Dekko.2 Identifiably Fashion
Pop Art Penzance
30-51 Urban Rebellion 54-61 Introducing Armeria Swimwear 62-63 Have we Overdone the Overlay... 64-93 The Gypsy and the Rose
Editor: Kyla Prior firstname.lastname@example.org Digital Assistant: N Prior email@example.com Available online at http://www.issuu.com Front Cover: Image by Suzanne Johnson Photography/Accessories by Roamer Rose/Model: Hannah Peskett ÂŠ 2017 Kyla Prior. All rights reserved, any unauthorised copying or adaptation of content from this publication is strictly prohibited.
nce again welcome to Dekko magazine. We have now moved on into the second helping of inspired fashion art with a bigger and bolder collection of clothing that celebrates the occasions that require unique dressing up. So, what are we introducing this time… With spring now teetering on the edge of summer, several editors of the larger fashion bibles are discussing the usual growth, newness, rebirth and so forth. Out the window it’s certainly all looking fresh and vibrant for sure. Followers of Dekko will have begun to recognise that as a new publication on the art of decorating the body we too are flourishing; evolving our modern ideas on the new and unpicking the traditions of old in fashion. As nature bursts into new life and spreads its wings and petals, another side to all this space filling springs to mind… Often designers start out in small spaces, even in community creative environments there is still invisible walls of curtesy to adhere to. Small doesn’t always mean reductive though. At Roamer Rose we are constantly reworking space. The dress up/ gallery area has a new rail of dresses, tops and skirts which shrinks our workspace. Removing even more room from the design and construction area subconsciously makes our designs evermore delicately understated: we are talking small pieces of textiles that need to be repurposed into new life. The very essence of the huge his-
torical gown was not just to show wealth in design and meterage but in-order for the woman to have moral boundaries. These dresses that create acres of distance - even hour glass encrusted frothy tulle numbers can reduce the bride to an awkward leaning in tilt to air kiss guests. Simple yet exciting garments are for women who do not mind close-proximity on their special day. Intimacy is key, with nearness not full on grandeur as a new relaxed starting point. Drama and detail can be cleverly selective in bridal wear, as in other fashion ranges which is why the innovative allure of Armeria swimwear was selected for our new Introducing pages. In each issue we will choose a new design company that has enthralled our creative imagination with cloth, cut and design features behind a strong helm. Holly Boxall the woman behind Armeria, is an outstanding example of perseverance in an industry always rethinking concepts and fabrics for eco-friendly swimwear. This issue explores many metaphors; lights and shades in bridal and alternative fashion. We also use sense of place as a positive area to explore for wedding venues. It’s good to change ideas on the traditional and create a new way for space to be decorated. As ever we are eternally grateful and applaud all the talent, patient and dedication to the skilled creative minds that took part in this issue. Dekko community is growing and blooming – glorious adventures are on the horizon for future explorers and raising stars, happy summer...
popart e n z a n c e 4
s an alternative contemporary reception venue, the Exchange in Penzance has a lot of space to play with. It’s a great modern canvas within its own right to explore ideas for décor, astounding friends and family with a transformational atmosphere from day to night. It was the night lighting that inspired us at Roamer Rose to pin point a decorative genre for our shoot early this year. Pop art was a movement that took definite hold by the 1960’s drawing its inspiration from commercial culture. It also has a brilliantly vivid colour pallet that lends itself to a young, fun, playful theme – great for city dwellers who come to Cornwall for a mix of coast and modern slick entertaining. There is even the added benefit of enjoying the latest collections of art on display adding yet more of a focal point for your guests to discover. We had a fun day with everyone enjoying the vibrant creative collection created for table settings, stationary, paper flowers and the splendid silk print ties by Wildcard Silks. Beautiful simple separates by Roamer Rose and touches of silver and copper on Libby’s loaned jewellery by Anellas Jewellery Box add femininity, whilst cakes of a futuristic statue by Suzi Humphries prove that modern sculpting can be just as visually appealing as flowers and lace. Other finishing touches of magic came from hand painted glassware, vintage 1960’s table mats and comic spaceship applique on Jack’s bespoke jacket. Spatially and visually it truly is a unique package at Penzance’s central art gallery; an amazing place to celebrate and support a venue that encourages a broad spectrum of today’s modern art collections. Contact Pop Up Weddings or The Events Programmer for more details.
Location: The Exchange (Penzance) http://newlynartgallery.co.uk Wedding Event Organiser: The Cornish Pop Up Wedding www.cornishpopupwed.com Photography: Thomas Foreman Photography https://www.weddingphotographercornwall.net/ Hair: Kylee Robertson-Holness http://www.kyleemarie.co.uk/ MUA: Chloe Drew https://www.facebook.com/chloe.drew.35 Dresses/Accessories/Flowers: Roamer Rose http://www.roamerrose.com Male Attire: Roamer Rose and Models Own Male Ties: Wildcard Silks www.wildcardsilks.com Stationary: Jade Evans. Textile Design http://www.jadeevansdesign.com Paper Flowers: Paper Pamela http://www.paperpamela.co.uk Cakes: Suzi Humphries Cake Design http://www.suzihumphries.co.uk Jewellery: Anellas Jewellery Box https://www.etsy.com/uk/shop/AnellasJewelleryBox Glassware: Handpainted Glassware by Jules http://byjules.weebly.com Models: Libby Angove and Jack Gompels
ith this second issue, it would be appropriate to define the thought objectives of the bridal wear desiger behind Roamer Rose and founder of Dekko magazine. It would also be advantageous to put to bed the moralistic ascent of many ‘ecoculture’ artisans, who suggest recycling textiles is what good ethical designers either solely do or now include alongside typical fashion lines. One could consider what would happen in say three years’ time if the ecologically responsible 2020 collection from H&M’s ‘Conscious’ range gets scrutinised for environmental effects….
the true extent of civilisations voracity. On a grand scale the expense of shredding, melting, burning and burying is crippling and we can’t quite keep up with demand – a bit like Primark on a typical retail therapy day. Charity shops have upped their game with designer handbags as one example of revenue proportionately becoming more about what they sell to why they sell.
Conclusion: the real bounty for struggling designers lies within rubbish. Neglected then discarded, textiles offer alternatives to new expensive raw materials. However, this solution does question how So, when did high street fashion become so aware? far the ingenuity can stretch when creating new Documentaries and do gooders in the journalist fashion from old. investigatory world are partially responsible: a perchance viewing of a BBC3 documentary unveiling Consider: money outlay is virtually nil for materitextile manufactoring corruption could be one als, but imagination and technical expertise goes instigator. Maybe certain consumers in the spot- beyond couture - it goes beyond even patience. light have felt it necessary to include an upcycled There is no immediate emergence of the new form, garment in their wardrobe too. So, is this build- whether dress, skirt or coat; it is rather more about ing trend against fast fashion proving there exists a unravelling one jigsaw to compose a new one. Limconscience regarding poor quality goods produced itations are constantly challenging - especially with by slave labour? Roamer Rose designs, as its bridal and evening wear. Bigger shapes challenge the smaller scraps Let’s get to the bottom line- waste is bad on every and quality fabric is harder to source. Now vintage conceivable level and although we all want the has claimed (over many years) a wider proportion world to live long and prosper, money is at the heart of the secondhand market, old bridal gowns are of why waste grates. Our belief that out of sight is snatched away by the more affluent London stockout of mind is wearing thin. Tons of waste are not ists. sitting happily underground or blending in with the oceans of our world. As if the earth has had enough it is spewing forth this excess and revealing
hy choose bedsheets then to make something which the world considers only fit to lie on? Firstly, many that are thrown away is due to the small excuse, “it no longer matches the décor”. Perfectly fine vast pieces of cotton, or even poly mix are discarded; yet it works well, hangs well and comes in various virginal shades of white. If anything, it is the blank canvas on the correct scale that excites and within days two sculpted and draped original bridal gowns emerged for this ‘Urban Shoot’. With these gowns even the genres were defined and matched with the models characters, shape and personal decorative styles. An easy exercise for repurposed design, yes. But of course the other side to this chosen method of fashion enterprise is when the fabric has already been given a purpose by designer, cutter and seamstress. The garment then requires a new life and the designer needs to become an artist, the human form becoming somewhat like a Picasso. The strongest examples by far of designers that achieve excellence in this field is brand and creative extraordinaire Gary Harvey who suggests that “clothing is discarded because it’s deemed aesthetically unimportant” [Ricketson. K, May 9th 20007 online treehugger] He showed his first collection of recycled gowns in 2007 at the Estheica exhibition at London fashion week. Amy Ward graduate in fashion and textiles at Bristol based University makes the point of being inspired by the challenge of reusing textiles. Choosing to unravel and dye fibres herself using vegetable skins and teabags; again it’s mindful of the ingenuity and cost effective nature of repurposing fashion to create a new narrative. [Chua Malik, J. 05/18/16 online ‘ecouterre’] Some in society it seems no longer place pieces from their wardrobe on a pedestal; neither can they visualise clothing as a long lasting fashion statement
– hence the play on words in high street chain ‘Next’ for example. Quantity not quality and the ever speedier selection modes switched on whilst ordering online or Saturday shopping trips hails a more bland robotic nature to what people wear. It will remain to be seen whether hardy designers of the recycle stock can keep momentum in these seas of change or else we could all drown in the waves of clothing smothering the planet. Roamer Rose’s objectives will remain with the reuse of unwanted textiles, and in the near future when it is financially viable, to purchase ecologically sound cloth: so both elements of RR’s blueprint will be used. The continuous charismatic clients who buy from RR know exactly the provenance of their new garment, and it’s a worthy designer who distinguishes that special clothes are pursued not just to be worn but to tell a story, to become legendary.
cation: The Old Bakery Studios (Truro, Cornwall) https://www.oldbakerystudios.co.uk/ Photography: Suzanne Johnson Photography http://www.suzannejohnson.co.uk Hair: Claire O'Brien http://www.fuzionstaustell.co.uk/ MUA: Jodie Jerome https://www.cre8tivehairandbeauty.co.uk/ Dresses/Accessories/Flowers: Roamer Rose http://www.roamerrose.com Models: Aimie Wootton and Hannah Peskett
rmeria swimwear was launched in Falmouth, Cornwall in the Spring of
2017. The swimwear is made ethically in Bali and is designed with people who love to travel in mind. Many of the pieces are reversible and are all mix and match. The future of Armeria is sustainability with the next collection being our first made from recycled waste plastics collected from the ocean. These plastics are melted down to create a soft and sustainable swimwear fabric."
Holly Boxall 55
Photographer: Lucy Ranson Models: Dulcie Dobson, Molly Birnie and Maddie Rowland
image sourced from https://www.lakumcollection.com/lookbook/
Have We Overdone the Overlay...
of glorious white/off white fabric forms for the modern woman “After all, fashion, like Kronos, the Greek
deity of time, keeps endlessly destroying and remaking the same things — always dif-
Back to mainstream norms…fashion trends have always
ferently, yet always the same, ad infinitum.
trickled into the philosophy of bridal design: men in pale grey
So it’s quite natural, at some point, to have
morning suits, cravats and damask waistcoats. Today we have
the impression of having seen it all — even
tweeds and fifty’s fitted three pieces in every blue shade across
more so in this era of endless sampling, ho-
the palette. Remember those ladies in fish tails: nipped in and
mogenisation and clustering around certain
out like a bleached Morticia Addams (now crept back in no
trends.” [ BY ANGELO FLACCAVENTO
less); the dropped waist and puffed sleeves of the eighties take
SEPTEMBER 26, 2016 19:58]
on Scarlet O’hara? And yet it felt like a speedier conveyer belt
then. For years, the mountain of lace dresses shipped around
an one say that the lines are blurring with lace overlays:
the world have smothered the aspect, the view constantly veiled
countless streams of gowns filtering through from on
with the loosely quipped ‘vintage’. Authentic vintage, appropri-
high with metre upon metre of lace this and that? Do we focus
ately works well in a period property, it complements the venue.
in on the laces intricate patterns, do we pan out to observe the
But, a shorter skirt, a fuller skirt, a boho skirt then a bib or
silhouettes - probably not after the third bridal shop.
halter neck addition - lace has permeated every element of the bridal gown. One did spot a ‘Sassi’ the other day: it was a block
Such is this long continuous bevy of predictable dresses (none
of solid heavy duchess satin with deep pleats and skirt pockets
less beautiful than the other) that despite the array of wonderful
and dare we say just a contrasting bias band of satin ribbon on
wedding venues and the money and time spent searching for
the hem. It did not feel painful, it felt haltingly good, although
this ultimate place, the dress often doesn’t echo that environ-
one dared not think how the changing room conversation went,
ment. The bride to be will buy what they are offered, frustrat-
“yes its plain, no lace, but an elegant dress none the less ” it
ingly trying their hardest to muster a watery smile at the twenti-
would take a bold woman to hold her own in a dress without
eth produced lace dress to try on. Happily, the bridal boutique
lace in this decade.
will then ensue in drowning the poor girl in veil (lace edged), bolero (matching lace to dress) and now the past tense trend
What could designers rethink instead? Houghton NYC is a
of a lace tiara (a piece of lace stuck to said band). Imagine, you
great example of a creative mind that sees possibilities in base
can also have your bridesmaids in pastels with a lace overlay,
fabrics - there make-up and performance. Adornment may be
and lace table runners, matching dollies and lace ribbon around
smothering the whole of fashion but getting back to basics in
shape and cut will always refresh trends, if there are any left to discover. Take a length of cotton and find a form; then take
Yet strong alternatives are emerging. Take a look at the im-
scissors, pins, tape and chalk – play. Bodies have obstacles that
pressive Lakum. they are a Brooklyn based luxury brand that
designers orienteer and any kind of clutter can only mask a
‘disrupts the conventional’. Their design brief never strays far
weakness in mapping the body. Let us leave the overlays to one
from clean lines and uninterrupted lengths
side for a while, let lace go and perhaps adopt something new and clear. Simplistic calm is ethereal beauty.
The Gypsy and The Ros
from Enys House and Gardens
s, Penryn 65
As a light cloud pulls into a slipstream This yearning - subtle yet intricate Grasps the entrails from a heart Until the soul seeps into the chest And blind to her slightness this man would dismiss the slim beams that curl and caress he releaved - rid of expectation Misses the whispered breath blown Upon the breeze catching muslin She pains to let the word push through as it was captured once; gently rested on the skin the hand cupped to later be brought towards the cheek And pressed against the rose pink And down between the warmth Both possessed by hope.
At Last Building a new building Rocks and soil Grit and spit Look how beautiful you are Staking a new plot Windows and doors Roofs from rain See the arch; see the garden Swirling roses - pivoting Along the bank into the sea See the love built into the we Now this is life Alive once more Happy for once; forever more See the gloss embrace the shine We are new, I am yours
Many thoughts take a bird - all of us l Moving ripples, our foam rides on
a tinkle, a ligh
the d and you do,
cash and carry
You bought a bright favour; you stole a s
Alone fe Orchards and Orchids arch and sway, as if paradise
Sandy ice s
then charging at the
fingers caressing 84
the language of star sprinkled kisses in the spa
Take a Bird
lipstick and waves. candy floss shores.
ble for them mister,
ught for the water...
cks to make a well;
lean over to catch -
ht speeding splash;
droplets turn silver, as only you could:
y off with my wish.
star sprinkled kiss.
eathers are ruffled; music makes soul.
sprays under foot -
e moon I brail song
g the points of man
an of words wings.
Definitely Magenta See, my colour does wake Turning, lifting and spreading out It must be the sky that tinges blue The warmth of pink Fanned in a circle Merry go round magenta Not girly or womanly; Neither candy - but magnificent Hot and cold with rich pigment in a skirt Madly resembling a flower Dancing outside the body My colour is shocking Bringing me back from the brink
Location: Enys House & Gardens (Penryn, Cornwall) http://www.enysgardens.or
Photography: Thomas Foreman Photography https://www.weddingphotographe Hair: Megan Nicholls from Inkfish http://www.inkfishhairandbeauty.co.uk/
Model and MUA: Carol-Anne Beaton https://www.facebook.com/carolann.beato Dresses/Accessories/Flowers: Roamer Rose http://www.roamerrose.com Yellow Rose Bouquet: Tregothnan Estate https://tregothnan.co.uk Words by Kyla Estelle Prior