GoldFoil Magazine - ISSUE 15 - OUT OF THE WOODS by GOLDFOIL MAGAZINE

GOLDFOIL ARTIST OF THE MONTH

Vanessa Lawrence Interview with

Drawing Cabaret Couture

KRYSVINCZI

Tia Lian

OUT OF THE WOODS ISSUE 15

JAN 2022

At GoldFoil magazine we work with new and emerging talent within the fashion industry to bring you incredible content, interesting interviews, different points of view, and much more. We believe that we are able to do better, to expand our horizons, to learn and experience more.

Our Mission

Editor notes

January is an important time of the year as it usually marks the start of something new. With New Year's resolutions comes the responsibility of making sure we keep those promises not for anyone else but for ourselves. In the spirit of exploration this month we collaborated with designers concerned with technology, outer space and creative engineers asking the simple question - What if? Through WeAreFEP and Drawing Cabaret Couture we had the opportunity to get to work with the artist on the cover - Tia Lian. She is an incredible young designer who through experimentation and historical references of actual warriors creates couture pieces. I hope that you enjoy reading the articles and exploring the works of the artists featured this month as much as I enjoyed putting them together.

Deyvid Dimitrov Editor-in-chief GoldFoil Magazine

On the cover TIA LIAN for DRAWING CABARET COUTURE

Table of content 8

Abi Sheng

Krysvinczi

Drawing Cabaret Couture

Tia Lian

38 46 52

Vanessa Lawrence - Artist of The Month The Fashion Trends To Follow Right Now Reinhold Stoll

Abi Sheng

Credits Transformer: @claimedia Photographer: @selina.naouma Creative direction: @oldenburgdavid

Abi Sheng is the founder of Sapiens Collective Robotics Lab and the host of Quantum Paradox. She engages with consciousness studies and transhumanism, and her digital work is a visual reflection of the evolving present and this way her art encapsulates a moment in time which will never be the same again. I found her work mesmerising as she considers herself a body engineer devoted to rebuilding the identity system and this way constructing a utopia for equality by offering a system for customisable, transformative physical appearances and body modifications through fashion. Her work beautifully integrates engineering into fashion and poses questions which with the constant evolution of technology we all seem to ask more and more. Technology is no longer a tool but it becomes the self and this way it transforms it and becomes almost a mutation and a part of the individual.

Krysvinczi Hi Vincent and Krystian! Thanks for agreeing to do this interview! Tell us a bit more about yourself. We are two guys - one from Poland and one from Germany, who met many years ago in Amsterdam during our design studies. Almost immediately we became a romantic couple, and soon began working together professionally on all kinds of creative projects. Whether it was a photoshoot or a furniture restoration. What brought us together is our passion for creating beauty, and the need to express ourselves visually. But above all, we both love fashion. That is the link that binds us together.

You guys just launched your clothing brand called Krysvinczi. Is there a story behind it?

a lot of space to dream, and that’s exactly what we do. At every step of the way we try to turn our fantasy into a reality by applying our imagination with technique and coming up with new ways to dress men.

I absolutely fell in love with your logo, how did you come up with it and does it represent anything in specific? Thank you very much! We love it too! Our logo is a very important part of our brand identity because it’s the reflection of the story we tell. The graphic itself is inspired by tribal shapes which are often tattooed on a particular type of “macho” men. Culturally, it is a very brutal rephrase. Krysvinczi logo is an interpretation of that tattoo. It’s a way of saying that a new man is on the rise.

Krysvinczi is a hybrid of both our aesthetics, our personalities, our visions, and our perception of masculinity. A true driving force that inspires both of us during the creation of our collections, is the way manhood can be interpreted and redefined. Ultimately, Krysvinczi is a representation of what a man can become, which gives us

You recently launched your first AW21 collection and I was interested to know more about how you came up with the idea? It seems very utilitarian yet with a modern twist, using techniques like 3D printing and cutouts, creating multi-dimensional and intriguing shapes using dead stock and rare fabrics, it totally grabbed my attention.

and the luxury of traditional tailoring. Whether he is going out to an underground techno club, sitting at the bank, or riding a motorcycle through the night. The collection is the portrait of his wardrobe, capturing different situations and events from his life. The detailing on the fabrics as well as the textiles themselves play a big role in this story. All the three-dimensional rubber embellishments on the clothing are made usOur AW21 collection is inspired by an imaginary ing contemporary modern technology, while apcharacter we created. He is the “Prince of Eu- plied on deadstock fabrics, bringing them back rope”. A young, decadent man bored from sitting to life. This is both great for our creative output at the palace, so instead he escapes his life to join as well as the planet. a brutalist rave culture, while trying to keep the best of both worlds, the edge of the party scene

Your brand is young and I was wondering how do you remain relevant with what you do? Are you following any trends or do you just design what you like to wear? We’re both very picky. There are only very specific things that we naturally react to, so the sense of intuition works for us as a creative compass. Truly original ideas always come from within, so the most important feature of our creative process is to remain tuned into our instincts. The only clothes we wear ourselves are our own. They are created by us, for us, forging a very close relationship with our sense of taste. The way we live our lives is a great indicator of what a contemporary person needs in their wardrobe, so that’s the best guide of what needs to be created.

What is next for Krysvinczi, are you currently working on a new collection? Yes! The next project is always around the corner. Currently, we are developing a collection of accessories to complete the wardrobe of the Prince of Europe, as well as designing a new round of fabrics. We are also launching our e-commerce store where our clients will be able to purchase our pieces for the first time. So there are a lot of new ways in which we can express ourselves.

Photography: @lucyszuli Post-Production: @behind_aura Models: @cocacurtis_baby_you_know_itsme @running_games @_ludvvig @novaklin @c.g.m.n_ @suessmaus3000

TIA LIAN I first had the opportunity to meet Tia Lian and have an introduction to her work back in November at a fashion PR event where her wide selection of garments featuring intricate 3D cut-outs caught my attention. She is a recent graduate of Salford University and what distinguishes her work is how well she incorporates modern elements using technology into more traditional garments.

Her graduate collection titled Momentum captures the juxtaposition of aggression and tranquility within martial arts. The deconstruction of a more traditional dress, turned into a shape which well resembles a tree trunk when looked at from above, perfectly encapsulates the collection and her approach. The leather with a shimmery finish provides for an almost alien look while the laser cut-outs remind us of armour, or even waves made by body movement. It is that fine balance between aggression and fragility, her craftsmanship mixed with her modern approach to using laser cutting and 3D printing, which make her work really stand out and we cannot wait to see what comes next.

Photography: @talie_eigeland Production: @dcc.studios Model: @oliveharvey08 Agency: @jadorelavie_ Set Design, lighting & art direction: @mglawrence_

Credits Designer:

Tia Lian @tia_lian_ Art direction, set design and lighting: Matthew Lawrence @mglawrence Photography: Talie Eigeland @talie_eigeland Production: @dcc.studios Model: Olive Harvey @oliveharvey08 Agency: J'Adore La Vie @jadorelavie_

Drawing Cabaret Couture

Drawing Cabaret Couture Drawing Cabaret Couture is a London-based production team who specialise in creating high fashion films and editorials. All of which are professionally produced and live-streamed from their film and photography studio in London. They regularly hold haute couture based drawing classes and immersive events, and most of the creatives who join their sessions are leading professional fashion illustrators and artists. Drawing Cabaret Couture was created by model, professional dancer and choreographer Janet Mayer (who you might recognise from J’adore La Vie) and artist & set designer Matthew Lawrence who’s establishing himself as a fine art oil painter. Together, with a full team of makeup artists, hair stylists, fashion designers, shoe makers, milliners, models, technicians, photographers and set designers they create new and inspiring editorials to bring their fabulous live drawing classes to your living room. Their concept has proven very successful especially during the pandemic and that is when it grew in popularity, as more and more creatives needed a sense of normality and a new inspiration.

portunity to focus on colours, shapes and movement from the comfort of your home studio while taking inspiration from this incredible visual experience. By taking part in such a creative and social immersive event as Drawing Cabaret Couture, you will have the opportunity to meet many other creatives, as well as learn of designers and artists you might not have come across before, you will see your artistic skills improve and you will gain more clarity, and feel more relaxed and confident. Following the journey of some of the artists we have featured over the past 8 months will give you an insight into how much their classes have helped these talented creatives improve their observational skills. And becoming their Patreon supporter will give you the opportunity to enjoy their classes, meet like minded individuals, and get the chance to be featured in GoldFoil Magazine (shhh, pretend like we did not say this).

The classes have already gained a huge global following of professional artists and illustrators as well as those who simply just want to immerse themselves in this unique new drawing experience. When taking part in a two-hour art class online, you will immerse yourself into a fantasy world, letting go of preconceptions. You will have the op-

www.patreon.com/drawingcabaretcouture 28

Su @rogner5th

Watercolour A4

Watercolour A4 30

Cecilia Lehar @cecilialehar Gouache & Ink 297x210mm

Gouache & Ink 297x210mm

Ambra Lolli @ambravalentina.it

42x30cm Wax Resist, Watercolour and Gouache

Luis JeanHidalgo Warner @luishidalgo @jean_warner_art Digital painting 17x14in Bright Digital

Audience Digital

Queen of Hearts Digital 33

Patricia Keilthy @patriciakeilthyart

17x11in Digital

Renew 30x40cm Pastel

Revive 30x40cm Pastel

Carla Forrai @_carllaforrai_ White Expression 1,2,3 148x210mm Oil Pastels and crayons

Angel Wings 21x29.7 Chalk Pastel and Marker

Show Queen 21x29.7cm Watercolour 36

Susan Tye @susan.tye

Untitled 14.8 x 21 cm Chalk Pastel 250gm Denim Blue Paper

Taryn Lee @tarynleeartist

Yann Mallard @zeeyannosse

Vanessa

Lawrence Artist of the month interview @vanessalawrencexx

Hi Vanessa. Thank you for agreeing to do this interview! Happy holidays! How are you today?

London. Predominately on arts festivals, outreach, online education with families, schools & community groups. I am currently at the Royal Drawing School, taking Hi Deyvid, it’s an absolute honour & delight to talk the one year post graduate level Drawing Developwith you today. It has been an incredible year of ment Year 2021-22. As soon as this course came creativity. Goldfoil’s collaboration with Drawing on my radar I knew I wanted to apply. As lockdown Cabaret Couture has been a big part of that. It feels unfolded and studios closed due to Covid, the Royal so appropriate to conduct this interview on New Drawing School ventured online. I feel incredibly Years Day, the start of many great things for 2022! honoured to have secured a place on the first pilot year of this online course. I have pushed and transformed my practice, and I was able to connect with an international cohort. Did you go to university to study art or are you self-taught? I went to University of Brighton, studying Fine Art at BA, then a PGCE in Art & Design. I continued at Brighton University for an MA in Fine Art. After graduating I divided my time between working as an artist & a workshop leader/lecturer for galleries- the Tate, V&A, Barbican Centre, National Portrait Gallery & The National Gallery

What got you interested in art and do You predominantly use soft pastels in you remember the time you realised you your work. Is that your favourite mediwanted to be an artist? um? I have always wanted to be an artist. I remember drawing silently at dawn in the stilled house, passing drawing to & fro with my father. We were early risers, and this silent visual communication has always been with me. At art college I moved from drawing to other media. It was a great opportunity to explore my creative practice & enjoyed several years working with photography. My drawing practice was rekindled at the Royal Drawing School in 2017, firstly taking their Drawing From Film course, and then exploring other courses at the Shoreditch Studios. I discovered a way to connect my love of photography and filmic visual narrative with drawing. A significant shift happened. I grew in confidence, built a creative community, worked on graphic narrative projects & drawings that have found their way into the world via exhibition & print.

I love charcoal & pastels. I am always wowed by the feel of a stick of charcoal in my hand. To think it was the first drawing material, it’s a connection to the origins of creativity. Pastels have an instant tactile quality & intimacy. I love rubbing them back and layering them. I tend to work quickly and big, they lend themselves to this perfectly. What is the piece of art you are most proud of? Lulla, lulla, lullaby, 100x65cm collage, pastel on paper. This drawing grew a little, turned, then torn, then grew a little more. Created during a Royal Drawing School session, yet the drawing was seeded in a Drawing Cabaret Couture session with model Janet Mayer. It felt like a breakthrough piece that transformed the way I work, drawing influences from early Cyanotype photography & narrative about motherhood(pictured on the right).

Whose work influenced you and your art style the most?

Having worked in galleries for many years, I always like to visit & feed my practice. Recently I have enjoyed seeing the work of Paula Rego at the Tate & Victoria Miro ( until 12th February 2022). Also the Whitechapel shows ‘Phantoms of Surrealism’, & ‘Eileen Agar: Angel of Anarchy’.

I can see you have been featured in a few exhibitions and you’ve participated in competitions recently, what inspires all that creativity?

I think the most important elements of a consistent creative practice are community & accountability. Creating work and entering it into a competition engender a sense of that. It feels like my silver bullet for creative block. The first competition I entered my work in was Comedy Women In Print, Graphic Novel 2020. I entered as the 2020 lockdown started to unfold. I had created a zine about my experience of cancer shortly after the premature birth of my son in 2015. It was exhilarating & terrifying in equal measure, and so incredibly humbling to see this raw and honest darkly humorous account of my experience nominated for this prestigious award. As lockdown settled into summer, I created a body of work in response to the growing Black Lives Matter movement.

‘I Can’t Breathe’, Nine Stilled Moments, Marcelino Sambé 2020. Charcoal on Paper 1260x1782mm

Marcelino Sambé (Principle dancer Royal Opera House), created an original choreography in memory of George Floyd. I created drawings from stills of Sambé’s film over the summer, working in charcoal, pausing each moment of this moving tribute, creating ‘I Can’t Breathe’, Nine Stilled Moments, Marcelino Sambé 2020.

I felt compelled to enter them into the prestigious VIA Arts Prize, taking this work to the Brazilian Embassy exhibition & beyond. It was such an honour to have the support of Marcelino Sambé , seeing my work as a finalist piece & then create a limited edition of prints in response to public interest.

The MET After Midnight, Karen Elson, 2021, was nominated as a finalist piece for The 4th FIDA Awards (Fashion Illustration Drawing Award). Drawn from her film of her cutting herself out of her Met Gala Moschino dress in the small hours. This image captured her wit & folklorish magic moment. Karen Elson wowed me with her swift repost of my work on Instagram. It is so encouraging to have her support. It was wonderful to see a body of my works nominated for The 4th FIDA Award. Pastels aren’t a classic fashion illustration medium. I felt it was a celebration of visual narrative & layered drawing that broke my work through in this category this year, no mean feat! Drawing Cabaret Couture have been a huge part of my drawing practice since they popped up on Patreon. I have drawn with them every week and seen my work from these session nominated for awards & exhibited globally. Their ability to create imagery with movement & narrative that pushes my imagination just gets better every week. I am delighted to be invited as their Guest Artist this month.

What is a piece of advice you would give How can people find you online and do you to your younger self and to any aspiring sell your artwork? artist? I post regularly on Instagram, @vanessalawrencexx Grow your creative compost, develop a daily creative practice, find your community, & always push that I have a new Kickstarter Make 100 project this little further. January with limited edition prints & original artworks available. Just search for Make 100 Limited Edition Prints by Vanessa Lawrence I am represented by Drawing Cabaret Couture Gallery www.drawingcabaretcouture.com

REINHOLD STOLL

Laurie-Anne Bernaud -

Credits Photo: Reinhold Stoll Model: Una S. / URBN Models Munich Hair& Makeup: Maja Ilic Styling: Tina Stoll Shoes: ZARA

Credits Photo: Reinhold Stoll Model: Una S. / URBN Models Munich Hair& Makeup: Maja Ilic Styling: Tina Stoll Coat: STRENESSE Trousers: STRENESSE Shirt: ZARA

On the cover Designer: Tia Lian Photographer: Talie Eigeland Model: Olive Harvey Agency: J'adore La Vie Set design: Matthew Lawrence

@goldfoilmag www.goldfoil.eu