AUTUMN WINTER 2011
Portfolio 8 10 14 16
The photographer The writer The illustrator The designer
Front row 20 22 24 36
Georgia Frost & Georgia Hardinge LFW schedule Guide to new designers Global fashion weeks
Insider 40 42 46 48 50
Stewart Grays Corrie Nielsen & Fashion Fringe London boutiques Angelo Galasso & Felipe Rojas Llanos Intellectual property
Zeitgeist 54 58
Style blogger Carmen Miranda
Fashion 62 72 80 88
Future shock True kitsch Big bang theory Original sin
Shopping 92 94 98 100
Accessories Guerilla stylist Beauty Grooming
Culture 103 106 108 110 113 116
Music Art Books Space Film Etc
Index Actors Abigail Breslin Fanning, Dakota Fanning, Elle Hemmings, David Miranda, Carmen Moretz, Chloë Taylor, Elizabeth Watson, Emma
10 10,12 10 113 58 10 98 10-12
Artists Ghazi, Babak Sheppard, Kelly Tancic, Matjaz Warhol
110 14 8 10
East-end gangsters The Krays
Fashion designers Aime, Bryce Amstup, Louise Armani, Giorgio BodyAmr Burberry Chanel Chi, Hejing Choo, Jimmy Comme des Garçons De Paula, Hermione Dior, Christian Erdem Fast, Mark Felder Felder Fulton, Holly Givency Gucci Hardinge, Georgia Hogg, Pam House of Holland Ilincic, Roksanda Isham, Ashley Jacobs, Marc Kane, Christopher
27 25, 33, 46 30 25,27 40 12,30, 40 25 11, 12 11,110 30 30 32 25 25 31 11 41 20, 21,30 25 24 24 25 11 24
Katrantzou, Mary Kirchkoff, Meadham Koma, David Le Mindu, Charlie Louboutin, Christian McQueen, Alexander Mulberry Nicoll, Richard Paul Gaultier, Jean Pierson, Jayne Pilotto, Peter PPQ Pugh, Gareth Rodarte Rojas Llanos, Felipe Saab, Elie Schwab, Marios Spijkers en Spijkers Tempest, William Valentino Van Der Ham, Michael Westwood, Vivienne, Zandition, Ada Musicians Aguilera, Christina Beatles, The Bones, Ebony Bowie, David Ferry, Brian Gaga, Lady Maiden, Iron Morrissey Perry, Katy Rihanna Philosophers Socrates Plastic people Barbie Wizards (fictional) Potter, Harry
33 24 25, 29 14, 25,28 11,12, 40 30, 31, 34, 46 46 24 42 31 25 46 24,25 11 30 12 24 25 25 11,12 34 107 26
12 115 25,35 110 110 28,29 105 110 12 27
Phoenix is published 3 times a year by Stephen Kane and Phoenix Group. Printed in the UK by Stones. All rights reserved. Reproduction in whole or part without written permission is strictly prohibited. While Phoenix takes every care to ensure that prices are accurate at time of going to press, prices may be subject to change. Manuscripts, drawings and other materials submitted must be accompanied by a stamped addressed envelope., however, Phoenix cannot be responsible for unsolicited material. The paper used in this publication is a recyclable and renewable product. The producing mills have ISO 9001 and ISO 14001 accreditation and are FSC Certified - from the forester to the executive board we all have a responsibility to protect and sustain the natural environment and influence the way in which our forests are managed and our paper-based products are supplied. When you have finished with Phoenix magazine please pass it on, or recycle it through kerbside collection or at a local recycling point. www.recyclenow.com Copyright © 2010 Phoenix Group, 61 Queen Anne Street, London W1G 9HH. www.phoenixmag.co.uk
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London Head Office 61 Queen Anne Street, London, W1G 9HH +44 0 207 193 2575 firstname.lastname@example.org www.phoenixmag.co.uk
Editorial Director Hannah Kane email@example.com
Creative Director Leigh Keily firstname.lastname@example.org
Art Director Rob Boynes email@example.com Copy Director Marianne Smedley firstname.lastname@example.org
Fashion Editor Rebekah Roy email@example.com
Culture Editor Graham Taylor firstname.lastname@example.org
Assistant Editor Kerry Loyson email@example.com
Junior Picture Editor Lisa-Marie Stanbridge firstname.lastname@example.org
Production Assistant Sam Lustig
Post Production Specialist Arion Gadd
Editorial Assistants Chloe Di Chiara, Mary Adeniyi, Charlotte Simpson
Fashion Assistants Alice Goodwin, Kiran Nijjar, Abuk Joseph
Editor at Large Dennis Maloney email@example.com
Group Publisher Stephen Kane & Company firstname.lastname@example.org
Welcome to issue three, during the making of which we’ve been lucky enough to meet some amazing emerging designers such as Corrie Nielsen, Georgia Hardinge, Felipe Rojas Llanos and Christopher Beales. The overriding feeling is that they’re all incredibly creative, intelligent and passionate about their work. To us, that’s what fashion should be about. Our shoot section has been extended, and we now have four for you to feast your eyes upon, including an exclusive editorial that fuses beauty and fashion imagery by Stelianour Sani, with styling by our fabulous new fashion editor Rebekah Roy. The redesigned culture section is now headed up by Graham Taylor, and features his interview with artist Babak Ghazi, as well as Phoebe Frangoul’s fascinating feature on heavy metal in warzones. There’s a sense of movement and colour in this issue, an air of optimism for the future. We hope you feel it too. See you at the shows, Hannah and Leigh x
Special thanks: London Fashion Week and the British Fashion Council, Vauxhall Fashion Scout, On|Off, Blow PR
Carly On the cover: Georgia Frost @ Select photographed by Jean Francois r: Bayo Furlong @ The Eye Directo Casting | Roy Rebekah Editor: White strapless layered dress by Georgia Hardinge | Fashion t: Keira Fox Assistan Fashion | using M.A.C Hair: Richard Scorer @ Harringtons using L’Oréal | Make-up: Evan Huang Print by Georgia Hardinge
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Portfolio: THE PHOTOGRAPHER
Matjaz Tanic The fashion photographer tells Kerry Loyson how he boldly takes his medium beyond the 2D realm
Why did you start photographing in 3D? I was always interested in new kinds of photography. I’ve already done a lot of underwater photography and was one of six finalists in the Google Photography Prize last year, which led to an exhibition at the Saatchi Gallery in London. A friend of mine was doing 3D cave photography and I was impressed. I thought it would be nice to see the technique used in a more commercial way using models, and decided to do 3D fashion images for my final major project while at the London College of Fashion. What excites you about the technique? Without glasses, the image is just blurry and normal, but through a 3D lens you’re catapulted into a different world. It’s also technically really challenging and a niche market. In the competitive world
of photography, if you have some specialist knowledge such as underwater and 3D photography, it’s easier to succeed or at least to draw attention so that people look at your 2D work. Lots of photographers are trying to work in 3D now, but it’s rare that people can do it properly because there are so many rules to do with mechanics, optics and physics. My friend is a super geek and together we’re one of the best teams in the world right now. Even American Playboy, Steven Meisel for Vogue Italia and ID did it incorrectly – it’s hard even
for the best publications and photographers. There are so many different calculations to make – it’s more than just photography! Do you have a signature style? I started as a photojournalist so I’m drawn to unusual and interesting locations. I’m not a studio guy so that’s why I like to go underwater. My favourite shoots were done in a coalmine 500 metres below the ground, on a wind farm and in an old boxing club in London. I’m curious about new locations and interesting people but I still want to bring a fashion element to my work
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PORTFOLIO: THE FASHION WRITER
Testam e of youth
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High-end designers are showing off their frocks on ever-younger actresses. Is this a case of too much, too young?
Poor Emma Watson. It’s not a statement you might hear often, but even young multimillionairesses have their troubles. When the Harry Potter star was tentatively treading the red carpet for the first time, just as she hit the double-digit age bracket, the British actress was filled with dread. Not only because of nerves, but because, understandably, she wasn’t sartorially savvy at such a tender age. Now 20 and universally revered for her fashion sense, she once revealed the extent of her “whatto-wear?” moments in an interview, saying: “Everyone imagines stylists were on tap from the studio, but we got nothing. Sometimes I had two days’ notice before an event and there was nothing appropriate
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for a 14-year-old to wear. I’d look in my wardrobe and there would literally be nothing. It was either borrow from my stepmother, or go to the bridesmaids’ department at Harrods.” You can almost hear the mocking laughter in Hollywood, where such a predicament seems incomprehensible. There dwells a host of young, rising starlets such as Chloë Moretz, 14; Elle Fanning, 12; her big sister Dakota, 16; and Abigail Breslin, 14, all of whom are being courted by a bevy of designers and assisted by an army of stylists to ensure that they are never less than red-carpet-ready. Calling in clothes from across the world for said starlets, the result is a photo opportunity of credible, fashion-forward outfits courtesy of coveted labels such as Rodarte and Marc Jacobs, or by luxury stalwarts such as Chanel and Valentino, with the wearer exuding a designer-aware aura in the process. It’s enough to make grown women trade their only pair of Louboutins in return for a good rummage through the dressing room rails of these young fashionistas. Kick-ass style American teen star Moretz, who enjoyed a breakout role as the foul-mouthed “Hit Girl” hero in Kick Ass, has been stepping out in creations by Stella McCartney, Christian Dior and Chanel, and displays knowledge of designer fashion normally possessed by someone double her age. There’s no educated guess-making going on when she’s asked who her favourite designers are: “Chanel: because no matter how classic and timeless, they have a sense
of edginess.” In second place Moretz counts Dior, because: “I love their patterns, they’re always nuanced and the designers can take a 1930s frock and turn it into perfection.” And in third position: “Givenchy, because the pieces are truly timeless – in 20 years, they’ll still be in style and they always fit perfectly; they’re simple chic.” Moretz works with stylist Nell Kalonji, who admits she was taken aback by her young client’s knowledge of high-end fashion. “The first time I met Chloe was at a shoot for Dazed & Confused. We started talking about fashion and I asked which brands she liked. She said, ‘Comme des Garcons, Givenchy and Miu Miu.’ Not really what you expect from a 13-year-old,” says Kalonji. Fashion sisters The Fanning sisters, Elle and Dakota, are also enjoying attention from the style press around the world for their fashion nous. Dakota confirmed herself as “one-to-watch” when she was photographed aged only 12 by Juergen Teller to front the Marc Jacobs SS07 ad campaign. She’s recently taken to wearing haute couture creations by Elie Saab, Valentino and Prada on the red carpet, while her little sister Elle, who stars in Sofia Coppola’s latest film Somewhere, has been taking notes and called upon the catwalk collections of Marc Jacobs, Rodarte and Valentino to ensure she made a stylish turn during the movie’s promotional tour. What do the designers make of such young names sporting their designs? The house of Valentino, whose work is championed by the likes of British style icon Alexa Chung (27), actress Jessica Alba
PORTFOLIO: THE FASHION WRITER
“My mom always says, ‘There’s plenty of time in life for designer clothes.’ But I’m hoping for my sixteenth birthday I’ll get an amazing pair of Jimmy Choos or Louboutins’”
(29) and Jennifer Aniston (who at 41, is more than three times Elle Fanning’s age), are happy that their appeal encompasses such a broad age range. “We love Dakota and Elle: they are beautiful and fresh. It’s a pleasure and great honour for us to see women of all ages wearing our creations,” say Valentino creative directors Maria Grazia Chiuri and Pier Paolo Piccioli. “We are continuously drawing on the maison’s heritage, but we are also developing the brand in more modern ways to appeal to a younger audience. We are not specifically targeting teenagers or any other age group, but we are happy to see that Valentino appeals to today’s generation of young women, as well as to a more mature audience.” Lebanese couturier Elie Saab, whose clients include the crown princess of Sweden, and popstars such as Rihanna, Katy Perry and Christina Aguilera, also doesn’t have a particular demographic in mind when designing clothes. A spokesperson for the brand
said: “Elie Saab has always had a youthful clientele – we have designed dresses for clients as young as three, have many teenage clients. We always strive to recommend silhouettes that are appropriate for the girl’s age; if one does not already exist, then we adapt a current silhouette to make it appropriate for the age of the girl wearing it.” Less than size zero? Which raises the question: how are these youngsters actually managing to wear pieces that have been previously showcased by sixfoot-something catwalk models? Surely a 12-year-old would drown in a catwalk sample, even if it was a tiny adult size four? Valentino insists that their pieces don’t need to be altered: “Young girls simply wear the designs in a different way,” the designers say. It’s a view shared by Nell Kalonji, who reveals that the sizing issues can work to Moretz’s advantage: “An inch more on the hem turns the super-mini dress into a short but more ageappropriate version”. But what are the implications of these young girls, not yet women, dressing like mini adults, and enjoying the exclusivity of luxury brands normally reserved to those who are hugely wealthy and well into their twenties and above? Dr Peter Lloyd, a chartered psychologist, believes strong parenting is key: “These young actors need to try to maintain a degree of normality in their
abnormal world. To do this they need parents who do not shirk their role, for instance, by enjoying fame by association more than is healthy.” Lloyd adds: “The early teen years are often a difficult time given the psychological and physical changes which can make teenagers very sensitive about their appearance. You start to see the world in a different light once you can think logically and entertain the notion that you no longer have to accept the version of the world that parents and teachers offer you.” In Moretz’s seemingly grounded world, nothing gets past her family network. “Would I get to buy designer clothes? No way, my mom would so never let me!” says the actress. “She always says: ‘There’s plenty of time for all that.’ But I’m hoping for my sixteenth birthday I’ll get an amazing pair of Jimmy Choos or Louboutins, I would freak out! I love heels.” High court of high heels Her stylist Kalonji adds that Moretz’s mother Terri and brother Trevor, who is her acting coach, have the final say on all her looks. “We call it ‘facing the high court’ – so far they have approved of everything, even the heels. We are a good team.” A good team indeed. It sounds like an understanding stylist and a lot of parental guidance can keep the – albeit borrowed – Jimmy Choos of any young fashionista firmly on the ground
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PORTFOLIO: THE ILLUSTRATOR
Kelly Sheppard The illustrator tells Kerry Loyson why the line between fine art and fashion drawing is being erased
Where did you study? I’m still studying. I’m in the third year of the fashion illustration BA at the London College of Fashion. What drew you to fashion illustration? I’ve always had a passion for drawing, and when I was about 10 I started sketching clothes. I think it stemmed from my parents being ballroom dancers – I used to watch them in lots of competitions and was always obsessed by the movement of the clothes. My uncle also worked on Savile Row for many years and he took an interest in my sketches. He asked me, “Are you going to go into this?” and I said, “Yes, I think I am.” I kind of always knew this was what I wanted to do. What inspires you? I’m drawn to the creativity surrounding fashion. I like
designers who research and investigate different cultures; it’s so interesting when that’s all brought together and put on to a body. That sparks a lot of ideas. Where do you draw the line between illustration and fine art? You don’t have to draw a line! You don’t have to describe yourself only as a graphic designer anymore, for example. It’s more, “I’m a graphic designer with a touch of illustration and a touch of fine art.” The line is now so blurred – I wouldn’t necessarily just call myself an illustrator. I’d say I’m a fine artist and someone who appreciates fashion at the same time.
How do you feel about the direction your career’s taking? It’s all happened quite naturally. However, I do work very hard; it’s not like I go out to fashion parties every night. I have to sit in a studio and draw – that is my main passion: actually producing the work. I’m very happy at the moment; I’m collaborating with Charlie Le Mindu for A/W 11, which is a lot of fun – I’m basically his illustrator this season
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PORTFOLIO: THE DESIGNER
Christopher Beales After a career at the coalface of fashion, the womenswear designer is stepping into the light. Christopher Beales talks to Lara Kjinsky Few people have accomplished so much in the fashion industry and yet received such little widespread recognition as the multi-talented designer, tailor and pattern-cutter Christopher Beales. When Max Factor needed a showpiece dress for supermodel Carmen Kass to wear “on the runway” in their TV ad campaigns, Beales was their man. When perfectly cut suits were needed for the films Batman: The Dark Knight, Brideshead Revisited, and X-Men, guess who they called? And when Prince wanted something special to wear to the Golden Age of Couture at the V&A, Beales ran him up a little ivory silk number. Add design for theatre productions such as Twelfth Night, Piaf and Seasons Greeting’s and you have a man who knows his way around a piece of cloth. So why is he fashion’s best kept secret? In part it's down to the fact that he’s a grafter, not an ego maniac. You won’t see him trotting about fashion week in some ridiculous get-up to garner attention. He’s done his time as a cutter for everyone from Marks and Spencer to McQueen, from Biba to Next. At 38, he laughs, “I think I’m a bit long in the tooth for any kind of
new designers platform,” but this season sees Beales present his first London Fashion Week collection at the Rag Factory on Brick Lane. It follows on from his first eponymous collection, “Works in Cloth”, presented last May. “I did the collection outside of London Fashion Week, first to find out if I could do it, and also to be completely independent. I wanted most of the pieces to be very wearable and accessible, but then there were a couple of conceptual pieces and larger catwalk pieces that I wanted to show people I could do. That, together with the tailoring, the drapery and the cutting, was my armoury. He started his career at Voyage, the infamous and elitist Chelseabased fashion boutique that ran a members-only policy, where a pair of jeans would set you back the best part of two grand. “I was there for five years, so that was my introduction to fashion.
I ended up becoming one of the senior designers, and we all learnt to be free with our work. The fabrics and trims – we started doing weird and wonderful things,” he recalls. “People just started going nuts for it. We were getting big orders from the likes of Jemima Khan and Nicole Kidman.” Voyage went into liquidation in 2002. “One minute I was up there, cutting for David Beckham and Mickey Rourke, the next I was cutting patterns for Primark and Bon Marché. That was tough. But it really changed my attitude; I understood I was on my path. The skills I learnt there really made things easier when I freelanced, as I’ve financed myself throughout my whole career.” Beales’ AW11 collection “When The Crystal Crack’d” will be presented on 18 February. Expect a collection that effortlessly traverses the fine line between fashion, art, costume and couture • Christopherbeales.co.uk
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Christopher Beales’ CV Fashion: Alexander McQueen; Twenty8Twelve; River Island; Christopher Beales “Works in Cloth”; high street suppliers to Marks and Spencer, Next, Debenhams; Max Factor TV ad campaigns; Biba; Matthew Williamson; Future Classics; Michiko Koshino; GHD ad campaign; Gharani Strok; Debenhams; Profile 7; Voyage Theatre: Season’s Greetings; Six Actors in Search of an Author; Three Days of Rain; Sunset Boulevard; Twelfth Night; The Tragedy of Thomas Hobbs; Piaf; Never Forget Film: X-Men; Brighton Rock; Nottingham (Russell Crowe); Shanghai (John Cusack); Wolfman (Benicio Del Toro); Lesbian Vampire Killers; Harry Potter and the Half-Blood Prince; Valkyrie; Batman: The Dark Knight; Brideshead Revisited Opera: Recital 1; Jenufa; Anna Bolena Music: Prince, Here on Earth (video); 21 Nights Tour; Paul McCartney, Ever Present Past (video); The Feeling, Rose.
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The Shoes Upper Street is a brilliant online shoe boutique where you can create the pair of shoes you have always dreamt of. There’s an array of fabrics from leather and suede to patent, animal and snakeskin, available in every colour you can think of. The finished designs are handmade by a team of skilled craftsmen in their workshop. Be warned, the design process is highly addictive. The editor has a pair saved under “My Collection”, named “Secretary Leopard”. Ooh la la. Upperstreet.com
EVERYBODY LOVES FREE STUFF We’re giving one reader the opportunity to unleash their inner Jimmy Choo by designing their own accessories
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The Bag You’ll never have bag envy again after you make your own structured clutch bag on Prescott & Mackay’s one-day course. Founded in 1997, Prescott & Mackay is an independent school that runs short courses throughout the year in shoemaking, bag making, belt making, corsetry, millinery and tutu making from its workshop studio situated in the heart of London’s west end. The school also offers a range courses with international reach, holding regular shoemaking courses in the US and Australia, as well as a three-week course that includes a trip to shoe factories and trade fairs in Bologna, Italy. Prescottandmackay.co.uk To win, email competitions@ phoenixmag.co.uk with your name and address. The winner will be picked at random. Entries close on 15 April. Good luck!
FRONT ROW: INTERVIEW
On the cover
Hard F r
We’re in superstar Belgian photographer Jean Francois Carly’s frankly envy-inducing house/studio on Fashion Street, London E1. Our cover girl Georgia Frost slips in quietly, on time, coltish legs emphasised by black and white striped trousers that look like they’re straight out of Tim Burton classic Beetlejuice, fresh-faced with her hair disheveled to perfection. In contrast, designer Georgia Hardinge, winner of this season’s Vauxhall Fashion Scout Merit Award, bounds in like a force of nature, bags flying. “Being able to have a full sponsored show for three seasons is pretty amazing. It’s important because as a designer you have to support yourself. I’m really looking forward to it!”
And the collection? It’s a potent mix of beauty and morbidity. “My collection’s based on the work of photographer Joel Peter Witkin. He takes pictures of disfigured bodies and he gets them from Mexico – they’re dead bodies,” she explains breathlessly, “He puts them into different poses – sadistic poses.” A light touch then turns this undeniably dark concept into an anatomical print that is as pretty as any of Erdem’s. “It’s quite graphic but then I’m trying to rein it back and make it quite empowering. You don’t look at the dress and think, ‘Oh, that’s an intestine’, but you definitely see some structure. They’re very architectural, my pieces.” Georgia F pours herself into the AW11 off-white strapless dress.
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Two Georgias: one is the impossibly leggy model that defines British grunge cool; the other is the delightfully eccentric rising-star designer. Hannah Kane meets Frost and Hardinge on the Phoenix cover shoot.
F rost Hair and make-up done, she’s every inch (at 5’11’’ plus the exquisite 8’’ Gil Carvalho platforms, that’s a lot of inches) the bombshell. Scouted at 13 in Camden market, the agencies thought her too young but spotted her again at the Clothes Show in Birmingham a couple of years later. “I didn’t think it would happen again because I sent the agency my Polaroids after they scouted me the first time and didn’t hear anything back. I didn’t really care. I didn’t see myself as a model – I was a bit of a nerd. I found it embarrassing.” Insouciance aside, Frost’s career went stellar in no time. “A lot of girls spend years doing loads of castings, test shoots and editorial work but I did one test shoot with Kai Feng,” she explains
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matter of factly. “Somebody in New York saw my book, I flew there and I did Burberry and Dolce & Gabbana and all of those big campaigns. I did all of that, and then had to start going to castings – I did it backwards!” At only 20 years old she’s the consummate professional. In front of the camera she’s a natural. Georgia H inquires as to her availability at London Fashion Week, but Frost will be in Madrid. It makes financial sense. The models there are guaranteed 10 shows, and at a couple of thousand Euros a pop, and the hotel situated across the road from the venue, it’s fast becoming the models’ fashion week of choice. She’s not splurging her earnings though, “I’ve been saving my money so I can buy a building where I could have a restaurant or a café downstairs and then live above. I don’t know why, but that seems like a really idyllic thing for me to do. I want it to feel like a cantina, Hispanic – somebody pushes all the tables to the edge of the restaurant at night and everybody boogies.” While Frost is doing her time (albeit happily) in fashion, Hardinge is carving her niche. “I have a clear vision of fashion. I didn’t want to go into fashion to be part of an industry. I wanted to make an art piece of lasting purpose,” she says, “something that is useful, something someone can use that can make them happy.” Hardinge is complex and multi-faceted, just like her designs. She speaks five languages and has more passports than an MI6 agent. Day-to-day she’s very
relaxed about her appearance. “I don’t think I even look in the mirror,” she laughs, “I’m very meticulous when I go out and meet people, and during Fashion Week I have to represent my brand, because it’s all about marketing, but when I’m at home I try not to worry about my aesthetic because then it influences my design and stops me from doing things”. Her recent and slightly unexpected collaboration with Victoria’s Secret and Swarovski showed that the edgy London aesthetic is still very much in demand globally. So how important is commerciality? “I find that word very interesting. The more I know about how important marketing is for a brand, the more I get so inspired by it,” she confides. There are plans for a diffusion line in the future, and at the end of this year Hardinge will make tour costumes for one of the planet’s biggest pop stars. Interviewing the two Georgias has been a peach. I want to know a random fact from each of them before I go. Georgia Frost: “I crochet… To be honest, I only learnt last week but I’m planning for it to be an ongoing hobby, although I don’t really enjoy it yet. I find it really stressful because I haven’t got the hang of it!” Georgia Hardinge: “Before I finished university, I sewed my collection with nothing on because I would always accidentally sew my dresses into my clothes. Now I have interns so I have to wear clothes! I’m pretty normal, other than that.” To be honest, neither could be accused of being anything as mediocre as normal • Georgia Hardinge will show at the VauxhalI Fashion Scout venue at 11am on Saturday 17 February
LFW Sche d FRONT ROW: SCHEDULE
Friday 18 FEBRUARY
BFC Somerset House 9.00 Paul Costelloe 11:00-19:00 Orla Kiely* 12.00 Caroline Charles 13.15 Corrie Nielsen 15.45 Aminaka Wilmont 19.00 Bora Aksu 20.30 PPQ
Vauxhall Fashion Scout 12.00 Prophetik 15.00 Ones to Watch 16.15 Eudon Choi 17:30 / 18:30 Krystof Strozyna 19.30 Jasper Garvida On|Off 11.00 Jena. Theo 13:00 - 14:00 Ada Zanditon 15.30 Falguni & Shane Peacock 19.45 Ashley Isham The Charing Cross Hotel 20.00 Annah Stretton 20.15 Berit New York 20.30 Rajadano 20.45 RumpleMunkeh 21.00 Manjit Deu 21.15 Rehmali 21.30 Cristina Nitopi The Show Space 14.30 Jean-Pierre Braganza 17.45 Felder Felder W1 10.00 Maria Grachvogel 13:00 - 16:00 Saloni 18:30 bSTORE Pierre Garroudi gallery 21.00 Pierre Garroudi
WC2 9:30 - 13:00 Preen 15:30 /16:30 Eun Jeong
The Rag Factory 19:00 Christopher Beales SW1 13:45 Irwin & Jordan 16.45 Sass & Bide
Saturday 19 February BFC Somerset House 9.00 Daks 9:00 - 11:00 Craig Lawrence 11.00 Betty Jackson 12:30 / 13:30 J. JS Lee 13.00 Jaeger London 15.15 John Rocha 15:45 / 16:45 J.W. Anderson 16.15 Issa London 20.30 Central Saint Martins MA Vauxhall Fashion Scout 11.00 Merit Award: Georgia Hardinge 11.30 Tosha 13:30 - 15:30 Una Burke 15.30 Fyodor Golan 16.45 Jacob Kimmie 17.15 Lako Bukia 18.45 Carlotta Gherzi for Sado On|Off 9.30 Louise Amstrup 14:15 Louise Gray 18.00 Bryce Aime 21.30 Julian J Smith The Charing Cross Hotel 13.30 Elliott J Frieze 20.00 BEVZA
20.15 Belinda Liu 20.30 Vjera Vilicnik 20.45 Dima Ayad 21.00 Gloria Wavamunno 21.15 Alana Hale 21.30 Birthday Suits
The Show Space 12.30 Bernard Chandran 18.15 Clements Ribeiro 18:30 - 20:30 Christopher Raeburn
On|Off 10.00 Jayne Pierson 14.15 Charlie Le Mindu 19.30 Pam Hogg
Topshop Show Space 15.00 Unique 19.00 Richard Nicoll 19:15 Nasir Mazhar
SW1 12.00 Kinder Aggugini
Strand Palace Hotel 14.30 Enya Patricia 15.30 Kiki Kamanu 16.30 Hamra Alam
MBF 10.00 Charles Anastase 13.30 Belle Sauvage 17.15 House of Holland
W1 9.30 Margaret Howell 10:15 - 11:30 Mulberry 11.00 Acne
W2 19.15 Jonathan Saunders
SW1 17.00 Matthew Williamson
Jalouse 21.00 Olivia Rubin
WC1 20.00 Temperley London
Sunday 20 February BFC Somerset House 10:00 - 12:00 Designers Remix 12.00 Jasper Conran 13:30 - 14:30 Ann-Sofie Back 16.00 Osman Vauxhall Fashion Scout 12:00 - 3:00 Angela Cassidy 12.30 Masha Ma 13.45 Jazzkatze 16.30 Fashion Mode
WC2 14.00 Nicole Farhi 15:30 - 16:30 Cooperative Designs 18.00 Vivienne Westwood RedÂ Label EC2 13.00 Antonio Berardi
Monday 21 February BFC Somerset House 9:30 - 12:00 Basso & Brooke 9.45 David Koma
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dule 9.45 Holly Fulton 15.00 Todd Lynn 15:00 - 19:00 Les Chiffoniers 18.00 Mark Fast
Vauxhall Fashion Scout 15:00 - 16:30 Felicities Presents 15.30 À La Disposition 18.45 Bunmi Koko 19.00 / 19:45 Samantha Cole 20.00 Ziad Ghanem Topshop Show Space 9.00 Peter Pilotto 13.00 Michael van der Ham Strand Palace Hotel 14.00 Susana Bettencourt 15.00 Obscure Couture 17.00 Fabryan
TUESDay 22 FEBRUaRy BFC Somerset House 9:30 - 12:30 Christian Blanken 14.45 Emilio de la Morena 15:00 - 19:00 Tata-Naka 16.45 Amanda Wakeley 18.45 Ashish Vauxhall Fashion Scout 11:00 - 14:00 Maria Francesca Pepe 11.45 Joanne Hynes & Helen Steele 15:15 - 18:15 BodyAmr 17.15 Alice Palmer 19.30 FAD Topshop Show Space 9.45 Mary Katrantzou 13.45 Meadham Kirchhoff 15.45 Fashion East
The Future Gallery 17.15 Harley-Smith London 219 Kings Road 20.30 Henrietta Ludgate No 4. St James Square 21.00 Kristian Aadnevik
WEDNESDay 23 FEBRUaRy BFC Somerset House 9.30 J.W. Anderson 10:30 - 12:00 Silbling 11.00 Christopher Shannon 11:45 Omar Kashoura 13:00 - 17:00 Newgen Men & Fashion East Men 13.15 James Long 14:15 Katie Eary 15.15 Cassette Playa 16:15 Tim Soar 17.00 KTZ 20.00 Tween Vauxhall Fashion Scout 14.15 D-GNAK 15.45 Men’s Ones To Watch
NW1 10.45 Pringle of Scotland 14.00 Erdem
The Show Space 10.45 Marios Schwab
W2 11.45 Christopher Kane
W1 20.00 Alfred Dunhill
WC2 17.00 Paul Smith
WC1 11.45 Aquascutum
SW7 16.00 Burberry Prorsum
WC2 10:00-17:30 Anya Hindmarch
SE1 10:30 - 18:00 Antoni & Alison
SW1 12.45 Roksanda Ilincic
W1 15:00 - 18:00 Bally and CSM 17:30 Oliver Spencer 18:30 Hardy Amies 18:30 - 21:30 Rake
EC4 19.30 Giles
The Russian Club 11.00 Circuit
WC2 11:00 - 14:00 Mr Start
TBC 20.30 Julien Macdonald
Cell Studios 17.00 Samia Malik ihtgw
TBC 13:30 - 15:30 Horace
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aUTUMN WINTER 2011
Topman Venue 10.15 Topman Design 12.30 MAN 13:45 E. Tautz 14:45 Lou Dalton
• Topshop Venue: Topshop Show Space: 1 Old Billingsgate Walk, 16 Lower Thames Street EC3R 6DX • Topman Venue: Royal Opera House WC2E 9DD • On|Off: Mercer Studios, 16 Mercer Street WC2H 9QE • Vauxhall Fashion Scout: Freemasons’ Hall, 60 Great Queen Street, London WC2B 5AZ • MBF: My Beautiful City, Old Sorting Ofﬁce, 21-31 New Oxford Street (on corner of Museum Street) WC1A 1AA • The Show Space: Northumberland House, 8 Northumberland Avenue, London WC2N 5BY • Strand Palace Hotel: 372 Strand, London WC2R 0JJ • Charing Cross Hotel: The Strand, London WC2N 5HX • Cell Studios: 80-84 Wallis Road, Hackney Wick, London E9 5LW • The Future Gallery: 5 Great Newport Street, City of London WC2H 7JB • The Russian Club: 340-344 Kingsland Road, London E8 4DA • Thistle Hotel: 49 Buckingham Palace Road, Victoria, London SW1W 0QT • Pierre Garroudi Gallery: Arch 6, Cruciﬁx Lane SE1 3JW • Jalouse: 17 Hanover Square W1S 1HU
fRONT ROw: lONDON fashiON weeK
auTumN wiNTeR 2011
Sponsored by the British Fashion Council and supported by Topshop, this scheme encourages emerging design talent, inspires media and investment interest, places the designer on schedule at LFW, and provides mentoring and retail support. Internationally renowned for its enthusiastic devotion to innovative British fashion and London Fashion Week, NEWGEN’s alumni reads like a who’s who of fashion talent – Christopher Kane, Erdem, Richard Nicoll and Meadham Kirchhoff, to name a few.
Kerry Loyson and Charlotte Simpson profile the new talent initiatives at London Fashion Week, along with some of the designers they promote
fashiON easT & maN
Lulu Kennedy’s pioneering non-profit organisation nurtures young designers through the difficult early stages of their career and has produced some of the UK’s most exhilarating design talent, including Marios Schwab, Gareth Pugh, House of Holland, Roksanda Ilincic and Jonathan Saunders. The name relates to the organisation’s HQ location at the Old Truman Brewery, though the scheme now has an on-schedule slot at the Topshop venue. In 2005 the MAN initiative was set up to support menswear designers in the same way. Three men’s and three women’s designers, selected by a panel of industry experts, are awarded a bursary, catwalk show production, PR support and expert guidance for launching their own label. Sponsored by Topshop, Topman and The London Development Agency, the scheme reflects the pure originality and personal expression east London is known for.
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Season N e w T a l e nt
Trailblazers in bridging the gap between on- and off-schedule designers, On|Off provides both fledgling, emerging talents and more entrenched designers the opportunity to showcase their collections. Launched in 2003 by Lee Lapthorne, On|Off – the UK’s original, independent fashion showcase held during LFW – strives to expose the best in innovative art and design talent. In 2009, On|Off also became a presence at Paris Fashion Week with a showroom in the heart of the fashion capital. With a strong international reputation for unveiling fresh talent such as Hannah Marshall, Yang Du, Gareth Pugh and Mark Fast, as well as more renowned designers such as Karen Walker, Jasper Conran, Allegra Hicks, Ashley Isham, Pam Hogg and Ben de Lisi, the initiative’s focus on exposing quality design and providing a spring board into the competitive British fashion industry is a statement in itself.
Representing some of London’s most intriguing fashion and accessory designers such as Charlie Le Mindu, Spijkers en Spijkers and footwear designer Hejing Chi, Blow PR prides itself on maintaining unparalleled levels of creativity, innovation and excellence. Set up as a supportive launchpad for budding design talent and avant-garde style, this PR firm’s in-depth knowledge of the industry, combined with a comprehensive repertoire, contacts and insider knowledge, is shown by its extensive first-class list of clients. Stemming from company director Michael Oliver-Salac’s creation of Blow magazine in 1992, when the magazine ceased the “Off Schedule” Guide was created. Back then that comprised only a few designers showing in clubs.
Vauxhall Fashion Scout
Vauxhall Fashion Scout is a mighty platform and driving force behind the new generation’s design innovation. As London Fashion Week’s largest independent showcase, it promotes both new and seasoned designers to a global audience of media, buyers, celebrities and style leaders. Founded by PR guru Martyn Roberts and show producer John Walford, the organisation has been responsible for launching some of London’s most electrifying design talents including David Koma, William Tempest, Louise Amstrup, Peter Pilotto, Felder Felder and BodyAmr. Underpinned by a valuable mentoring system, Vauxhall Fashion Scout’s nurturing of rising designers is paving the way for strong, sustainable and successful labels.
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FRONT ROW: LONDON FASHION WEEK
Since setting up her eponymous company in 2008, Zanditon made her catwalk debut to an international audience at London Fashion Week in September 09 at Vauxhall Fashion Scout’s “Ones to Watch” show. Known for her visionary concepts, which combine high fashion with a serious commitment to the environment, the designer has received recognition for her work in ethical fashion. In late 2009 she was selected for the Estethica eco-fashion mentoring program by the British Fashion Council and has enjoyed a productive relationship with her mentor Bev Malik. Celeb fans include Patrick Wolf, Robots in Disguise, Ebony Bones and Stephanie O’Brien of the Puppini Sisters.
Alice Palmer ON | OFF
Knitwear is having a moment, and Alice Palmer is partially responsible. The Scottish, London-based designer has carved herself a formidable reputation for her contemporary and unique slant on the medium – think intricate pleating, structure, graphic designs and metallics. Palmer graduated from Glasgow’s School of Art in 2000, completed a masters at the Royal College of Art, and went on to be selected as the “Best Womenswear Designer” during New York Fashion Week in 2008. Her distinctive collection is also making waves at a more commercial level with pieces currently stocked at Asos.com.
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BodyAMR’s founder, Omaniborn, London-based designer, Amr has global style mavens wrapped around his little finger. His signature bold, fluid, draped dresses have been flaunted on red carpets, stages and extraordinarily successful television shows (X Factor, anyone?) and his list of celebrity admirers is undeniably impressive. Since launching his label in 2005, his sleek, sexy, modern classics have adorned the bodies of Cheryl Cole, Kylie Minogue, Angelica Huston, Florence Welch, Juliette Lewis and Claudia Schiffer. In the words of Tom Ford: “BodyAMR, give me a job!”
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Bryce Aime VFS
Famed for his painstaking perfection, Bryce Aime’s designs are elegant and tailored with supreme distinction. His clothing reflects an intriguing mix of form, function and finish. Inspired by Thierry Mugler, admiring his vision and his “woman and his world”, Aime’s reputation for attentive, aesthetic detail has earned himself a loyal following by lovers of classic, contoured womenswear. The Parisian designer, who studied at Central Saint Martins, is also celebrated for his instantly recognisable spiky-shouldered outfit donned by the almighty Rhianna in her video Hard. With sizeable celebrity backing, including Paris Hilton and Elle McPherson, Aime’s love for modern architecture and its technically challenging design continue to serve as a creative vision for his celebrated designs.
BLOW ON | OFF
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FRONT ROW: LONDON FASHION WEEK
Luxury fashion and art label Bunmi Koko, founded in March 2009, has already sculpted an unrivalled reputation. Stationed comfortably on fashionistas’ praiseworthy lists, it has a string of celebrity admirers from US first lady Michelle Obama to the label’s muse and unofficial ambassador, Mel B. Bunmi Olaye, the Nigerian born, UK-based design talent behind the label, produces handmade, sculptured, original pieces, complete with impeccable detail to flatter and enhance the female form. She has a fashion design and marketing degree from the University of East London and was a finalist at the 2010 Grampian Awards for the “Emerging Entrepreneur of the Year” in Aberdeen, Scotland as well as recently achieving the African Fashion Award for the “Emerging International Designer of the Year – 2010” in Johannesburg, South Africa.
Charlie Le Mindu VFS
Charlie Le Mindu has a fetish for hair and a wildly vivid imagination. A celebrity hairdresser, designer and eccentric, his recognisable style is innovative, ultra sexy and daring. Never one to shy away from controversy, Le Mindu’s reputation for having transformed the stereotypical perception of wigs from an awkward bald-covering mop to a bold piece of intriguing art work, is globally renowned. Having sculpted himself a name in fashion from humble beginnings as a 13-year-old hairdresser in Bordeaux, France, Le Mindu trained at Vidal Sassoon and Tony & Guy before turning his hand to wigs and opening a studio in east London’s Shoreditch. Recently awarded On|Off’s Visionary Award, Le Mindu’s outlandish style has also struck a chord with Florence and the Machine, Chicks on Speed, Peaches and Lady Gaga.
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Georgian born, London-based David Koma studied both his BA and MA at Central Saint Martins. His signature body-conscious designs are known for their heavy embellishment with metal tubes and chains. A hit with edgier members of the A list such as Lady Gaga and Megan Fox, you can buy his confident designs at Browns Focus.
Elliot Atkinson NEWGEN
Cypress-born Elliot Atkinson studied at the Edinburgh College of Art and creates tough, feminine and sexy designs with a nonchalant rock ’n’ roll vibe. For SS11 the palette was dark and tonal, influenced by jaded and decayed marble sculptures and medieval dresses. Stocked at Browns Focus and online at Young British designers, he’s fast becoming the go-to choice for beautiful, wearable daywear with flair.
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FRONT ROW: LONDON FASHION WEEK
Felipe Rojas Llanos
Chilean Swede Llanos graduated from the Central Saint Martins Menswear MA, receiving the bursary award from Giorgio Armani. His luxurious minimalism is forging a new menswear style. See our interview with him on page 48.
Born in London, but raised across Europe, Georgia Hardinge’s creations achieve the rare quality of being both wearable and distinctive. Eclectically cultural, Hardinge graduated from Parsons Paris School of Art and Design, where she was awarded the “Golden Thimble” for best designer for her graduate collection. To learn more about our cover designer see our interview on page 20.
Hermione de Paula MAN
De Paula’s calling card is her unparalleled print sensibility. Her designs are celebrated for their intriguing femininity; delicate handpainted and collaged prints and embroideries that melt flawlessly into the contours of the female form. A product of Central Saint Martins, Hermione de Paula graduated with a first-class degree in fashion and print, gaining work experience for luxury labels such as John Galliano, Alexander McQueen and Christian Dior Couture before launching her own ready-to-wear label in 2008. Recently awarded Vauxhall Fashion Scout’s Merit Award for her AW10 collection, she was absorbed by the world of fashion from a very young age: “My mum gave birth to me in Chanel sunglasses so I guess that set the precedent.”
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Holly Fulton launched her own label after doing her time in womenswear at Lanvin. A graduate of the Royal College of Art, Fulton has become known for her geometric prints and Perspex jewellery. She’s a huge fan of pop art and art deco, a mood that is apparent in each of her designs. In 2010 Fulton won the New Designer of the Year award at the Elle Style awards, and if her last collection is anything to go by, she’ll be around for a long time to come.
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Jayne Pierson NEWGEN
Jayne Pierson’s career journey is far removed from where it began. Having worked across the media industry for the best part of a decade, primarily as a singer/songwriter with EMI and A&R, with her own group achieving a top 12 single in 1995, she turned her creative attention to innovative, fashion design. Graduating from the University of Glamorgan with a firstclass BA in fashion design, the Welsh designer’s affinity with luxury couture intensified during her internships for iconic designers Alexander McQueen and Vivienne Westwood. Pierson’s signature print designs and bespoke woven fabrics are celebrated for being intricately hand-drawn or graphically produced. Designing for artists such as La Roux and Charlotte Hatherley, Pierson’s label is for the “empowered, modern woman who marches to the sound of her own drum”.
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FRONT ROW: LONDON FASHION WEEK
Julian J Smith
AW10 was Julian J Smith’s breakthrough season, and thanks to a growing A-list fan base that includes Victoria Beckham and Olivia Palermo, his SS11 collection was highly anticipated. Smith is know for his colourful printed dresses and, considering he has Roland Mouret and Erdem on the CV, you can be assured that both cut and print are executed to perfection.
Krystof Strozyna ON | OFF
Originally from Poland, Krystof Strozyna’s designs are charismatic and sassy. Renowned for their perfect fit, graphic lines, signature cut and handmade, oversized lacquered wooden jewellery, his sculptural, geometric shapes of sharply tailored pieces have catapulted him into fashion distinction. Having completed an MA in fashion design womenswear at Central Saint Martins, his collection was displayed in Harrods as one of the winners of the Harrods Design Award. Inspired by his mother’s sense of adventurous fashion in post-Communist Poland – “She would wear a yellow leather skirt and a matching cropped jacket!” – Strozyna’s sense of power dressing translates beautifully into his own exuberant aesthetic.
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Danish born, London-based Louise Amstrup spent part of her childhood living in Germany and later returned to Dusseldorf to complete her studies. In 2003 she graduated from The Akadamie Mode Und Design, where she was awarded the “Graduate Talent” prize. Her clean lines and luxurious fabrics such as delicate silks and soft chiffons mixed with exclusive wools, leather and cottons result in an elegant and grown-up attitude to contemporary womenswear.
Mary Katrantzou ON | OFF
Mary Katrantzou’s stunning hyperrealist prints have propelled her to the forefront of the London fashion scene: particularly memorable were SS11’s interiorinspired lampshade skirts, complete with fringing. An Athens native, Mary originally studied architecture, before completing her degree at Central Saint Martins in textile design. She went on to complete her MA there, continually developing her love of print. She was recently awarded the Swiss Textile Award valued at €100,000, produced her second collection for Topshop, and will be launching a fragrance.
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fRONT ROw: lONDON fashiON weeK
Middlesex University graduate Rose’s work fuses street-inspired sportswear with traditional menswear cuts that have military roots. This season sees the designer’s sixth eponymous collection, and since last LFW she’s been busy collaborating on outerwear with Timberland and Wallpaper* and Cat Footwear.
michael VaN DeR ham maN
Forget everything you know about patchwork, Van Der Ham’s clashing colours and weights of fabrics such as knit and chiffon are anything but frumpy. Another Central Saint Martins graduate, the Dutchman built up his CV working with Sophia Kokosalaki and Alexander McQueen. His undeniably striking designs polarise opinion, which is no bad thing.
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New Power Studio
This fresh, young brand – a collaboration between menswear stylist Thom Murphy and womenswear designer Ebru Ercon – will be shown at MAN, however many of the pieces are intended to be unisex. Think oversized tailoring and sportswear influences, a very modern urban look. The label continues to explore the medium of film as a way of encapsulating the mood of a collection, a move that is very of the moment.
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Simone Rocha MAN
Far from merely having a famous surname, Simone Rocha has carved a name for herself, showing this season for the second time with Fashion East. After studying at the National College of Art and Design in Dublin, she then completed her MA at Central Saint Martins, where the Fashion East team spotted her. Designing for “a woman who wants to wear beautiful things”, her previous collection was elegance and simplicity personified. A chip off the old block, then
FRONT ROW: GLOBAL FASHION WEEKS
Around the world
Missing LFW already? The next one is just around the corner if you’re willing to travel, writes Kerry Loyson
* • City: Moscow Volvo Fashion Week Known for: Its exotic east/west mix and luxe romanticism. Fact: Moscow actually plays host to another successful fashion week – Russian Fashion Week. It presents mainly debutantes and is considered a launchpad. VFW presents established designers, many of whom also show in other cities. It attracts over 50,000 guests seasonally, accrediting over 1,000 journalists and buyers from Russia and abroad, and receiving massive media coverage in all the leading editions. fashionweek inmoscow.com
• City: Copenhagen Copenhagen Fashion Week Known for: Unique angle on design, innovation and aesthetics – a more modern approach to femininity and functionality. Fact: Copenhagen Fashion Week currently holds the record for the “world’s longest catwalk”. In August last year, 220 models valiantly walked a mile-long, shocking pink catwalk from the city hall down the Strøget high street past 100,000 spectators, showcasing 500 Scandinavian fashion labels. copenhagen fashionweek.com
• City: Amsterdam Amsterdam International Fashion Week Known for: Sustainable style and sculptural creations. Fact: The Free Fashion Challenge, which launched in November last year as a collaboration between The Amsterdam Fashion Institute, Laura De Jong and Beyond Green, requires its participants,15 self-proclaimed fashion addicts, to stop buying clothes for a year in an effort to find out more about the meaning of consumption and to make fashion more sustainable and longterm orientated. amsterdam fashionweek.com
City: Milan Milan Fashion Week Known for: Being sexy and stylish. Fact: Controversy recently stirred Milan Fashion Week when designer Elena Miroglio used plus-sized models. Miroglio’s designs have kicked off Milan Fashion Week every year since 2005. milanfashionweek. com
There are actually 168 fashion weeks worldwide. That’s a lot of air-kissing
• City: Sao Paulo São Paulo Fashion Week Known for: Beachwear. Fact: São Paulo Fashion Week has been forced by local prosecutors to ensure that at least 10 per cent of its models are of African or indigenous descent in an effort to promote an accurate representation of the nation’s people. ffw.com.br
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in 12 fashion weeks*
• City: dubai Dubai Fashion Week Known for: Fusing traditional regional dress with contemporary looks. faCt: To celebrate her fiftieth birthday, bizarrely proportioned doll Barbie took centrestage at Dubai Fashion Week’s closing show in 2009. Twenty-seven designers created outfits inspired by the bombshell while highlighting the region’s ﬂair – examples include a hot pink abaya and a bright printed hijab. dubaifashionweeK.Me
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• City: CaPe town Cape Town Fashion Week Known for: The new urban African aesthetic. faCt: In contrast to traditional fashion shows, which are strictly trade events, Cape Town Fashion Week is open to the public and features special seminars and introductory courses for those interested in a career in the industry. CaPetown fashionweeK.CoM
• City: toKyo Japan Fashion Week in Tokyo Known for: The quality of Japanese fabric, the detailoriented sewing techniques, as well as creative cuts and quirky details. faCt: The first Japan Fashion Week from Tokyo was launched in October 2005 through collaboration with the Japanese government and designers. Jfw.JP/en
• City: hong Kong Hong Kong Fashion Week Known for: Providing a vital link between the east and the west. It is known for its free approach to traditional forms. faCt: The SS10 collection boasted an impressive 1,164 exhibitors from 24 countries and regions. hongKong fashionweeK.CoM
• City: Paris Mode à Paris Known for: Haute couture. faCt: For Chanel’s AW10 collection, designer Karl Lagerfeld shipped in a 265-tonne Arctic iceberg from northern Sweden. It took 35 specialist ice sculptors six days to carve the 28-foot-tall glacial sculpture around which the models walked. ModeaParis.CoM
• City: new yorK Mercedes-Benz Fashion Week New York Known for: Commerciality, sportswear, casual wear. faCt: New York Fashion Week is the oldest of its kind, having been inaugurated in1943 to draw attention away from the fashion Mecca that is Paris. MbfashionweeK.CoM
• City: london London Fashion Week Known for: Edgy, avant-garde design. faCt: Charlie Le Mindu controversially sent his models down the runway in nothing but wigs, heels and statement hats in September 2010 londonfashionweeK. Co.uK
PHOENIX PR Fashion
Creative, connected, and experienced - Phoenix PR offers its clients intelligent, effective solutions with personality W W W . P H O E N I X - P R . C O . U K
I’m with the b
Those famous interlocking Cs, the Burberry check, the red sole on the underside of your Louboutins. Developing a brand to make it instantly recognisable is the holy grail of retail. It is a distinctive design, sign, symbol, words, or a combination of these, that identifies a product and differentiates it from its competitors.
One man who knows all about branding is design aficionado Stewart Grays, director of unisex accessories label Grays of London. His family have been in retail since the turn of the twentieth century, and his stunning leather bags and accessories are a hit with film luminaries from Steven Spielberg to Sandra Bullock, Demi Moore, Richard Gere and Jeff Goldblum. “My family moved over from Holland in 1852 to start a wholesale clothing business, many years later one of our family members was more into fashion and styling, and opened a store in east London called Grays,” he explains, “back then the company was very much about tailoring men’s suits.”
“I don’t think at the time branding was an issue, obviously there were clever people out there like Chanel and others who understood the concept of sales and branding. My family at the time were more bothered about quality tailoring, and therefore when he set up the first store, it was about coming in and getting a suit made.” What's in a name? But in time a name becomes associated with a level of integrity, quality, and satisfaction in the consumer's mind. And thus the Grays’ brand was cemented. “From 1927 onwards, the company grew to have 30 stores around London.” As testament to its longevity, the date is now imprinted
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Accessories designer Stewart Grays knows a thing or two about making your label stand out from the crowd. He tells Hannah Kane his story
e brand in the logo. However, there was a brief gap in trading when 15 years ago Grays’ cousins sold their shop on Regent’s Street. The essence of luxury At the time he was working for Harrods as a brand consultant. “I learnt a lot about branding there, the essence is there in the brickwork!” he laughs. “When you go in you are constantly aware that you are in this luxury store, and so when you’re designing its departments, from the quality of the materials to the space and lighting, everything that happens has to represent Harrods.” His boss there told him that he’d learn more about retail in the fast-paced American market, so
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he moved stateside and worked in branding for Bloomingdales, Macy’s and Escada. “Escada had been around for a while. It was a luxury brand, but the problem was it had lost a lot of its revenue to a younger crowd, a younger look, and it wanted to update its image and attract that demographic. I was called in to redefine 10 or so departments, so that a daughter would walk through with her mother and grandmother and say, “That’s a nice top!” Learning from experience With a business partner, the high-end leather accessories label Morgan Grays was launched. “When it came to starting my own label, I understood branding,” he explains, “you have to look at it from every angle, get the consumer to walk in, create a mood, create a story. It’s about understanding the heritage, the concept.” The brand’s USP was being the only American-designed and manufactured bag company, it and grew at a rapid pace. “I found a factory in LA, made a set of samples, and basically went and showed them to stores. I literally had this big, old station wagon, and I packed the back of the car up.” In 18 months they were in 60 stores, but unfortunately the growth was unsustainable. “We took on investors and then the crash came, and we were hit with a massive loss,” the designer admits. “The brand had become synonymous with American factories, but they kept pushing their prices up because they knew we were selling. This pushed the retail price up, which made it too high for consumers to afford. The buyers were saying, ‘It’s beautiful stuff, but for the same price I could buy Hermes or Gucci, and that’s
what sells.’ So they stopped buying.” Grays learnt his lesson. On returning to the UK he quizzed the buyers, who told him what they needed was a well-made, affordable brand. With his niche identified he then considered what the customer wanted. That wasn’t logo-encrusted accessories. “The things that were selling were well priced and affordable. People didn’t want to be flash anymore, they didn’t want big, branded logos, they didn’t want products that reminded them of former excesses.” After a family pow-wow, permission was granted to resurrect the Grays name on home turf. Referencing the brand name “Grays of London”, each of the trans-seasonal collections (with the exception of the aspirational “Monaco”) is named after distinct locations in the capital such as Kings Road, Moorgate, and Savile Row. We’re particularly taken with the “Electronic Eloquence” laptop case from the Savile Row range in rich, purple and black leather, “I went through hundreds of samples to find the exact shade of purple,” Grays reveals. At just under £400, it’s not cheap – but it fills the gap in the market between the top end of the high street and the LVMH brands. And judging by healthy sales, the approach seems to be working. So what advice does Grays have? “It’s the essence of the brand, and understanding what the urban professional wants today. You can’t live in an ivory tower of silence, you have to go on to the street and see what people actually need. I often sit in cafes, walk down the streets in London and see what people are using. I think, ‘Why is that person carrying two bags?’ Could I make a bag that would serve both functions?’ We daresay he could, and he probably will
Fringe be n
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Fashion Fringe at Covent Garden, is the brainchild of fashion historian and Sunday Times columnist Colin McDowell. Last year’s winner Corrie Nielsen talks to Hannah Kane about the effect the prize has had on her career
Corrie Nielsen with John Galliano
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It’s 18 September 2010 and Phoenix’s creative director and I are standing outside The Flower Cellars in Covent Garden. In our hands is the ticket we’ve been staring at for weeks, everything about it – the thick, glossy black card, the name Galliano emblazoned on the side – tells you this show will be “A Good One”. We’re swept inside and down to the show space, slightly confused at the grid layout of the seats. Not sure where we’re going, we discuss whether we have the audacity to plonk ourselves front row (not because we think we’re important, but that’s where you can see the clothes best). The paps look hungry. We decide second row is more inconspicuous – we wouldn’t want to get caught in the crossfire. What ensues vies for the merit of being one of the most creatively produced shows we’ve been lucky enough to see. Three deserving finalists up for the £100,000 prize:
pleated metallic knitwear from Alice Palmer, exquisite draping from Jade Kang, but it was the unapologetically theatrical designs of Corrie Nielsen that stole our hearts. The reasoning for the grid layout becomes clear as an army of models close the show with a perfectly timed cavalcade that would rival any military tattoo. And when our favourite was announced as the winner, we couldn’t have been happier. Until we located the bar, that is. Fast forward to a blustery January day in early 2011 and we’re descending the steps at Somerset House. As part of Nielsen’s prize she gets a studio space – not in far-flung Dalston, but under the “House” itself. Descending further down into the vaults everything becomes a tad Dickensian – from the narrow cobbled alleyways to the lack of mobile phone reception. Still, she won’t have far to travel to her show this season.
Last time we saw Nielsen she was wearing one of her own creations and being assaulted by flashing camera bulbs, so it’s surreal to see her dressed down in faded blue jeans and a black tee with a sprinkle of diamante. She’s devoid of make-up, and her Florida drawl and infectious enthusiasm seem strangely incongruous with the edgy, European aesthetic of her designs. Melting pot of influences “I wanted to come here because the design aesthetic is so much further ahead than that of American fashion,” she explains, “It's very restrictive. There isn’t much room to explore and that has a lot to do with culture. You’ve got so much history around – architecture, design, photography. My family, my dad especially, really encouraged me to go to Europe and live here. He loves it.” Nielsen eventually found her home in London after an impressive global
“American fashion is very restricted. There isn’t much room to explore, and that has a lot to do with culture. The UK has so much history around - architecture, design, photography”
traverse – Oregon to Washington then San Francisco, on to Greece, South Korea, London (studying at London College of Fashion and Central Saint Martins), back to the US, to Italy, then back to London. “I’ve been here now since May 2007. I just worked on trying to get my thing going, and it finally happened!” Some of the more vitriolic members of the press mooted that she won the award because her designs were an homage to Galliano’s. Just to clear it up once and for all, they weren’t intended to be. “You know, there were a lot of people saying that and it was really frustrating,” Nielsen recalls. “People were saying ‘Oh, it was Vivienne Westwood, it was Viktor and Rolf,’ and I was like, ‘No, no, no – these were my own ideas.’ I read The Journey about Marie Antoinette, written by Antonia Fraser. I looked at the artwork of the eighteenth century illustrator James Gillray – his illustrations are so graphic and detailed. That’s where I got the idea for the colours – the yellows, greens and pinks.” Legendary fashion commentator Colin McDowell reinforced the point when he told us, “People who know nothing about recent fashion history have said that she won because she was trying to 'do a John’. The same ignorance was shown by the
suggestion that a previous winner, when Donatella Versace was the judge, had won by copying her aesthetic. This is equally insulting to the new designers’ creativity and to a great designer.” It wasn’t all plain sailing for the designer though, and had it not been for Fashion Fringe at Covent Garden, who knows when 40-year-old Nielsen would have got her big break? “I had no idea I would win the award – I just went for it because I’ve been trying to get into the industry for years. I left Central Saint Martins in 2004 and it was really tough. I applied to every fashion house in Paris, Milan and New York. I even applied to opera houses to design costumes. The turning point was when I applied for Fashion Fringe.” Fashion Fringe at the cutting edge McDowell’s frustration at the lack of innovation on the London Fashion Week schedule is palpable, “British Fashion has changed enormously in the seven years that Fashion Fringe has been running and the prize was the major catalyst for this,” he said. “But copying ideas is fine only if the intellectual underpinnings are also there. This is clearly not the case with the British Fashion Council, which has turned our young talent – one or two of whom are very good– into high-street designers, which is not the way to find the next genius. I see little evidence of cutting-edge originality.” With the help of 2010-11 chair John Galliano, the mission is to find the raw talent and, as Dowell articulates, provide “mentoring in all aspects of running a business”. Nielsen now has, in addition to the studio for two years, “lots of support. I’ve got some very good business people at the moment who are working with me to draw up a business plan and do the
accounts. I even have a lawyer and a PR.” It’s undoubtedly a great opportunity. Galliano himself commented, “I wish Fashion Fringe had been around when I was starting out. All I wanted to do was create – I didn’t know about the business side, but it’s so important to fuse the two and to build strong foundations from the start so you have a chance to survive.” Looking back to move forward The next collection is in various stages of construction all over her studio. It’s natural to gravitate to a dramatic midnight blue, silk evening dress that makes the tailor’s dummy it graces look like an A-lister. While her last collection took inspiration from the Georgian era, this season sees Nielsen step even further back in time to the reign of Queen Elizabeth I – fused with influences from 1950s haute couture. The palette is a rich array of deep jewel purples, greens, blues and reds, and in the detail there’s a nod to the ruffs of the age in the impressive pleating. So is the designer looking forward to her first London Fashion Week show? “Yeah, it’s a real achievement. The other day I was thinking, ‘Jesus! How did I get here? How did this happen?’” she laughs, before pausing and taking a moment to reflect. “I believe that we all create our own destinies and, if you stick with something, and put your heart and soul into it, sometimes it will take you in a loop that you don’t want to be in. But eventually you’ll meet the person who will help take you where you’re supposed to end up. I’m pushing because I want to make an impact on the industry. I want to bring something different to it that people can smile about.” Nielsen is like a ray of Florida sunshine in the LFW schedule – and it's all the better for it
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An eye for retail
In town for LFW? Shop this season’s trends at one of the capital’s cutting-edge boutiques.
My Sugarland Islington-based boutique My Sugarland was founded by celebrity stylist Zoe Lem and stocks beautiful and unusual pieces, whether vintage or new. With items sourced from around the globe, this quirky boutique’s eye for emerging designers and never-find-again pieces make it a must-visit. The shop also offers personal styling services: “There is a focus on body shape, and we offer styling consultations with Zoe to help customers pick out a wardrobe that suits them,” said a spokesperson. Who do they stock? Alice Palmer, PPQ, Nancy Von Ostren, Wilbur & Gussie, Olivia Rubin, Irwin & Jordan • My Sugarland, 402-404, St John’s Street, London EC1V 4NJ Mysugarland.co.uk.
Labour of Love This east London gem stocks everything from clothes, shoes, jewellery, books, music, furniture and illustrations, to seagulls stuffed with pearls. Really. It’s a “pop-into-buy-some-shoes-and-end-upleaving-with-an-interesting-CD” kind of store. Delightfully distinct, Labour of Love is the place where you’ll find pieces that combine high style with longevity. It’s a treasure trove with finds that you’ll cherish forever. A spokesperson said: “We sell nice stuff. We’re not a champion of the big boys, nor the one-man-bands; if it’s good enough, space is made.” Who do they stock? Eley Kishimoto, Peter Jensen, Ann-Sofie Back, Colenimo, Louise Amstup • Labour of Love, 193 Upper Street, Islington, London N1 1RQ Labour-of-love.co.uk.
The Shop at Bluebird Launched in 2005 in its iconic Art Deco space, The Shop at Bluebird is an eclectic mix of luxury clothing for men, women and children. Also stocking homeware and accessories, as well as catering for those seeking spa and beauty services, the store prides itself on its constant evolution. Created by Jigsaw co-founder Belle Robinson, the boutique’s reputation for constantly changing its stock and its retail space, in an effort to capture the spirit of King’s Road throughout the 1960s and ’70s, reflects its intention to stock a melting pot of styles and fashions. Who do they stock? Acne, Paul Smith, Mulberry, Alexander McQueen • The Shop at Bluebird, 350 Kings Road, London SW3 5UU Theshopatbluebird.com
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Darkroom Darkroom curates an eclectic mix of high-end fashion, interior and lifestyle accessories alongside bi-monthly art and sculpture exhibitions. Established in 2010, this novel concept store has already carved out quite a name for itself. Obsessed with primitive art, textiles and jewellery, it presents its contents with an intriguing and innovative twist. A carefully selected stock of unisex fashion, accessories and interiors, comprising Borba Margo bags, DMK glassware and Solomia ceramics, is housed in the blackwalled space. Who do they stock? Von Sono, Scott Wilson, Shepherd England, Maria Francesca Pepe • Dark Room, 52 Lamb’s Conduit Street, London WC1N 3LL Darkroomlondon.com
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Wolf & Badger Notting Hill boutique Wolf & Badger prides itself on bypassing the luxury labels and opting to instead support fashion’s younger design talent – promoting over 70 independent brands. They said, “We provide a launch pad for emerging and semi-established design talent from the UK and beyond, to showcase their work and to receive business and creative support.” Owned by handbag designer Zoe Knight and her partner art gallery owner Samir Ceric, the boutique’s loyalty to rising talent has earned it a place in the hearts of discerning west-enders. Who do they stock? Braille, Tosha, Helen Ruth, Huxley, E.G • Wolf & Badger, 46 Ledbury Road, Notting Hill, London W11 2AB Wolfandbadger.com
Beyond The Valley Beyond The Valley, a label and store founded by Central Saint Martins graduates Kate Bonhôte and Kristjana S Williams, is one of London’s leading destinations for design and fashion innovation. Located just off Carnaby Street, it’s been voted one of the “top 100 UK cool brands” for four years straight. It has quickly established itself as one of the most innovative and unique boutiques around, giving new talent a way to showcase their creations Who do they stock? Lost At Sea, FINSK, Sound of Silence, Oooms, Robert Archard, Beyond The Valley, Fiona Paxton • Beyond the Valley, 2 Newburgh Street, London W1F 7RD Beyondthevalley.com
Market researcher Euromonitor International reports that sales of men’s designer clothing have risen at twice the rate of the women’s sector over the past five years. What’s more, the luxury market is coming on in leaps and bounds. Luxury fashion can be opulent and flamboyant, or discreet and
minimal. They key is in the quality. Phoenix met up with proponents of each side: Angelo Galasso (above, left) is the charismatic Italian who previously established Billionaire Couture with F1 boss Flavio Briatore – think stingray cowboy boots, royal purple velvet smoking jackets and Swarovski shirt buttons. And, while Topman and Fashion East’s MAN show still has its fair share of street and sportswear inspired styles, there is a new kid on the luxury block in the form of sleek minimalist designer Felipe Rojas Llanos. What is your signature design style? AG: Tradition and evolution. Finito. Of course, we’ve got our history. Our Italian tailoring –
the style, the way to fall in love with everything that we enjoy about good life. You know, the dolce vita. Bespoke wear is for measurement and for glamour, we use all the systems of the bespoke – such as stitch and cut – in readyto-wear. We have a system where we’ve got all the sizes ready, from jeans to shoes and shirts. We start from the small sizes, a European size 46 up to a 68. From that, we can fix everything to make it feel bespoke. FRL: Contemporary menswear is very “in a box” – there are certain rules that you shouldn’t break, but when I did my first collection the “Little Prince goes to the Opera” I thought of womenswear because
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It seems no one’s told the rich boys there’s been a recession. Hannah Kane meets luxury menswear designers Angelo Galasso and Felipe Rojas Llanos. Photo by Leigh Keily
Who were your design influences when you were growing up? AG: My family was not involved in fashion at all. When I was young in southern Italy, in each quarter or borough there was a woman who took care of all the children after school. If a girl there started to work on some sewing I would stay to watch. Slowly, I started to cut trousers and make shirts. FRL: I’m Chilean but grew up in Sweden so I had a very Latin upbringing at home but a very Scandinavian upbringing outside with friends. I think that you can tell that in our garments because they’re very – I don’t want to say flamboyant – but they’re very strong looks. At the same time, they’re minimal so you have those polar opposites.
factor I find that very interesting, a little bit more interesting than men’s. What we did is base everything on womenswear couture, old 1950s Balenciaga womenswear – very lineal. We always try to make it minimal, last season we had a piece that was made in only one pattern – the bolero. We’re going to use the same pattern to do a jacket this season. It’s very hard to construct such garments, but that’s our signature and that’s what we want to do. It’s minimal elegance.
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Describe the man who wears your clothes. AG: He is looking back on history. We all aspire to look different, special. If you have a really big, strong personality, you need to show off with these kinds of products. Sometimes it’s not only big personalities, there are men who want to do something bold but maybe they’re shy; they find products here that connect with them. I think we discover that feeling in them; men are now ready to be brave in the way they dress. FRL: Someone like Spiderman! Well, the actor Andrew Garfield. He’s someone who wants something a little different, a little extra. He’s basically a man who is not afraid to wear luxury and is looking for something different from the tailoring that’s out there right
now – because menswear can be very much a uniform. What we’re trying to do is keep that uniform but make it more playful. When you wear it you have to feel comfortable in it. But he’s always very luxurious, very curious. I guess that’s our guy. Cut, fabric and colour, which is the most important to you? AG: Our signature is in the Neapolitan cut of the jacket. When you start to change the way you dress from something average to something bold, every change you make is very hard to do! Like with colour – men may not wear a bright red jacket. They develop style slowly, not because they are boring, but because they lack confidence. For example, you can start with a highshirt collar, and gradually experiment. FRL: Cut, fabric and colour are equally important! We start the season by creating a mood, so we go after a theme, then a mood, which could be a scene in a movie, like it is this season. We then bring that out in the colour scheme and start to play with the idea of a story. The fabrics are very important because they take control of the collection. There has to be a balance so that they all work, because if you go overboard on one of them, it just becomes too much. Define luxury. AG: Luxury is like elegance. A Bentley is just a car, but if you go to work in one you can go in style. It’s about how you feel inside. FRL: I guess luxury can make you feel comfortable. It’s something that you find rich. It doesn’t necessarily have to be super-expensive. Luxury’s important because it makes you stand out a little bit more, it makes life more playful
INSIDER: HOW TO...
Intellectual Property If you work in the creative industries your ideas are your most important assets – so it’s vital to know your rights. Phoenix asks a legal expert some readers’ queries. Illustrations by Andrew Thorpe.
In the first of our columns highlighting some of the crucial business and legal aspects affecting creatives, we look at the issue of intellectual property (IP). Whether you are a designer, writer, photographer or artist, your imagination can give rise to a valuable commodity worth protecting. Margaret Briffa, partner at top IP law firm Briffa, answers some Phoenix readers’ questions. Guy, Manchester: “When you submit work to a magazine, as a journalist or photographer, what are your rights?”
Margaret Briffa: “Where you submit work to a magazine on a freelance basis, you will be the owner of the copyright of the work, whether it is an article or a photo. This broadly means you have the exclusive right to copy the work and to stop others from copying it. On the ﬂipside, this means that the magazine can’t reproduce the work without your permission. “If you are employed by the magazine, then the situation is reversed and your employer will automatically own the rights to your work unless you have agreed otherwise.
Protect your id
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Michael, Nottingham: “As a designer, what can I do if I suspect someone has copied one of my designs?” MB: “As a first step, I would suggest you contact the person that you suspect of copying your designs to make them aware of your stance. “Unregistered design right in the UK protects original designs of the shape or configuration of all or part of an article (although it does not protect surface decoration on your designs). So provided you have recorded your design on paper or made an article from your design, you will gain protection for it, as long as it is original. “To obtain damages, you will have to prove the person directly copied your design, rather than independently coming up with the design separately. “It possible to register your designs to give greater protection, however, if you have not done so, you will still have unregistered rights in your designs. Registration is worth considering as it gives you greater rights. In particular, you don’t have to prove that someone directly copied your design to take action against them.”
in the UK only. If you wanted wider protection you could apply to other countries or areas – for example, you can apply for a Europe-wide trademark. Registering a trademark gives you more rights and greater power to stop third parties from trading off your brand.” Mario, London: “What can I do if someone else uses my photograph?” MB: “If you are aware that someone is using one of your photographs without your permission then you should contact them. What you should say depends on what you want to happen. “Perhaps you want the work removed, although it’s more likely that you would accept an acknowledgement and/or payment of a reasonable licence fee. It is difficult to say what is reasonable, but, as a guide, you should ask yourself what you would have charged if someone has asked to use your work beforehand”
Why intellectual property matters
Katherine, Newcastle: “How do I trademark my brand and is this a useful thing to do?” MB: “You would need to make an application to the Intellectual Property Office (IPO) to register a trademark in the UK (Ipo.gov. uk). An application to the IPO would give you protection
“Intellectual property [IP] is the result of your hard work and creativity,” says Margaret Briffa. “You should always take steps to protect IP to allow you to attract legitimate purchasers of your work. “Making anyone who comes into contact with your work aware that you value it will go a long way to helping protect it. As part of this, using the © symbol or considering licensing under Creative Commons (Creativecommons. org) will help to map the boundaries of what you consider to be the acceptable and unacceptable use of your work.” • For more information visit Briffa.com
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ZEITGEIST: STREET STYLE
Style Blogger Fashionistas beware: Dvora’s on the street and she wants a snap of you
Victoria Lewis She’s a second-year student at London College of Fashion on the marketing and promotion course. When we met she was on her way to her job at photo agency Xposure, where she works part time. Her style choice depends on what she’s doing during the day. At work she likes to be comfortable, however, if she is dressing up she looks to Victoria Beckham for inspiration.
Ozge Ergen Ozge is a designer who works in the music business. The shirt in the photo is her design. She told me her style is strongly influenced by colour and shape, and that she likes to inspire others.
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Kat Hawkes I met Kat when she had just finished her last shift at All Saints. She is a Londoner currently studying history of art at Goldsmiths. Her look is influenced by Andy Warhol and street style, and she loves mixing textures and colours.
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ZEITGEIST: STREET STYLE
Linnea Wik and Tim Tidman Linnea and Tim are both from Malmo in Sweden. Linnea has just quit her job and Tim works in the gambling industry. Style guru Tim compares Linnea with Taylor Momsen from Gossip Girl, to which Linnea says, “She wishes!” Tim describes his own style as “Las Vegas meets rock ‘n’ roll”. Surprisingly, Tim says, although he’s not a cross dresser, he likes wearing female clothes. Luckily, Linnea likes it when he wears them.
Connie Karol Connie is studying art criticism at Central Saint Martins. She makes ends meet by working in a corset shop. Her style influences are film stars from the 1940s and ’50s, such as Katharine Hepburn and Ginger Rogers.
Joyce Hoo Joyce is a student from Shanghai studying business at London South Bank University. She finds style inspiration everywhere from Vogue magazine to people on the street. She is the happiest when she chooses her clothes and make-up in the morning.
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Masayuki Yasuda Masayuki is a Japanese student currently studying for a masters degree in architecture at the University of East London. He finds style inspiration in magazines and loves Japanese animations.
Charlene Chandrasekran Add a dash of Chinese and a sprinkling of Malaysian to a spritz of Sri Lankan and you get Charlene Chandrasekran. She works as an art director and is also a bow lover who wears them in some form at all times.
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Daisy Harris-Dâ€™Andel Daisy has always wanted to work in fashion but took a while to find her direction and now works as a make-up artist. Her style influences are post-war glamour and Japanese utilitarianism. She also models for her boyfriend whoâ€™s a hair designer. Read his blog here: instantbarber.blogspot.com
ZEITGEIST: TREND FOCUS
Carmen Miranda Fashion’s got its groove back. After seasons of sartorial seriousness – subtle colour palettes, sensible silhouettes and handbags that define classically chic collectables – the recession-induced fog has lifted, revealing a rainbow of deliciously fun optimism. Colour is everywhere: tangerine, green, pink, yellow, blue, all highlighter bright. Prints came out too. A monkey and banana mashup at Prada, colourful LA home interior images at Mary Katrantzou, a collage of citrus fruits at Stella McCartney and bold florals at Jil Sander. Even Phoebe Philo, the high priestess of minimalism, updated Celine’s look with vibrant hues and texture. “This season’s clothes are making a new statement,” says Jaana Jatyri, CEO of trend-spotting company Trendstop. “They are bold, bright, exotic, happy and say: ‘Here I am.’” Escape into colour It seems the collective fashion mood is looking towards escapism as a way to avoid the unpleasant realities of a still-shaky economy rather then continuing to submit to it. After sending out her fun-filled SS11 collection last October, Miuccia Prada exclaimed – banana earrings dangling from each ear
– “It’s time to be bold.” It was a sentiment already shared by Vogue Japan’s editor-at-large Anna Dello Russo, with her sparkly fruit hats, over-the-top looks and love for fashion, with a capital F. This resurgence of fun and fruity fashion recalls the iconic Carmen Miranda and her tutti-frutti hat has continued to inspire, making her the style icon of the season. Going bananas As determined as she was glamorous, Miranda made her way from sales girl at a hat shop in Rio de Janeiro to Hollywood’s highest paid entertainer of the 1940s. “Miranda was talented, charismatic and had a glowing presence,” says Helena Solberg, director of the documentary Carmen Miranda: Bananas is My Business. “She chose to take risks and live intensely, without fear. She was extremely funny and outgoing, and, although always feminine, she could swear like a sailor. From the first photographs of her as a teenager, till the last moments of her life, Carmen was always aware of where the camera was and played to it — well-dressed, stylish and lovely.” When Carmen Miranda arrived in New York in 1939 she was already known in Brazil as the “Remarkable
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Channel spring’s shift into exotic exuberance with the fruity style of 1940s samba singer Carmen Miranda, advises Maggie Dolan
Girl.” Her energetic aura and upbeat personality were welcomed antidotes to post-Depression America and she was an instant hit on Broadway. A ﬂair for fruit Her fruit-laden turbans, conspicuous costume jewellery, sky-high platform sandals, midriffbaring tops and Latin flair instantly set trends. Bonwit Tellar, a luxury womenswear store on par with Bergdorf Goodman, had a mould made of her face so all the display mannequins could share Miranda’s Brazilian bravura. “She has struck at the very lifeblood of the nation: our women’s style,” exclaims Luella Hopper, celebrity commentator of the 1940s, in footage from the time in Solberg’s film. “Hats, jewellery, shoes, dresses, they are all influenced by the Brazilian Bombshell. Less then a year ago Carmen Miranda was just a name, now she is vogue.” This season, amid a transition in fashion, the singer’s impact resurfaces. Just as her opulent wardrobe and incandescent personality were remedies in the 1940s, Miranda’s
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optimistic outlook is the perfect antidote to fashion’s current depression. “Fashion is emotional radar, it is a great gauge of people’s feelings,” Jatyri says. “And despite the economy, people aren’t feeling completely depressed. There is new optimism and the spring collections were a little spark of that.” Blame it on Rio Charlotte Dellal, the vampish shoe designer behind Charlotte Olympia, tapped into her Latin roots and went for an exotic look this season. The half-Brazilian designer's spring collection, “Blame it on Rio”, was inspired by Miranda. “I’ve had a collection of Miranda dolls since I was little, and her tutti frutti hat always fascinated me,” says Dellal. “She is the ultimate style icon for accessories; always adorned with head dresses, bracelets, earrings and beads in a multitude of colors, textures and prints – and her shoes were always fantastically high.” Elements of Miranda’s vivacious glamour were present on all the runways. At Jason Wu models donned jewel-toned turbans with ruffled dresses. The fruit of her infamous hat appeared on skirts and crisp shirts at Prada and on the clean silhouettes of Stella McCartney. At Jil Sander, Raf Simons put out bold florals and Christopher Kane, Lanvin and Gucci joined him in showcasing brilliant colours. Designers played with her famous erogenous zone, the bare midriff. Dolce & Gabanna and Richard Nicoll showed bra-lets under sheer tops, dresses at Dior and Versace were cut out at the waist and belly-baring suits were
spotted at House of Holland and Alexander McQueen. Exposed shoulders, peasant smocking and voluminous skirts gave an overall feeling of bohemian glamour and Latin passion at Marc Jacobs’ tribute to the 1970s, Stefano Pilati’s homage to Yves Saint Laurent’s Marrakech state of mind and Karl Lagerfeld’s tropical romance at Fendi. Although this season is stocked with brilliantly bold fashion, construction and quality are still on the agenda. Balancing this strong design and statement-making flair, the current fashion mood reflects an upgrade in confidence. Exoticism, extravagance and conspicuousness are no longer fashion taboos – after all, what’s the point of fashion if it’s not fun? So go on, make bananas your business
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Go back to the future with retro-space styling. Photography: Stelianour Sani Fashion editor: Rebekah Roy
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Facing page Head piece, Tour de Force; antler necklace, Bex Rox; necklace, Culietta; blouse, Jayne Pierson This page: Dress, Bernard Chandran
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This page Fringe bolero and top, Rachel Freire; ring, Hejing Chi Facing page Headpiece, House of Flora
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Dress, Alice Palmer; ring, Katie Rowland; headpiece, House of Flora
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Cage dress, Georgia Hardinge; shoulder piece, Fannie Schiavoni
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Post-Production: Stelianour Sani Hair: Evan Huang Make-up: Jenna Jefferies using Dermalogica skincare, Lâ€™Oreal and M.A.C Model: Jessica Lee @ Profile Fashion Assistants: Laura Matellis and Kiera Fox
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Las Vegas waitress meets rodeo princess down on the strip. Photography: Tommy Clarke Styling: Sara Darling
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FaCing page Red leather dress with fringing, Bunmi koko; “kane” fringed shoes, pring This page Denim “boyfriend” shirt, Lee; “stardust” bodysuit (worn underneath shirt), Lascivious; fringed leggings, Bunmi koko; stretchy bracelet, Folli Follie; “Fayana” camel booties, pring
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Candy crystallised bodysuit, Lascivious
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Facing page Blue and white chiffon dress, Jean Pierre Braganza; “Jolene” fringed bodysuit (worn underneath), Ell & Cee; black harness necklace and gold chain necklace, Maria Francesca Pepe; black studded “Whiteby” boots, Be & D; cowboy hat, Beyond Retro
This page Check shirt, Ioannis Dimitrousis; black “Fierce” necklace, Yuen London; black leather hotpants, Lucky 13; camel leather booties, Pring; cowboy boot chain necklace, belt and suede chaps, all Beyond Retro; vintage Montana crystal and vertebrae ring, Yuen London
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Hair & Makeup: Lillie Lindh using M.A.C Model: Chloe Watson @ Storm Photography Assistant: Jack West Styling Assistant: Amy Still Special Thanks: The Smith and Western Restaurant, Tunbridge Wells
Pink and cream jumpsuit, Jessica Harris; pink leather belt harness and pink leather cuff, Jean Pierre Braganza; leather neck tie, Beyond Retro; black bra top, American Apparel.
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Colour and texture collide in an explosion of atomicinspired menswear Photography: Leigh Keily Fashion Editor: Rebekah Roy
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Facing page Jacket and trousers, Todd Lynn; boots, Christian Louboutin for Todd Lynn This page Shirt, cardigan and shorts, all James Long; shoes, Oliver Sweeney
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This page Jacket, shirt and trousers, all Post Human Wardrobe; shoes, Oliver Sweeney Facing page Jacket, shirt and trousers, Felipe Rojas-Llanos
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This page Jacket and trousers, Christopher Raeburn Facing page Jacket, shirt, trousers and bag, all Horace
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Grooming: Lan Nguyen using Lâ€™Oreal techni.art and MAC Model: Edward @ Select Props: Sam Lustig, Lisa-Marie Stanbridge and Alice Goodwin Photography Assistants: Maggie Dolan and Alice Goodwin Fashion Assistants: Jayne Hicks
Facing page Jacket, shirt and shorts, all Omar Kashoura This page Suit and shirt, Agi & Sam
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Garden of Eden turns den of iniquity as Adam and Eve come out to play. Photography: Natalie J Watts
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Facing page Levi: Black waistcoat, CC Kuo; diagonal pleat trousers, OrschelRead. Kathleen: Cotton thread sleeveless jacket, TOSHA; pink draped trousers; EG by Emma Griffiths This page Orange chiffon cardigan, LALL London; Brown printed dress (worn as skirt), Saffron Knight
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On location The Gordonâ€™s Brewery location in east London was sourced via Itasca Locations. Its fashion clients include Cavalli, US Vogue and Giles Deacon. Itasca can help you find the perfect place to host events, with a library full of venues for parties, press launches and festivals. See Itascalocations.com
This page Black leather corset top, EG by Emma Griffiths Facing page Salmon oversized clutch, Heidi Mottram
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Stylist: Krishan Parmar Hair: Ceri Cushen Make-up: Oscar Alexander Lundberg using Dermalogica Models: Levi @ Storm Kathleen @ M+P Snakes: Colin, Monty and Pablo Hand-made textile ladders: Jaxon Pope Photography Assistants: Max Letek and Hannah Smith Fashion Assistants: Alice Goodwin, Lisa-Marie Stanbridge and Kiran Nijjar
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• 1. iPhone 4 from Apple, £499. Apple.com/uk • 2. Bumbag by Martine Rose. Oki-ni.com • 3. Type 22 trainers from Gourmet, £65. Albamclothing.com • 4. Silent London baseball cap, £30. Mashclothing.com • 5. Gola watch, £29.99. Gola.co.uk • 6. Kirk Originals “Chip with Flash temples” glasses from the Kinetic collection, £269. Kirkoriginals.com • 7. Moustache brooch from Tatty Devine, £30. Tattydevine.com • 8. Prism light pendant, £42. Tattydevine.com
No need to call the fashion police
CSI LFW 92 PHOENIX
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• Nail colours by Topshop, £5 each. Topshop.com • Loose power blush by Topshop, £8. Topshop.com • Pink lady dragon heels with skull by Melissa for Vivienne Westwood, £120. Selfridges.com • Stripe bow brooch Gemma Lister Jewellery, £28. Agatha-boutique.co.uk • New gent swatch watch by Swatch (in white), £42.50. Swatch.com • The original swatch watch by Swatch (in pink and orange), £30. Swatch. com • Ice watch in fusion coral and tuscany, £65. Ice-watch.com • Lomogrophy mint green camera exclusive to Urban Outfitters, £50. Urbanoutfitters.co.uk • Heart punch out belts in lemon, raspberry and peach by Topshop, £16. Topshop.com • Pink and white stripe necklace by Gemma Lister Jewellery, £35. Agatha-boutique.co.uk • Eco mug, £14. Stocked at Urban Outfitters, Urbanoutfitters.co.uk
Life is sweeter in pastels. Styling: Charlotte Jacklin
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SHOPPING: HIGH STREET
Guerrilla stylist We challenged up-and-coming actress Ljiljana Pajovic and Storm’s new face Joseph to track down the best spring high-street buys. Photos by Yumi Yoshinaga
LJILJANA & JOSEPH
LjiLjana jumpsuit, £55 necklace, £15 Tan weave small bag, £26 Carvela shoes from kurt Geiger, model’s own joseph striped shirt, £32 navy chinos, £35 shoes, model’s own
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Ljiljana Beige dress, £115 Joseph Grey cardigan, £72 T-shirt, £22 Jeans, £52 High-top Converse, £39.99
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SHOPPING: HIGH STREET
LjiLjana Brown chinos, £24.99 navy vest, £9.99 scarf, £9.99 Brown satchel, £24.99 joseph T-shirt, £19.99 hooded cargo shirt, 25.99 jeans, £39.99
LJILJANA & JOSEPH
Pull & Bear 96 PHOENIX
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Hair: Pinar Necati from Toni & Guy using Label M Make-up: Lauren Hynes using M.A.C. and Make Up Forever Special thanks: Scandinavian Kitchen, Pâtisserie Valerie and AOFM
Ljiljana Print culottes, £24.99 T-shirt, £12.99 Belt, £7.99 Joseph Washed denim shirt, £14.99 Chinos, £14.99 Brown brogues, £29.99
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Blue Velvet No longer the preserve of 1980s mums, blue eye make-up is back on the fashion agenda, writes Ami Streets
Blue eyeshadow – admit it, we’ve all been there. Experimented with it, relegated it to a dusty make-up bag, and at times been guilty of unadulterated excess. But for all its associations with 1980s power dressing and makeover-worthy mothers, blue eye make-up is back. SS11 catwalks worldwide were Louise Gray awash with colourblocked brights, showcased on eyes and lips, with pigmented paste even applied to slickedback hair. Make-up artist Pat McGrath created dramatic colour combinations on eyes and lips with her “technicolour Betty Page” models at Dior in Paris. Electric blue was haphazardly applied to the eyes, complete with matching blue mascara at Louise Gray in London, while New York designer Altuzarra created a rainbow on the runway with models sporting a range of vivid shades, including blue, painted into hairlines.
A coloured history This isn’t only a recent trend – blue eye make-up pre-dates the 1900s, and was originally showcased by Egyptian queen Cleopatra, who took to the style over 400 years ago. Obsessed with self-image, ancient Egyptians would experiment with products, often mixing oils or beeswax to make fashion-forward mineral formulas. A bright blue mineral powder was worn all over the eyelid and accented with heavy black kohl. Created with super-pigment lapis lazuli from the semiprecious stone popular in ancient Egypt, the colour was an intense
blue dusted with golden flecks. Now called “ultramarine”, it was the most expensive product of its time and more costly than pure gold. Blue eye make-up enjoyed a renaissance during the early 1960s – even Barbie emulated the Egyptian queen with electric blue eyeshadow, before it became synonymous with 1980s bad taste. But the look continues to reinstate itself as a fashion favourite every few seasons: who can forget the striking Cleopatrastyle catwalk eyes at Alexander McQueen in 2007? And, never one to miss a trick, M.A.C. recently released a stunning peacock-style collection – the exotic hues and pattern of the iconic bird is set to be one of the style statements for the coming season.
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Photography: Leigh Keily | Make-Up: Ami Streets | Model: Milou Gort @ M&P Models
IS BLUE FOR YOU? Universally flattering, blue shades can enhance all skin tones. Paler complexions suit cooler shades such as cobalt, while darker skin tones need rich jewel colours or goldflecked aquamarines. A primer will help with the allimportant blending and give staying power; Urban Decay’s eye primer potion is perfect to get a smooth base before applying a highly pigmented powder such as M.A.C. eyeshadow in Electric Eel. Ensure you play down other facial features – this season’s dewy skin and soft nude lips, as seen at Chloé, will keep the focus on statement eyes. For those who aren’t ready for a full-on fix of the trend, eyelashes look full and flirty with YSL’s Volume Effet Faux Cils Mascara in blue. Add a pop of colour with a pencil or gel liner formula such as Nars’ shadow pencil in Palladium or Illamasqua liquid metal in Superior. Both look great applied as accents to the inner corners of the eye or top or bottom lids. Even the truly colour-shy may be tempted to try bright talons with a tan-enhancing polish such as Barry M nail paint in Pure Turquoise or Blueberry Ice Cream. Avoiding excess all areas is key – a totally blue ensemble and matching make-up is more Dynasty than Dior. Most importantly, wear the look with bravado – these blues aren’t for shrinking violets
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Hirsute’s you, Sir Whether it’s Bieber-esque or bearded, your face furniture says a lot about your personality, writes Reece Laurent-Hughes. Illustrations by Sophie Davis
Handlebar moustache ( fig 1 ) The handlebar moustache is an iconic trademark of Hollywood’s early western films. Ostentatious and distinctive, it is reserved for the playful and experimental man-about-town. Style Figureheads: The Monopoly Man, Colonel Sanders, Dick Dastardly. Wearer: A bold and daringly stylish gentleman who takes pleasure in attracting hoards of giggling and goggling admirers. He also believes himself to be somewhat of a genius. The Attire: Formal yet quirky – vibrantly coloured shirts, tailored trousers, bowties and braces. No.1 Accessory: A pocket watch or wooden pipe. Full beard ( fig 2 ) Also known as “The Man Beard”. The name suits its rugged aesthetic, which exudes a vehement roar of unhampered masculinity. It’s the perfect style to show off your talent in refined grooming. It is also the style of the pragmatic – or lazy – guy who despises grooming and prefers to store his food within comfortable reaching distance should he ever need a snack. Style figureheads: Santa Claus, Joaquin Phoenix, Bob Marley, Socrates.
Wearer: An anarchist who enjoys defying corporate superficialities, or a regular guy living in Shoreditch. The Attire: Thick knitwear, beanie, flannel shirt... you know the look. No.1 Accessory: Crumbs. Clean shave ( fig 3 ) A clean shave often evokes comparisons with political spokesmen and dull-attired City workers, however, a good old shave does not have to appear formal and restrictive. Nonetheless, if you have a youthful face you may want to opt out of this style – walking around with your driver’s licence glued to your forehead to avoid being victimised by every bouncer in London may wear thin. Style figureheads: Zac Efron, David Cameron, Justin Bieber. Wearer: A confident slick-talker and self-proclaimed style guru. The attire: A sharp suit in the week, a hoodie at weekends. No.1 Accessory: Proof of age. Stubble ( fig 4 ) Stubble can help you exhibit your gritty masculine character while maintaining a subtle charm. Best championed alongside a distinguished tailored outfit
that projects an air of effortless nonchalance, it’s the style of a contemporary gentleman and rogue. Style figureheads: Model Jon Kortajarena, Jason Statham, David Beckham. Wearer: For those who let their gender justify fashionably poor maintenance: “Yep, I was too lazy to get a haircut.” Attire: Works well with smart and casual items juxtaposed together, such as a tailored suit worn with a faded T-shirt and scuffed boots. No.1 Accessory: A smooth swagger and masculine charm. Goatee ( fig 5 ) The goatee is timeless and versatile – it is also a signature style of those who can only grow chin hairs. Style figureheads: Russell Brand, Tinie Tempah, Johnny Depp, Ali G and Brad Pitt. Wearer: Ranges from the mystifying womaniser to your local shopkeeper; there aren’t many men who can claim to have never championed a goatee. The Attire: General rule of thumb: “The longer the goatee, the more eccentric the wearer.” Think Captain Jack Sparrow. No.1 Accessory: A fine-toothed comb and a hedonistic demeanor. Straight Moustache ( fig 6 ) Many gents (and the odd lady) favour this style over a completely clean shave. It proclaims: “Although I’m graciously clean cut, do not doubt that I’m all man.” Style figureheads: Clark Gable, Biggles, Tom Selleck, Frida Kahlo. Wearer: A man who appreciates both masculine and feminine aesthetics. The attire: A hyperbole of tailored military dress – square-cut jackets with padded shoulders, utilitarian fabrics and a cape, perhaps layered with a cooking apron. No.1 Accessory: A spitfire
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Cabinet reshuffle Refresh your routine with the latest grooming products. Fashion assistant, Kiran Nijjar; photos Leigh Keily
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• Razor repair balm by Kyoku for Men, £29.00 • Gilette Fusion gamer razor, £8.99. boots.com • Eyeliner pencil by MYEGO, £9.00 • Oil control lotion by Kyoku for Men, £43.00 • Cover select liquid corrector by MYEGO, £14.00 buymakeupformen.co.uk • Imitation ivory pure badger shaving brush by Taylor of Old Bond Street, £19.00 tayloroldbondst.co.uk • Ultra concentrate shave crème by Men-U, £9.45 mankind.co.uk • Clean fish de-junk shampoo by Fish, £3.99 • Superfish fishpaste putty by Fish, £4.99 boots.com • Electric pre-shave optimiser by Kyoku for Men, £11.50 Kyokuformen.com
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ROCK IN A HARD PLACE The international language of metal provides a refuge for fans in warzones across the globe. Phoebe Frangoul takes a closer look. Photos by Muir Vidler rom Birkenhead to Baghdad, young people have always been drawn to the raw power that is heavy metal. Whether your poison is Iron Maiden, Motörhead, or, indeed, Poison, metal is music for outsiders – fast, aggressive and loud. And if you’re living in a warzone, it can be a lifeline. Across the globe, kids are listening to heavy metal as a way to escape the fears and frustrations of their daily lives. Sometimes, turning your amp up to 11 is the only way to drown out the sound of bombs. Metal commands millions of devoted followers worldwide. Recent rockumentaries Anvil! The Story of Anvil (2008), Iron Maiden: Flight 666 (2009) and Heavy Metal In Baghdad (2007) have shown that in every corner of the world, metalheads are united by the challenges they face, ranging from parental disapproval to state-sanctioned oppression. Heavy metal creates a sense of community – you could easily see three generations of the same family at an Iron Maiden gig – and the scene is inclusive with almost as many women as men in the crowd and, increasingly, on stage. For many it’s an alternative family and, with satellite TV and the internet, this family is global. In the world’s hotspots, the more challenging subgenres are particularly popular. An Iranian
“When you live in a society that is very oppressive politically and repressed economically, with little hope for the future, what are you going to listen to – Britney Spears?”
London-based photographer Muir Vidler shoots a mix of personal work that he exhibits and sells to collectors through galleries, and commissioned work for editorial and commercial clients, including: New York Times Magazine, Time, Vogue, Vanity Fair, i.D., Sunday Times Magazine, Guardian Weekend and GQ. www.muirvidler.com www.moremuir.com All pictures copyright ©Muir Vidler
teen might struggle to identify with the spandex-clad California boys of LA’s poodle-permed hair-metal scene (think Mötley Crüe), but the tortured growls and throbbing bass of Swedish death metal speak a language they understand. Then there’s Iron Maiden – arguably the most successful metal band in history. Scot McFadyen and Sam Dunn’s ﬁlm Iron Maiden: Flight 666 followed the band as they circled the globe in a specially commissioned Boeing 757 (piloted by frontman Bruce Dickinson) on their 2008 Somewhere Back In Time tour. In one scene, they are in Bogota where a three-mile-long line of fans have been camping outside the stadium for days under the intimidating gaze of armed police. One exhausted boy says: “The world knows that Columbia has serious social problem, but here metal music is alive.” ➻
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After the show a fan sobs ecstatically, clutching in disbelief one of legendary Maiden drummer Nico McBrain’s drumsticks. The fan crosses himself and murmurs a prayer of thanks. Whether you love or hate metal, it’s a moving scene. An alternative religion In South America, heavy metal’s followers see it as an alternative religion to the all-powerful Catholic Church. Andrés Padilla is a Chilean journalist and author of Retrospectiva Al Metal Chileno (1983-1994). “By 1985 there was a specialised record store called Rock Shop,” he says. “Metalheads would gather there to trade tapes, videos, LPs and fanzines. This music is, and will continue to be, a refuge for many teens. It’s a best friend who will never deceive you.”
Under Pinochet, metalheads were treated harshly. “Thrashers were viewed as utter garbage, ” says Padilla. In the early 1990s Iron Maiden were banned because the Church believed their lyrics promoted Satanism.Yet when they returned to Chile in 2008, even the police asked them for autographs, while the aircraft crew proudly displayed tattoos baring the band’s name. In the Middle East, young people have been headbanging since the 80s, when expats brought records from the West and kids watched MTV on illegal satellite dishes. Mark LeVine, Professor of Middle Eastern history at the University of California, studied the scene extensively for his book Heavy Metal Islam. “When you live in a society that is very oppressive politically and repressed economically, with little hope for the future, what are you going to listen to – Britney Spears?
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“The themes in metal are relevant to their lives but have the advantage of being metaphorical,” says LeVine. “There's a scene in Heavy Metal In Baghdad where a member of Acrassicauda picks up an Iron Maiden album cover, with blood and death everywhere, and says: ‘This is what life looks like here.’ And having been in Iraq around the time he said this , I can tell you he wasn't exaggerating.” Iraq ’n’ roll Acrassicauda. It’s impossible to discuss global metal without mentioning the Iraqi rockers and stars of Heavy Metal In Baghdad. The ﬁlm follows their struggles to survive as a band in Iraq and ends, heartbreakingly, with them ﬂeeing their homeland for Syria, where they were forced to sell their instruments to survive. The band members were angry, depressed and desperately homesick. But things have improved. The ﬁlm’s success took them to America, where the metal community welcomed them with open arms. They recorded an EP, Only The Dead See The End Of The War, which is clearly inspired by modern Iraq. Acrassicauda might have escaped, but what about the metalheads who remain? Faisal, 20, is a student in Baghdad. While his friends are into Westlife and Backstreet Boys (“metal’s too extreme for them,” he sighs), Faisal loves Iron Maiden and Judas Priest. Having experienced life under Saddam, two wars and the insurgency, he’s proud to be part of the growing metal scene in post-war Iraq. “After the war, when satellites became available, I began to listen to music extensively. I do sometimes see other metallers in the streets and there are a few at my college. I like the loudness, the rhythms – and don't get me started on the guitars!” Although musicians and record labels in the West argue the ethics of ﬁle sharing, it’s a godsend for Faisal. “It's almost the only source of knowing new bands, as I rarely see metal bands on our music channels.” With summer temperatures hitting 48 degrees, and faced with sporadic electricity and danger on the streets, Faisal is
trapped indoors. Downloading the new Iron Maiden album is a precious escape from the grim reality of life in Baghdad. “There are many restrictions and laws that serve no purpose but to make us go through hell. There is no future here.”
Headbanging in a hijab Still, the Middle-Eastern metal scene provides a haven for men and women to socialise. Faisal noticed some girls at a gig in Baghdad. “It came as a surprise to me that there are girls that like metal.” LeVine says: “Many of them are CLASSIC METAL T-SHIRTS quite religious, yet they think nothing is strange in wearing a hijab while The T-shirt is the staple of any cardheadbanging sandwiched between a carrying metaller. Here are five classic group of young guys at a metal show. band shirts – and remember, any colour Nor should they.” as long as it’s black Metal offers a release to fans, but can it achieve political change? Not AC/DC (PLAIN BAND for Padilla, who believes heavy metal LOGO): A, C, D AND C is apolitical: “Pinochet played a huge Four innocuous letters role in the development of Chilean you’ll find on any old culture. However, local thrash-metal plug. But separate them with a lightning bands hardly ever showed discontent bolt, and suddenly you’ve got Rock. Just with the atrocities committed in Chile. like the band’s music, their instantly Most thrash metal here was inﬂuenced recognisable logo hasn’t changed in 35 by metal coming out of the States and years, and this brilliantly simple tee is a Europe, and bands like Cannibal Corpse statement shirt that reaches far beyond the don’t have an explicit political outlook.” metal fraternity. But LeVine suggests it is different in the Middle East. He argues that METALLICA heavy metal is actually doing its bit to (METAL UP YOUR ASS) solve the Arab-Israeli conﬂict. “One Hard rock doesn’t do of the most popular metal bands ambiguity or fancy among Arab fans is the Israeli group wordplay. And in the early 1980s, thrash Orphaned Land,” he explains. “Their titans Metallica took literalism to Spinal fans still might vehemently oppose Tap levels (see Smell The Glove) with their US or Israeli policies, but they see “Metal Up Your Ass” tee. There’s a toilet. the bands as part of the solution, There’s a hand holding a massive knife not the problem.” coming out of the bowl. That’s it. Almost Metal doesn’t discriminate – it guaranteed to offend, thus earning extra transcends race, gender and religion. metal points. When your life is blighted by suicide bombers, death and destruction, it IRON MAIDEN might seem counterintuitive to ﬁnd (THE BEAST TAMES solace in such dark music, but it makes TEXAS, 1982 VINTAGE) sense. Heavy metal is angry, raw power, Maybe it’s the band’s untainted by politics and reality. It’s iconic logo, but any Maiden tee is a metal abstract, yet still relevant in a way that, for design classic, and you know that a cultural Faisal, Backstreet Boys could never be shift has happened when brittle middle• Heavy Metal In Baghdad is out now on class indie waifs wear them at festivals. DVD (Artefact Films). Hear Acrassicauda Some vintage shirts fetch mega-prices – the at Myspace.com/acrassicauda 1982 Texas tour tee, with camo sleeves, was recently listed at $900 (£560) on eBay.
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ART AGAINST KNIVES
“Art was key when I was doing rehab and occupational therapy, I was relearning to draw and relearning to sew”
Hannah Kane talks to the duo who have turned an unprovoked stabbing into an inspirational campaign icture the scene: it’s a hazy summer’s evening in Shoreditch. People are leisurely making their way home from work via the nearest pub. Now add to that the sound of a girl screaming as she watches her friend brutally attacked from behind for no reason by six strangers, the knives aimed at his neck, chest, heart and lungs. On 28 August 2008 21-year-old Central Saint Martin’s fashion student Oliver Hemsley’s life hung by a thread as he was airlifted to the Royal London Hospital. Clinically dead on arrival, doctors resorted to performing a lastchance clamshell thoracotomy, opening up his chest cavity to perform cardiac massage and restart his heart.
Hemsley was lucky to be alive, but tragically was paralysed from the neck down.
Pictured above: Oliver Helmsley and Katy Dawe. To learn more about Art Against Knives, and find out how you can help the campaign, visit Artagainstknives.com
An art scene in shock The attack shocked the east London art scene to its core. Hemsley’s best friend Katy Dawe postponed her studies at CSM to be with him while he spent 134 days in intensive care. It was while he was recuperating that Dawe came up with the concept for
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Art Against Knives (AAK) - they would hold a fundraising event to raise awareness and money for his care. But only if Hemsley was involved. “Arts Against Knives was very important to my recovery,” Hemsley tells us when we meet them both at the sleek west end offices of advertising giants and AAK supporters Leagas Delaney. Today he’s every inch the art student with tousled hair, sporting a blingtastic Jeremy Scott for Adidas sweatshirt and battered leather jacket. Dawe, in contrast, is pinup pretty with coiffed brunette curls and red lips. “I was different then – I’m very independent now, but then I was living in a hospital and couldn’t tell what was going on. It was important to be able to focus on something, even just reading an email and knowing AAK was going on was really cool. Gradually things happened; I started to be able to move a finger, or a toe.” Big-name backers Their first event was intended as a one-off auction but they were to have no idea how much the project touched the hearts of the East London community. Art, fashion and photography was donated by the likes of Tracy Emin, Antony Gormley, Wolfgang Tillmans, Rankin, Tim Walker, Vivienne Westwood, Giles Deacon, Christopher Kane, Banksy, Polly Morgan, Cornelia Parker and Ron Arad, as well as dozens of their CSM friends and east-end artists. The charity’s next project is the “OurSpace” initiative. Dawes explains, “The auction was just intended to raise money for Oliver, but afterwards, I got a phone call from Open Shoreditch. They’re a group of local businesses and residents, and they said they recognised there was a problem in the local area.
Their idea was to establish some creative workshops for young people.” “We don’t have a permanent space yet,” she continues. But they do now have the wheels in motion, starting with the creation of a youth panel made up of east-end residents. “We asked what they wanted, what they’re interested in, and what their concerns were. “The second stage, launched in January, is a series of six workshops hosted by innovative businesses, and the outcome will be an anti-knife crime music video. The third stage is to make a creative space.” What will the space be like? “From the young people that we’ve spoken to, it’s clear that young people need a space that they have ownership over. They should be involved from early on and it should be designed, built, and sustained by them.” What next for AAK? They fund the project through donations and are currently working with online luxury boutique CoutureLab, selling frocks donated by some of London’s hottest designers. “Selling a Christopher Kane dress will help us run the workshops for six months,” jokes Dawe. Hemsley's now back at CSM finishing his studies, as is Dawe. Did he ever worry he wouldn’t be able to draw again? “When I was in hospital it was the one thing that I didn’t ever talk about. When I woke up, I didn’t look at art, I couldn’t pick up a pen, I couldn’t draw! Then gradually – and luckily, I’m left handed – the left side of my body started to regain movement. I try not to think about what would have happened if I could never have drawn again. Art was key when I was doing rehab and occupational therapy, I was relearning to draw and relearning to sew. So what does the future hold for AAK? Dawe thinks they may exit their full-time roles at the charity over the next year. “The design has shifted; it’s not just about what happened to Oliver, it's also now about something different. It’s about providing opportunities for young people and that shift still needs to continue and develop.” But she’s certainly not planning on abandoning the charity. “Oliver and I are both trustees, which is amazing because it gives us the ability to still be very much involved.” Hemsley has more specific plans. “I really want a florist shop! It’s the most romantic, pastoral thing that you can do. We planned it while I was in hospital. Vivienne, my dog, will have lots of siblings by then - there will be lots of puppies, placed in tea cups, in a library, with cake. I can sell flowers and drink gin,” he muses. Sounds fabulous ➻
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“Stunning photographs showcase each bike’s distinct design while authoritative text summarises their unique qualities, technical specifications and history. Read this and you'll be on two wheels in no time”
READ AND RIDE Maggie Dolan slips between the covers of the latest fashion and style books Hussein Chalayan Experimental and conceptual, designer Hussein Chalayan is a true original. In his world, dresses can be folded into airmail envelopes for next-day delivery or used as armchair covers, while skirts can transform into a coffee table for an impromptu tea. Bringing together Chalayan’s complete body of fashion and creative work – including his installations, videos and photographs – this book is fit for the libraries of fashion, art and design enthusiasts. Out April; published by Rizzoli; £55.00
How to be a Man: A Guide to Style and Behavior for the Modern Gentleman Men, take note; ladies, you’ll enjoy this too. Glenn O’Brian is an omniscient style guru with a wry sense of humor. Having written the world-syndicated advice column “The Style Guy” for 15 years, at Details then GQ, O’Brian has accumulated a hefty load of style and etiquette wisdom – not to mention a few pet peeves. This book offers a healthy portion of manly lifestyle tips with a delightful dose of sarcastic wit. Out April; published by Rizzoli; £14.95
Cyclepedia: A Tour of Iconic Bicycle Designs Bikes are cool, really cool. Some people – like Paul Smith, the iconic British designer who writes this book’s foreword – are obsessed. From contemporary cult cycles to Tour de France machines, this comprehensive volume celebrates the best bicycles of the past 90 years. Stunning photographs showcase each bike’s distinct design while authoritative text summarises their unique qualities, technical specifications and history. Read this and you’ll be on two wheels in no time. Out March; published by Thames & Hudson; £19.95
100 New Artists Who’s hot in the art world? With every waiter, bartender and jobseeker claiming artistic ability it’s hard to keep track. Pick up this volume compiled by artworld authority Francesca Gavin to find out who everyone is – or will be – talking about. From abstract painters in Spain to the readymade renegades of China, here is the must-know-now crop of talent. Out April; published by Laurence King; £24.95
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Yohji Yamamoto This visually stunning book accompanies the highly anticipated Yohji Yamamoto retrospective at the V&A museum opening this spring. If the exhibit is a mustsee, this is a must-read. Illustrated with images from the designer’s archive and featuring interviews with Yamamoto himself, as well as key collaborators such as photographers Nick Knight and Max Vadukul, this is a fascinating insight into the innovative designer’s groundbreaking work and a valuable album of fashion history. Out March; published by V&A Publishing; £35.00
There once was a Woman Who Tried to Kill Her Neighbour's Baby: Scary Fairy Tales Once upon a time, far, far away in Russia, a little girl wrote amazing prose and plays to critical acclaim. In her modern fairytales, Ludmilla Petrushevskaya writes of a make-believe world that blends miracles, melancholy and madness. Published for the first time in the UK, this collection of darkly comedic fairy tales is modern take on ancient folklore. A delightfully disturbing essential read. Out Now; published by Penguin; £9.99
Ari Marcopoulos: Directory EDITOR’S CHOICE * Dutch photographer Ari Marcopoulos moved to New York in 1980 and wasted no time becoming involved in the downtown art scene. His forte was photographing the edges of society and hard-to-reach subcultures, with nomad snowboarders, underground hip-hoppers and graffiti artists as common subjects. Marcopoulos’ combination of raw intimacy has influenced both art and fashion. This compilation of 1,200-plus photographs documents the work of one of American culture’s key documentarians – don’t miss it. Out April; published by Rizzoli; £45.00
My Cool Campervan Buying a campervan, personalising the interior and driving around world is the ultimate travel fantasy. Just you, some friends, a van – let’s name her Lucy – and the open road. OK, it may not be an entirely realistic dream, but this new book offers enough owner/van love stories, retrostyle design tips and facts and figures on the campervan movement to spur any urge to quite the rat race. Comes out just in time for summer. Out May; published by Anova; £14.99
Alex Steinweiss, the Inventor of the Modern Album The cover art for Abbey Road (four guys on a zebra crossing) or Smells Like Teen Spirit (naked baby floating underwater) are synonymous with the music they
represent. Alex Steinweiss is to thank for that. In 1939 he pitched the idea of adorning brown album wrappers with illustrations to his boss at Columbia Records, and the rest is history. Unlike the previously published limited edition, this anthology of Steinweiss’ 2,500-plus works – covers, logos, ads and all – has a much more obtainable price tag. Out February; published by Taschen; £44.99 The 3-D Type Book London-based design studio FL@33 brings together the ultimate showcase of three-dimensional type talent from around the world. With over 1,300 images of more than 300 projects by 160 emerging and established designers, there’s a lot to look at. Get to know a world where text jumps off the page Out March; published by Laurence King; £19.95
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“I have only ever been interested in art as a documentation of life, as a trace of the artist's life, thoughts, desires, and so on. I stopped trying to make artworks. Now I make lifeworks”
Art and fashion intersect in Babak Ghazi’s studio. Graham Taylor pays a visit. Photos by Kristen Blow he question “does art imitate life or vice versa?” may be something of a cliché, but it can sometimes be a handy one when discussing an artist’s work. Not where Babak Ghazi is concerned. He sees no distinction, and there’s little point in looking for one. For him, the life is the work – and the work is the life. “I have only ever been interested in art as a documentation of life, as a trace of the artist’s life, thoughts, desires, and so on,” he says. “I stopped trying to make artworks. Now I make lifeworks.” While Ghazi takes himself as his central subject, he uses all manner of materials in his work, including record sleeves, Katharine Hamnett’s slogan T-shirts and modified adverts ripped from style mags as iconic as the ads themselves. With influences as diverse as Morrissey, Warhol, Gilbert & George and i-D magazine, he explores the ways in which traditional notions of art crossover with fashion, appropriating pop-cultural imagery and artefacts in playful, ironic and often startling ways. Ghazi has exhibited across Europe, but rather than the sleek spaces of galleries, it’s his north-London studio that remains closest to his heart – and mind. More than just
If it’s the artist’s job to document the world in which we live, then Babak Ghazi (pictured, above) is working harder than most. His studio houses his obsessive archive of record sleeves, vintage fashion mags and other popcultural artefacts which he uses to create his “lifeworks” and reflect on our celebrity- and media-driven times. He can be contacted at email@example.com
a workspace, it houses an organic, ever-growing archive of material that documents each aspect of his life. And this ongoing project may well be Ghazi’s most important work. Entering his labyrinthine world, he discusses his methods, his grand project and why fashion is leaving the art world behind. How and why do you select the materials you use in your art? I don’t think of materials in that traditional artistic way. My materials are from life, because that is my subject. Joan Didion said she wrote to work things out; I experience to work things out. This is not straight autobiography – it is self-consciously lived life and has wider implications. I started this a few years ago because I was dissatisfied
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with art. Gustave Flaubert spoke of living as ordinary a life as possible so that you may create violent and exciting imaginative works. But why not live as your work, and experience all the excitement and violence? Morrissey says he doesn’t clock off – that makes sense to me. Describe your studio. I use my studio as a place to house my archive. The archive is a growing collection of the documents produced from my process of living. It is itself a lifework, because it's an everyday activity of archiving made self-consciously. It contains books, photographs, video, drawings, notes, objects, collages, any kind of relevant material organised into a functional system. I use it to think about what I have done, what I am doing and what to do next. I call it my archive. In a sense, it has become a how-to guide to living, with files on every aspect of being alive such as friendship, lovers, language, poses, influences, and so on. Not all of the material is created by myself. I direct others to create images or make drawings. The archive is occasionally exhibited but the contents always remain in my possession. I continue my work with or without a
destination for it but, upon request, I release selected material from the archive, digitally, for specific contexts like magazines or the web or galleries. The material can be endlessly re-configured depending on what I am interested in at any given moment and this itself becomes a document, like a blog. Tell us about your inﬂuences, both in the art and fashion worlds. I think my first exposure to this combination of life and work was in magazines like i-D with its series of Straight Ups – photographs of people posing as if they were living artworks. Magazines like i-D are infinite structures, where anything can be included and the individuals in Straight ➻
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Ups were themselves infinite structures, treating the body as a thing to be endlessly re-configured. Fashion gives us a view of existence as a conscious activity. I’m not sure this is the truth of human existence, but it gives us hope and possibility. You can trace a history of this way of life back through subcultures like New Romanticism and punk to Bryan Ferry and David Bowie, and back further to dandies like Stephen Tennant. It is a way of being that is equivalent to making art; it gives life an intensity and focus. Someone like JT LeRoy is a modern version of a living persona, but you could say that contemporary celebrity culture is the end point of this, where the individual is the product and their everyday choices are watched, analysed, consumed and repeated. Blogs are a way of having a public persona fashioned in any way you please. But I wanted something more expansive than just posing and self-styling, a way of working that could include everything in life, so I looked at Gerhard Richter’s Atlas and Andy Warhol’s Time Capsules, and that inspired my archive. In what ways do art and fashion/advertising intersect in your work, and what are you trying to explore? Others outside of art contributed to my way of releasing material, such as the blog-like advertising of Marc Jacobs for the purposes of identity production. The intimacy of the images is similar to other photo-diarists like Hiromix and Nan Goldin, going all the way back to Alfred Stieglitz’s documents of his lover, Georgia O'Keefe. I’m interested in individuals who create a whole world with their work. Morrissey’s record artwork, for example, which created a constellation of his heroes and influences. He claimed his new life when The Smiths began by shortening his name to one word. He became an idea, like Gilbert & George did. They went out into the streets of east London documenting the world they lived in, and made pictures from them. They included themselves in their work because they were the work. Their existence defined the work - their thoughts, drunkenness, anger and fear were the content of the work. All of these examples are based on the individual as a structure, creating a world, claiming their life as their own. In what ways is fashion a legitimate art form? It’s not interesting to define something as art or not. I think despite art’s apparent popularity, it is clinging on for dear life, using its uniqueness as the last defence against this new exploded world of culture and technology.
I think art has taken on the worst aspects of fashion but been completely left behind by fashion’s business and marketing ideas. Fashion doesn't have the same denial of commerce and this has led to innovative ways to disseminate its ideas and products. Its relation to identity and authorship is also much radical than art. The most exciting exhibition of last year was Martin Margiela’s 20-year retrospective [at London’s Somerset House]. It was the first fashion show I’ve seen that managed to convey the aliveness of fashion, mainly because Margiela’s team designed the exhibition themselves. But it was Margiela’s control over every aspect of his production that impressed me. But then there’s the fact that there was a big production team behind it, and now he’s left the label, what does it mean to say that these are Margiela creations? Of course it still holds. And that’s what is interesting. Some would say that the role of the artist is to create beauty. Yet much modern art isn’t afraid to be ugly, to capture the complexities and messiness of life. Is fashion purely about the surface of things, or can it genuinely tackle life’s murkiness? Only if fashion truly expands to allow any kind of object from the world. I think it is almost there. If fashion is an idea, and a designer label is one version of that idea, then simply adding a label to an object makes that object fashion. Look at Helmut Lang’s advertising using Robert Mapplethorpe’s photographs, or the Comme des Garçons ads featuring pictures of elephants. Look at the perfume industry. If an image is fashion, if a smell is fashion, then anything can be fashion. Can you tell us about any upcoming projects? I’m working on various projects, but I’m more interested in what I could potentially be working on. Anyone reading this should get in contact if they think what I do could work with what they do
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BLOW-UP 1960s classic Blow-Up mythologised fashion photographers for the first time. A new book turns its lens on the iconic yet enigmatic film, which resonates with contemporary image-makers. By Graham Taylor t’s a grey day in south London. A hip young photographer, louche in his velvet jacket, electric-white jeans and sharp Cuban heels, is wandering aimlessly in an empty park, armed only with his camera. In a distant clearing he spots a man and a woman, and begins taking photos. The woman – twitchy and clearly preoccupied by something – is not impressed with his voyeurism and runs over to him, telling him to stop. After cruelly, but accurately, remarking that most girls would pay him handsomely to take their pictures, he mooches off. When he returns later, the woman is gone. The man is still there – but now dead, sprawled under a tree. The photographer is spooked, yet you feel his gruesome discovery isn’t about to derail his merry-go-round of models, casual sex and parties. Later still, when he develops the pictures of the mysterious couple in his darkroom, he notices something he hadn’t seen at the time – a dark shape in a nearby bush that might be a person; and then a small white flash, which might be a gunshot. He thinks again of the dead body. Did
“The photographer is one of the first completely modern people. He makes a fortune, he’s always surrounded by beautiful girls, he travels a lot and he’s constantly living off his nerves in the big-time world”
Antonioni’s Blow-Up by Philippe Garner & David Alan Mellor is published by Steidl www. steidlville.com. Blow-Up is available on DVD (Warner Home Video). Further reading: Ready, Steady, Go! by Shawn Levy (4th Estate)
he witness a murder in the park? He can’t be sure because, as he blows up the images, the all-important detail becomes grainier and more abstract. Ironically, the bigger the photos become, the less he – and we as spectators – can see. This is the puzzle at the centre of Michelangelo Antonioni’s 1966 mod classic Blow-Up, a haunting antithriller that’s celebrated and dissected in a new book by Philippe Garner and David Alan Mellor. Much has been written about this film, but Antonioni’s Blow-Up is unique in that the authors have assembled a book that tackles the film using the very medium of photography. Through on-set stills to the actual pictures we see in the film (which mustn’t be dismissed as mere props – Antonioni had famed war photojournalist Don McCullin take
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them), it’s a visually rich exploration of the director’s questioning of the frequently murky relationship between reality and perception. Crucially, given the milieu into which it was released, Blow-Up’s protagonist is a fashion photographer (who remains nameless throughout the film, and is played brilliantly by David Hemmings, who was almost as big a deal as 1960s Britfilm icons Michael Caine and Terence Stamp), a profession that had suddenly become less a straightforward career option and more an extremely attractive and highly lucrative lifestyle choice. Behind the lens Today, the world’s leading fashion and celebrity photographers – from Annie Leibovitz and Mario Testino to edgier lensers such as the late Helmut Newton – are easily as famous as the subjects in their pictures, and occasionally more so. In our modern, celeb-saturated landscape, we unquestioningly take this for granted. But this cultural shift took place in the early 1960s, just as London was beginning to swing out of its austere, post-war doldrums into a riot of art, music and fashion. This scene had its pin-ups – and key mythmakers – in Brian Duffy, Terence Donovan and, perhaps most importantly where Blow-Up is concerned, David Bailey. They were self-styled bad boys, working-class lads made good, and affectionately nicknamed “The Terrible Three” by Cecil Beaton. Beaton was a celebrated photographer of an earlier, more sedate era, yet he was tuned in enough to the times to embrace the changes that were taking place. He was a major influence on the up-and-coming Bailey and their paths crossed in the early 1960s at British Vogue. It was as though a baton was being passed from the old to the new. Bailey is famously quoted as saying: “I think the photographer is one of the first completely modern people. He makes a fortune, he’s always surrounded by beautiful girls, he
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travels a lot and he’s constantly living off his nerves in a big-time world.” The words might sound flippant, but there’s truth there as well. The breakdown of social and class boundaries meant practically anyone could get a piece of the action if they were tenacious and suitably talented, and the dazzling, enviable lives of the photographers were no different to those of the stars they snapped. Shot in close-up The photographers’ style changed dramatically too. Before, they would stand at a respectable distance from their subject, under a cloak by their tripod. But now, Bailey was climbing tables, squatting over models and getting up close and personal. The whole “work it, baby, work it!” shtick has gone from cliché to beyond parody, but this was genuinely new. It was sexual, almost violent – Bailey referred to his tripod as a “threelegged phallus”. It’s there in one of Blow-Up’s most famous scenes, the one that resulted in the film’s iconic poster image, where the photographer sits astride the model Veruschka. As their bodies become more entwined it’s as though he’s making love to her, but with his camera. (When asked if his own shoots ever got as hot as this, Bailey replied, “When I was lucky.” But some years later, Veruschka, who returned to the catwalk aged 71 at last October’s London Fashion Week, had a different take: “I was never so interested in fashion. It was a big stage and you were used as accessories. I was the object of desire, like in Blow-Up.”)
In 1965 Bailey released his Box Of Pin-Ups, a collection of 36 black-and-white portraits of the luminaries he was hanging out with: musicians, actors, socialites, fashionistas and gangsters (the Krays, nestling somewhere between Caine and The Beatles). The box was a time capsule of the period, which sent a message out to the world: London is happening. And it was the photographers who had created this image and were now selling it. The world, particularly European filmmakers, bought into it. Pole
themes sat surprisingly well with the vibrant west London world of the fashion photographer and, despite some sniffy reviews from homegrown critics, Blow-Up was a huge international success. From the smart use of locations (the photographer’s studio was actually the Notting Hill base of Vogue lensman John Cowan) and an effortlessly cool soundtrack (the film features a blistering performance by the Yardbirds) to the then-scandalous scenes of drug taking and nudity, the film caused a sensation.
Roman Polanski was already over here making Repulsion (1965), his stillnerve-jangling psychological horror film – a kind of fear and loathing in South Kensington – with French beauty Catherine Deneuve (who was also Bailey’s second wife) in tow. Then Italian director Michelangelo Antonioni hit town to make Blow-Up. He was already a poster-boy for world cinema, thanks to films such as L’avventura (1960), La Notte (1961) and L’eclisse (1962), stylised and enigmatic studies of urban angst and moral bankruptcy. These very European, existential
Dark conclusion Yet it’s the elusive mysteries of the darkroom scenes that cast its unique spell. The crime – if one ever took place – remains unresolved and when the end credits roll, we’re left questioning what we have just seen. “The photographer in Blow-Up, who is not a philosopher,” said Antonioni, “wants to see things closer up. But it happens that, by enlarging too far, the object itself decomposes and disappears. Hence there’s a moment in which we grasp reality, but then the moment passes. This is in part of the meaning of Blow-Up.” And while Blow-Up is very much of its intensely image-conscious time – it not only explores how images are created, but also the infinite ways they can be interpreted – it feels more pertinent than ever as we binge on a ceaseless diet of rolling news and reality entertainment. After watching Blow-Up, you begin to realise just how absurd, fragile and troubling a notion “reality” actually is
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Etc. Spot the difference
Can you spot the seven differences between the pictures of Noisettes singer Shingai Shoniwa â€“ and her trusty copy of Phoenix? For answers see Phoenixmag.co.uk Digital retouching: Arion Gadd
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Saving the world one handbag at a time
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SCRIPT: Dennis Maloney SET CONSTRUCTION & WARDROBE: Kiran Nijjar CONCEPT AND JAYNE AND MINDY’S HAIR STYLISTS: Leigh Keily and Hannah Kane
PHOENIX PR proudly presents
HOB B S.CO.U K 663KRHQL[0DJD]LQHB)3/+$GLQGG
Published on Apr 5, 2011
PHOENIX is a glossy, independently published fashion and culture magazine that is printed 3 times a year for London Fashion Week February an...