probably have the answer.

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EAT

OUT IN LONDON

Hawksmoor

Air Street/Guildhall/Seven Dials/Spitalfields Describing itself as a British Steak House and Cocktail Bar, this restaurant is a must go to for everyone that enjoys a carefully sourced and excellently prepared piece of meat. Without too much fuss or attire the entire staff dedicates themselves to explain just which part of the animal is exactly to your liking, and which cut is right for your hunger – varying from reasonable to a

H a wksm o or

sizing aptly called ‘bigger than your head’.

Koya Bar Soho

Koya Bar is a simple, traditional Japanese

soup

bar.

Sitting

around the kitchen where you can watch the cooks fishing Udon Noodles from the boiling water and preparing your soup, the atmosphere is pleasant and calm. The menu offers a variety of soup choices, and with an extra option to add ingredients to

your

soup,

one

very

experimental guest might even consider asking for an English Breakfast soup. Deliciously healthy soup before going out in Soho? Definitely. 92

H a wks mo o r


FOOD

Duck and Waffle Bishops Gate

We can’t help ourselves but a cocktail bar and restaurant located on the 40th floor of a skyscraper, overlooking London

sounds

already

pretty good. However, what makes Duck and Waffle even greater is that they’re open 24h, 7 days a week. This means that no matter the time, no matter the day, one can always rely on an impressive atmosphere, excellent cocktails and rustic

Duck and Waffle

food at Duck and Waffle.

The Modern Pantry Clerkenwell

Although the The Modern Pantry, also offers exquisite lunch and dining options, we strongly suggest you go ahead and book a table for your next sunday brunch. We promise it will be one of the best ones you will ever have had. Right between that perfectly round poached egg with fresh salmon and a Duck and Waffle

chocolate brownie with rasperry and liquorice cream, you too will become an early riser on the weekend. 93


THE END.


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