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: a place and means for creative expression and innovation: the first view of a new wave of Fashion, Film, Photography, Art and Music: A celebratory platff么rm for creatives who have found their element.

Editor • Angela Biggins Deputy • Editor Kirsty McLean Art Director • Kelsey Jones Fashion Editor • James Whiting Features Editor • Verity Mallett Advertising & Distribution • Ellie Deane & Kara Kibble Digital Editor • Sara Evans Contributors Lucy Smith / Stephanie Hobbs / Alice Moore / Trisha Mayers / Richard Weston / Zuzanna Butkiewicz / Hannah Witt / Grandma Newton / Carys Huws / David Bull / Benjamin Price / Abi Gadd / Brian Singer /David Hieatt / Kevin Kelly / Polly Crane / Hannah Cook / Jayne Hicks / David Bertie / Sarah Pugh / Simon Lee / Mark Tauriello / Rosemary Ansted / Atsuko Kudo / Rachell Smith / Ric Bower / Tom Clulee / Daisy Browne / Jessica Ware / Daryl Woolard / Layla Evans / Jacob Fessey / Lisa Caldognetto / Dean Rudd / Davina Smith / Kim Fielding / Tactile BOSCH / Esquire Magazine / Jessica Robinson / Bethanie Dwyer / Daddison / Khaitee Mills / Miluše Gebauerová / Coco de Paris / Hiut Denim / Altru Apparel / Entirety Clothing / Spillers Records / Wolf and Badger / Michelle Duguid / David Flores / Molly Pritchard @ Inkognito / We Can Still Picnic / Joey Pearson / Rikki Humphrey / Madeleine Piggot @ Taschen / Lucy McRae / Benjamin Neil Griffiths / Atsuko Kudo / Isabelle Rule / Xena Avramidis / Lauren Owens / KB Artistry / Richard Kerr / Esquire Magazine / Steph Turner / Sarah Carter / James Brown / Pete Smith / Tony & Guy / Layla Evans / Jacob Fessey / MAC / Lisa Caldognetto / Dean Rudd / Davinia Smith / Felcity HunterChoat For more information please contact: Tracy Pritchard - [platffôrm] HQ Cromwell House 1-3 Fitzallan Place Cardiff CF24 0UJ Cardiff School of Creative & Cultural Industries Fashion & Retail Design ATRiuM Adam Street Cardiff CF24 2FN 01443 668543 Printed at The Guardian Print Centre, Rick Roberts Way, London, E15 2GN All material in this issue is exclusive to [12platfform] magazine and may not be reproduced without prior consent. All copyright remains with the contributors.

The Insiders Edit The Changing Faces of Fashion In Vitro Classics A Suit That Fits Destination Known Boy Meets Girl Always Use Lube Transparency The Secret Underground Vinyl Fidelity Lecture To Liberty Take Cover Longevity Hiut Denim The Do Lectures Daddison Mirror Mirror Eu De Poison The Esquire Experience Centre Court To Centre Stage The Weird and Wonderful A Sneaky Fortune Constrained and Manipulated Extreme Fashion Mark Tauriello Of Mice and Men Pared The Power of Objects The Leather Biker To Ink Or Not To Ink Gravity tactile BOSCH The 1000 Journals Project


IF YOU COULD GIVE ONE PIECE OF ADVICE TO YOUR 21 YEAR OLD SELF WHAT WOULD IT BE? Lucy Smith took to Twitter and asked 20 fashion insiders to dip into their memory bank and pull out their best advice in 140 charachters..

“The world is kinder than you think. There’s almost always a way.”


- Jenny Dickinson Editor of Harpers Bazaar

- Kelly Cutrone Founder of People’s Revolution

“Breathe, think about what’s really important and go for it. It’s ok to make mistakes as long as you acknowledge them.”

- Isaac Lock, Editor at LOVE Magazine


- Hillary Alexander, Journalist and Fashion Director

“Honestly? I wouldn’t change anything. Mistakes and all.”

- Jo Elvin, Editor of Glamour Magazine


- Emma Elwick Bates, British Vogue


-Sofia Barattieri, Founder of



“I’d tell my 21 year old self the same thing I tell myself now.: try to enjoy the process as much as the result” - David Nicholls, The Telegraph Magazine

- Steven Kolb, CEO of Council of Fashion Designers of America

-Alexis Knox, Stylist

“Life has it’s challenges but remember each one, good or bad, will make you stronger than the one before.”

“Hairspray and backcombing : Remember you are going to have to brush that out one day.” - Georgina Langford, Fashion Writer

be yourself ” - Susan Tabak


- Paula Reed, Style Director at Grazia

-Marina Ansell, ASOS Picture Editor


- Claire Smith, Fashion Stylist at Cosmopolitan



- Charlie Anderson, Stylist

“Follow your dreams. They are a destination.”

“ THINK AGAIN ” - Harriet Quick, Vogue


- Alex Stedman, Senior Fashion assistant at Red Magazine



p p







The Changing Faces of Fashion Hannah Cook & Polly Crane created this graphic illustration as a visual representation of two sides of the fashion industry: Promotion and Design. While completing a degree in Fashion Promotion they worked alongside Fashion Design students, which led to a discussion on the differences between each discipline. They considered how their subject area is perceived and the inextricable relationship between the two; how one cannot exist without the other. The rotating icons represent each discipline respectively and highlight the many facets of the fashion industry, as well as the crucial components that turn and transmute to keep the wonderful world of fashion in motion. The repetition of the rotating imagery suggests the continuous and allied future of the fashion industry, and thus the intrinsic nature of fashion and the fundamental need to always remain one step ahead.

Polly Crane & Hannah Cook

[in vitro Classics] by James Whiting [clas•sic] (adj): judged over a period of time to be of the highest quality and outstanding of its kind. (of a garment or design) of a simple, elegant style not greatly subject to changes in fashion: this classic navy blazer. [in vit•ro]: in an artificial environment, such as a test tube. origin: latin, literally ‘in glass’.

opposite page: [The Tweed Jacket] [The Corduroy Trouser] [The Woven Belt] this page: [The Bow Tie] [The Pocket Square] [The Tie & Clip] • [The Button Down Shirt] • [The Oxford Brogue] [The Argyle Sock] • [The Denim Jacket] [The Wayfarer]

_A Suit That Fits

By Jessica Robinson & Sophie Martin

The characters here were inspired by the menswear brand ‘A Suit That Fits’. The company provides a unique co-design experience that allows the customer, either on-line or with a Style Advisor, to create their own perfect suit. Suits start at less than three hundred pounds, providing a little taste of Saville Row at a fraction of the cost. So are you a Tobias or a Neville?


lways a   favourite   with  


the ladies   Tim   constant  

eville is   a   superstitious  

charm never   leaves   him  

character with   a   quick-

disheartened. He  is  clever  eyed,  Full  

wit. Beefy   and   big   with  

of enthusiasm   and   has   enlightening  

a contrasting   wispy   moustache.   His  

messages that   would   change   even  

locks resemble  black  beetles  glistening  

the most   pessimistic   person.   A  

above his  collar.  With  a  photographic   memory  he  remembers  everything  he   sees  and  enjoys  educating  the  youths   of  today  with  his  words  of  wisdom.  Best   of  all  Neville  has  a  world-class  smile  

classic modern   day   man   never   seen  


without his  polished  suit  and  mirror   clean  shoes.


A blue   and   pale   yellow   medium  

and nobody   ever   used   it   more   often.

weight wool,  silk  and  linen  mix  made   in  England  by  Minova.  Fabric  is  woven  

Moss green   and   beige   dog   tooth  

with two  high  contrast  colours  giving  

pattern with   a   faint   light   blue   check,  

a vibrant   tonic   effect   to   the   fabric.

medium weight   tweed   perfect   for   a  


casual jacket  or  lightweight  overcoat.

Reference number                           Reference  number




















man of   few   words   is  Tobias.   He   is   as   thin   as   a   flagpole   with   big   trusting   eyes   and  

smooth pale   skin.   Clean-shaven   with   slick  combed  hair  and  bushy  brows.  He   embraces  the  simple  things  in  life  and   never  gets  lost  in  the  big  picture.  Never   late,  he  is  a  sensible  soul  with  a  friendly   nature   who   underestimates   his   good   looks.   He   wears   his   navy   blue   skinny   tie   with   his   grey   suit   and     nipped   in   waistcoat  and  is  never  seen  without  his   colour   co-ordinated   socks   and   shoes.    


traditionalist at  heart  Arthur   favours   conventional   views   and  values  and  is  restrained  

in style.   He   follows   the   established   suit  etiquette  rules  and  often  opts  for   a  conservative  dark  suit.  His  hair  has   a   slight   wave   that   covers   his   balding  


patch. His   moustache   is   wispy   thin   and  clean  cut.  He  is  an  independent   and   ambitious   character   who   enjoys   the  finer  things  in  life.  His  suit  is  sleek   and  simple,  never  too  fussy,  his  brief   case   is   an   essential   part   of   his   outfit   and  he  wouldn’t  leave  home  without  it.

Light Grey   Stretch   Tollegno   fabric   great  






Black pure   merino   wool   from   English   ideal  

mill for  

Alfred cooler  

Brown, months.

Reference number Reference  number

T L N - B i - S t r e t c h L i g h t   G r e y U K A B - M e r i n o



Destination known Platfform has made the mistake of asking Jayne Hicks what inspires her. She’s not happy, which by all accounts is not a common occurrence. She doesn’t understand the need for such a lazy question (we’ve taken note), can’t comprehend its limitations…everything inspires her. But we decide to push it and are rewarded with a glorious response that include watching Jim Henson movies, her parents, ballet lessons, chicken soup, and all the hours clocked up traipsing miles around London as an intern “invaluable”. All of the things that make her happy find their way into the work - she describes as “a balance of emotion and colour”. As the images on the following pages attest, depth and texture are the focus and locations fuel concepts. These images also tell a story of a childhood revisited; the locations chart the family daytrips that opened her eyes to the diverse landscape of her native Wales. To call Jayne Hicks a stylist would be a gargantuan understatement. Each ensemble is crafted from scratch or by extensively customising charity shop finds; each shoot is planned meticulously and executed with vigour; each model, colour, texture and backdrop exploited to its full potential. On meeting her we realise that she is her work made flesh; the living, always laughing, personification of the images she creates; perfectly embodying their vibrancy and exceptionality. And no one has ever seen her in the same outfit twice. “Fact”.

2. Graffiti: Boys Village, a derelict 1920’s holiday camp at St. Athan, South Wales

1. Pink building: Garden gazebo at Portmeiron, the famed bricolage village in North Wales

3. Yellow building with glasses: The Toll House at Portmeiron

4. Yellow dress on rocks: The Teifi River Salmon Leap at Cenarth, West Wales

5. Pink wall: An abandoned janitor’s service flat in a Cardiff office block [1.5L tin of Dulux ‘Rock Candy 1’ – stylists own]


Text and Drawing - Kirsty McLean

GIRL MEETS BOY With high cheekbones, a whippet-like frame and wispy blonde locks that would turn any woman green with envy, you could be forgiven for presuming the pretty face staring back at you is an attractive young girl. Well, you would be wrong. Andrej Pejic is a relatively new androgynous face in the modeling world and has been causing a stir on the fashion circuit due to his ability to work both sides of the runway. After failed attempts at entering the industry in his native Australia due to the country’s male modeling industry being seen as ‘too masculine’ for him, the 19 year old Serbian-Australian was given his first break after being signed by Storm in London. Storm founder and model agent Sarah Doukas explained to New York magazine ‘I did

not think ‘what a beautiful boy or girl’. She made the decision ‘not to put him in a box’ and instead put his Polaroid on both the male and female model boards. Since his discovery Andrej has walked in womenswear shows for Marc Jacobs and has most famously been the ‘bride’ in a Jean Paul Gaultier womenswear show, something a male model has never done before. Described as ‘the prettiest boy in the world’, he possesses both masculine and feminine beauty traits and his gender-bending appearance is precisely what his success is based upon. Like any model that has sprung into the public eye so suddenly and caused so much controversy in doing so, Pejic has been subjected to negative

media feedback from critics who believe that he should stick to modeling menswear. Not simply because he is a man, but because he is promoting and representing the feminine form in an unrealistic way. Women could not achieve his slim body no matter how hard they tried, we are born with hips that men do not have. His ability to fit into the smallest of sizes means some may mistake him for female, and as a result become disillusioned with their own body types. Andrej explains : ‘I just want to look like me, it just so happens that some of the things I like are feminine’. He has only one thing to say to the critics who make judgement on boys who like to dress like girls: ‘We’re fabulous. F**k off’. Another model who bases her career on her androgynous look is Lea T. Born male as Leandro Cerezo, she was first discovered by Ricardo Tisci and is known as the worlds first transsexual supermodel. On meeting Lea T. for the first time, stylist and LOVE magazine editor Katie Grand explains, “I was at the pool at the Copacabana Palace Hotel when I saw her. At first I didn’t notice her gender, just that she was wearing Givenchy couture and looked amazing!”. Fashion is going ‘trans-sexy’ and celebrating the different which can surely only be a good thing; especially for models who have hurdled over gender boundaries and social ‘norms‘ to get to where they are now. These models are remarkable and more impressively, memorable. They have the ability to set themselves apart in an industry where many regard the models to be carbon copies of one another. Less controversial androgynous models, past and present include Freja Beha Erichsen, Agyness Deyn and Grace Jones; all basing their careers on being fashion chameleons so to speak. They possess both feminine beauty and boyish charm. This is not the first time that women have felt comfortable in ‘borrowing their boyfriends clothes’. The 1920s saw Coco Chanel abandon the typical female silhouette of the time and construct a more masculine form. Determined to liberate women

through fashion, she favoured straight cuts that hung loosely on the body showing a complete disregard to a woman’s hips and bust. Trousers soon became the first ‘hermaphrodite one-piece’ and women no longer felt the need to dress femininely to please their male counterparts. 1930s screen siren Marlene Dietrich captivated and seduced both men and women alike with her masculine power-dressing. She became famous for her white shirt and tie combination and was often seen sporting a black top hat. The androgynous trend also has throwbacks to 1970s and 80s glamrock; David Bowie and Boy George were famous for having full faces of makeup and hairstyles demanding more lacquer than Bridget Bardot. Annie Lennox also inspired many women to take beauty and clothing tips from the boys and as a result, mens hair got longer while women’s hair got shorter. Embracing the androgyny trend does not mean you have to sacrifice your femininity, nor does it mean you have to cut your hair short and dress head to toe in menswear. The beauty trends of slicked back hair, darkened eyebrows and wine stained lips give a more masculine feel to any outfit. The presence of androgyny in society and the fashion industry today is an indication of changing times. Our growing tolerance towards nonheteronormativity in society and the fashion world acts as the perfect platform to voice openmindedness. Over time, the design of garments and the appearance of models who grace the pages of glossy magazines has helped society make leaps and bounds in paving a path between the masculine and feminine forms. There has been a clear breakdown of gender stereotypes and there is now an obvious middle ground that enables people to dress the way they wish without being judged (too harshly). Androgyny inspires us to use our image as a powerful tool for self expression and to do so with greater confidence, a carefree attitude and most importantly, pride.

ATSUKO KUDO Photoography - Rachell Smith

Always Use Lube. The taboo against bondage and being seen to wear fetishised fabrics such as latex has been strong for decades. Now as fashion embraces couture latex, we could expect to see the material not only on the catwalk but also on our streets.

“Always use talcum powder or water based lubricant inside all clothing before use” advises couture latex designer Atsuko Kudo and advice familiar to those of us who favor this seasons trend of tight leather. It’s not your everyday product care advice but when you’re dealing with something so tight it could be considered a second skin, and thus a little slippery help should be considered. Latex, along with rubber and PVC, has always been linked to sexualized fabrics revered by fetishists and although the fashion industry has often played with the idea of bondage eg McLaren and Westwood it has not always been so well received. Bondage, after all, is a niche market and has a habit of sending many of us running for our Laura Ashley emblazoned hills. Recently though, there seems to be something of a revolution occurring, or less noticeable than that, an evolution or metamorphosis that is seeing latex on fashion runways and in high end fashion magazines. So brandish your riding crop and dust off your saddle, bondage, or at least the fabrics that make it, are here to stay. And oh my it is a saucy affair. As a generation we revel in the idea that we are more understanding and more sexually adventurous than the last; although it is clear that some stigmas and stereotypes are still present today. From Charlie’s Angels gracing their commercially acceptable figure hugging suits to the memorable ‘Gimp’ scene in Pulp Fiction, latex conjures very different reactions depending on the context in which it is used. All in all, we have surely seen enough on the world’s stage to be able to stomach latex in most situations. The awkward brandishing of pitchforks and lighting of torches with cries of “Kill the perverts, burn the freaks” should be avoided and is outdated. However, it is true that fetishism and fetish clothing can still be quite difficult to feel completely comfortable in even if they are in Vogue. Latex is a protective layer that allows the user to feel uninhibited; it provides a second skin, a barrier for the alter ego. With latex also being associated with dental surgeries and doctor’s gloves, it is a material that is connected with sterile environments and thus allows purification of the binary opposites of mind

games. It draws attention to the most titillating of areas, whilst at the same time restricts access to them. Constriction and containment is a latex lovers dream as latex has that sprayed on feel like a fresh coat of paint, hence the vital and liberal use of talc or lube before donning the garment is recommended. children’s Throughout history clothing and the material from which they are made have often been sexualized, in fact the very shapes and textures of garments have created something of a psychoanalyst’s dream. If John Flügel, a true Freudian theory lover, were to have his way it would not be possible for us mere mortals to function. As it is, our already highly imaginative minds have great difficulty trying to get to grips with the idea of taking our clothes off, never mind the thought of our generic clothing being shrouded in sexual symbolism and alternative meaning. Flügel would view the contents of our wardrobes as a minefield of sexual innuendo with trench coats, ties and trousers being representative of the male phallus, and girdles, garters and bracelets being closely compared with that of the vagina - surely no accessory is safe! Despite being seen on the streets and runway today, the eroticism of materials such as latex and rubber has not always been so practical. Let us not forget the pioneers of this fetish in the proud Mackintosh wearers of the 19th Century. Although the creation of the Macintosh is seen as the beginning of the rubber fetish in clothing, this invention did not immediately lead to a mad surge of mackintosh donned fetishists congregating in dark backrooms across middle England. It was however a signal to the more intuitive cottage industries. Shirts and corsets were produced and targeted to those wanting to get their hands on something a bit more complimentary than the standard Mac. Fashion loves the slick, wet-look that latex provides, allowing for shape and curves similar to that of armor or encasing. Through designers, the use of latex in fashion has gone a long way to removing the stigma and somewhat negative view that surrounded the underground fetish movement and one thing we know catering for the sex industry is never going to go out of fashion.

Transparency Arts of Fashion

Transparency - Arts of Fashion Miluše Gebauerová also know as Mia has been selected to participate in the Arts of Fashion Premier International Fashion Student Competition in San Francisco. Mia is 1 of 50 out of 330 applicants from 107 Fashion Schools and Universities from 35 different countries to be selected for the competition. To get through the first round of the competition Mia had to create 3 looks based on the competition’s theme of Transparency. She used a tree as her original source of inspiration, explaining that ‘Trees are exposed to the elements; strong wind twists and bends their branches and distorts their original shape.’ From her research she develops her initial idea to the fine details of trees such as their growth rings and the creatures which inhabit them. She draws inspiration from the body armour of a woodlouse. She uses this and the strength of trees to contrast the delicacy of what is hidden inside them. She plansto produce her final garments by combining differing fabrics such as stiff millinery netting with net tulle and fluid jersey to create the ‘concept of transparent fragility.’

- Kara Kibble



You arrive at the address written on the back of the ticket. You can’t help but think that you’ve got the wrong place - you check it again and realise that it is in fact the same address. The murmur of a beat coming from deep underground encourages you to pull open the black door and follow the long, dark descending corridor into the darkness. As you walk further underground, the music gets louder and louder and you feel your body begin to move to the beat. You get a pang of excitement, you’re unsure what you’re about to embark on. As you reach the end of the corridor you are greeted by flashing lights and a room full of people all dancing to the same booming sounds that fills your ears and works it ways through your body, forcing you move to the beat. Welcome to a secret underground party in a city near you. A place where people come together once or twice a month to move to sounds provided by a well known DJ in the chosen underground music genre. This is not about going out to get wasted and pull like the mainstream club culture we have in Britain today. Underground and secret parties are all about the music, the intimacy and the friendship. Secret and underground parties are unique events held and sustained by a certain community of people in a city who all have something in common – a love and passion for music. They want to get away from the commercialized, binge drinking nature at mainstream clubs. These parties are usually held in unique, obscure venues such as old bank vaults or underneath take-away shops. Unique touches are made to these venues through the use of decor and special amendments made by the party organisers. The music is essentially the life of these parties. Generally, new electronic music is played alongside old

classics. ‘An amazing music system is really essential at one of these parties, as the music is what people are here for’ says David Bull, co-owner of the underground party organisation in Cardiff that is Studio 89. “The music is the main thing. There is no ‘V.I.P’ area, or any segregation between the crowd and whoever is playing. The DJs generally play very close to the audience, which enhances the intimate vibe found at these nights. People are able to chat and dance with the DJs because the crowd and the DJ are made to feel equal to each other”. Having the DJ and the crowd so close shows the friendly nature of these parties and the trust between the party-runners and crowd. ‘No one is out to cause havoc, only to dance and to celebrate the music being played with the people they love” says David. Wigs, feathers and all sorts of shiny, loud materials are acceptable attire. The partygoers are generally quite expressive in the way they dress, with having fun being one of their main priorities. ‘No one really judges each other’ says David. ‘You can see this in the way these people dress and even down to the way they dance – they don’t care. The main thing is having fun. People accept each other’s differences and just come together for the music and the friendly vibes’. Some of these parties include Lift Party and Kubicle in London, Studio 89 and Backroom in Cardiff. Once you have been injected with the euphoric experience of an underground party you will almost certainly be hooked. These parties are simply too discretional to be tied to adverting. The advert is the street; underground party goers pass you every day, just look out for their tired eyes and smiley faces. I’m sure they’d be more than happy to assist you. If word of mouth doesn’t cut it listen for the beat. No two parties taste the same so dig in.

VINYL FIDELITY Kelsey Jones looks into the reasons why vinyl will live forever‌

WCSP 006 - MAO DISNEY (Fluxing Up The Aesthetic)

12� white vinyl compilation LP

Vinyl available from Cover art by Mac McNaughton @

Music enthusiasts line the streets outside independent record stores on the day that has recently become globally recognised for celebrating music – It lands on April the 21st and they call it ‘Record Store day’. According to the official website, they note that ‘Special vinyl and CD releases of exclusive music are made specifically for Record Store Day’. The main idea behind it, is to give recognition to the independent records stores that we have left. In the recent decade it has been a struggle for these sort of stores; not surprising when thinking of the advances in technology in the music industry within the past decade. The digital era is upon us; we live in a world where the words streaming, mp3 and downloading are now part of our everyday vocabulary. But of course music is not the only area where we see a battle between the old and the new. Books vs Kindle, Print magazines vs Online… You get the picture… Vinyl Culture A recent Nielson study suggests that vinyl record sales account for 1.2 percent of music sales, and digital downloads make up more than 50 percent. However, vinyl record sales have been climbing since 2006, and in 2011 saw a massive 25.5 percent increase from 2010. This evidence suggests that the vinyl market is the only part of the music sales industry that is still growing. So where has this vinyl fetish come from? Why are music enthusiasts going back to the original format rather than embracing new and evolving technologies? Surely digital is the way forward – what more could you want, it’s durable, easy, portable and costs less? For many there is the strong idea of fidelity in play, holding on to what they know and staying loyal to it. Vinyl holds some sort of cultural value that people deem as special and want to preserve. People want a piece of ‘that’ time when music wasn’t hugely abundant. Rikki Humphrey, a record junkie and house music producer speaks to Platfform:

“I think it’s like a code that only some seem to understand the feeling you get in owning some of your favourite music, in such a beautiful physical format. The buzz you get when you’re rooting through a crate, and you flick across something you’ve been longing to get your hands on for a while is unreal! Or the joy that comes across you when the stylus hit’s the groove, and you discover a real gem that’s producer, label or intriguing artwork initially drew you in to pick it out from the bunch. Trawling Discogs for that cut that you heard on the weekend, or discovered from an old mix, becomes more a pastime than a chore. And when the mail arrives, it’s like Christmas day, everyday! Don’t get me wrong; digital format music is great for MP3 players and sending between friends for feedback on productions etc. but for me, the true way to appreciate music properly, is on a platter.” There is the idea that a digital track can only reach a certain length, there still remains that further need to ossify its value in physical form. It is deemed as a ‘truer’ version of the release and of course getting that ‘thing’ for your money is worth more than a file on your computer. Joey Pearson, an avid record collector says that for him ‘vinyl is appealing because of its physicality. You can collect records from the past and present and it’s nicer to actually have ownership of a hard copy. The experience of buying a new record is far more satisfying than purchasing a new mp3 file online.’ There is still that craving for tangible music that you can touch and feel. You could say it makes the process of listening to music a much more passive endeavor. Now although advances in technology bring new capabilities and make music widely accessible; think of all the massive drawbacks that come with digital music. Think of that dreaded fear of loosing your computer files, corrupted iTunes or a stolen laptop? It’s gut wrenching, right? Collating your precious music collection on a hard drive is pretty daunting thing to do.

Ten years ago, vinyl records were often being deemed as an archaic and flawed format. But now many people seem to have taken back this idea, now craving that organic and sometimes imperfect sound. Those hisses and crackles are what make it all the more ‘real’. Even those annoying scratches reflect each record’s unique life journey and the passage of time; something you could never possibly get with a digital version. Another reason vinyl records are so valued is for the way they are presented, always in an immaculate form with unique cover art; sometimes the sleeves are so incredible that they can be considered a pieces of art in their own right. When you buy records you are exposed to the whole concept of musical vision. Take Dial Records as a shining example, an electronic and techno label that pay close attention to detail throughout; from the carefully selected artists to their pristine artwork. The portrayal of beauty is strong and consistent - the music within, complimentary to the artwork on its cover. And the return to vinyl isn’t limited to one genre of music. The record label We Can Still Picnic has released a beautifully packaged limited edition white vinyl of Mao Disney: Fluxing Up the Aesthetic, with cover art by Mac McNaughton. They describe the release, featuring the best of ‘neu Scotland’, as a ‘trip into the future, informed by the past’. A sentiment that perfectly encapsulates the dual vinyl and digital download release approach that is becoming more and more popular. So, it’s clear that digital music certainly has not pushed vinyl to extinction, and it looks likely that it never will. It seems to have instead, repositioned the consumer relationship with an appreciation for vinyl more important to music lovers than ever. After all, no one remembers their first download – but everyone remembers their first record. Vinyl forever.

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Previously contributing academically to dozens of books and articles on architecture, Professor Richard Weston can now contribute to your wardrobe. His list of achievements is endless, receiving the Welsh Design award for Fashion and Textiles in 2010 and his work exhibited in the Royal Academy of Arts to name just a few. The Professor of Architecture at Cardiff University found himself on a new career path after becoming a star on BBC2’s “Britain’s Next Big Thing”. His unique organic patterns are produced in Italy at the world’s finest silk printers. Creating a saught after scarf collection now stocked at in Harvey Nichols and Liberty, The design process entails many delicate stages to perfect the final print consisting of preparation, scanning and digitally removing blemishes .What may look like something computer generated is actually a magnified slide of mineral images. These stunning print’s are unlike any others.

Verity Mallett




#1 If you lost or broke your tablet it would cost a small fortune to replace. Conversely, charity shops are a veritable treasuretrove of dog-eared and well travelled copies of your favourite titles, available for mere pence. #2 A book is reliable. It will never run out of battery when you’re half way through a page. It won’t break and it doesn’t need maintenance or upgrades. You can drop it, spill coffee on it, wedge it in to a rucksack - all the while it accumulates character, passing it on from reader to reader, knowing a little bit of that book will always be yours. #3 TASCHEN publishers have been creating some of the world’s most beautiful and innovative art books for over four decades. Their passion and dedication to print is represented on every page. Madeleine Piggot from Taschen kindly shared her views on why a printed book may be favoured over a Kindle: “Reading a book with high visual content is in my opinion, a sensory experience. The texture of a publication’s cover, the feel of the page and the quality of reproductions all contribute to the overall experience of reading” #4 The process of producing a book from the author’s initial idea to the stockist placing it on the shelf is art. The words, the paper, the illustrations... a book is created to form a resource that all art forms can reconcile with. #5 A book shelf is a window into the soul. A cursory glance at the tattered spines crammed into a dusty space instantly offers a glimpse into what makes that individual tick, what excites them, what they dream of. With a tablet, the rugged gent sat opposite you on the seven-thirty to Paddington could just as well be monotonously filling in a spreadsheet as perusing Dickens. With a book, you can instantly connect with somebody by identifying its cover.


Madeleine shared with us three books you would find on her bookshelf: Modern Art by Hanz Warner - “This is a two-volume slip-cased book charting the development of art from impressionism up to the present day. Modern Art manages to capture the rapid change and constant innovation that characterizes this period in the history of art. Generous reproductions and insightful articles by experts in the field on each movement make this one of the most accessible and exciting overviews of Modernism I’ve seen in a long time.” The Fairytales of Brother’s Grimm by Noel Daniel - “This book is charming down to every detail. Twenty-seven of the most beloved of the classic Grimm fairytales are paired with beautiful illustrations dating from the 1820s to the 1950s. For adults and children alike, this visual feast immediately transports you into the magical world of Grimm.” The Pedro Almodóvar Archives by Paul Duncan and Bárbara Peiró - “A work of art in its own right, this monograph offers a comprehensive study to the infamous film director Pedro Almodóvar’s oeuvre. Packed full of photos and film stills, this is a stunning book for any Almodóvar enthusiast or film fanatic. The personal feel to this publication is what makes it so unique - Almodóvar personally selected the texts to be included, wrote captions for each photograph, and allowed TASCHEN complete access to his archives”. Books are a massive part of our history and culture. Should print be phased out in this era of cheap technology and cheaper morals, it would irrevocably damage the national psyche and do no little harm to the economy. The UK’s print industry has a turnover of around £14.3 billion and employs around 140,000 people - a positive figure which displays the significance of the UK’s print industry. Publishers such as TASCHEN help to keep the print industry alive and allow western society to appreciate the art forms which colour our world.

Text - Kara Kibble

Illustration - Abi Gadd (The Fairytales of Brother’s Grimm by Noel Daniel)


(n) : a long individual life; great duration of individual life.

Zuzanna Butkiewicz

Longevity – Zuzanna Butkiewicz

A Contrast Between Two Worlds - Jessica Rule This photograph represents the contrast between the open wilderness of nature, with its bleak and atmospheric landscape rising behind the model. The sense of movement in the dress highlights the effect of nature’s elements. Her stance against the wind and the darkened form represents the fragility of humanity against the force of nature. It is not only this sense of fragility against a hostile environment that is highlighted but also the feeling of two very different timescales; nature in its most organic form, unchanged for thousands of years, and fashion on the human form that is ever changing.

Observation - Kirsty McLean Inspired by the longevity of the traditional trench coat, this photograph describes its timeless quality. The vintage analogue camera and classic seafront location combine to imbue a nostalgic and timeless narrative to the editorial.

Eternal Style – Hannah Witt Iris Apfel, the 90-year-old fashion icon, inspired this image. The photograph aims to reflect longevity in fashion and how style is not restricted by age. Fashion is relevant whatever age you are and style should not be confined within stereotypical boundaries.

H iuT DENIM Platfform speaks to David Hieatt, founder of The Hiut Denim Company about their aim to become the most influential denim brand in the world and the importance of ideas. Kirsty McLean

What did your 21 year old self aspire do in the future? I was just interested in ideas. I had no plan. I was still figuring out stuff. But I was working in the most creative advertising agency in the world. And I was a sponge. It’s great when the learning curve is vertical. Had you always wanted to start your own brand? Pretty much. I left school before doing my A levels and ended up with a market stall. I borrowed £500 from my dad to start my own thing, and blew it all within 6 months. I had to go back to school but the dream of starting my own thing would never ever leave me. From founding ‘Howies’, a clothing brand that produced many different product ranges, what inspired you to start a new brand that only produced jeans? After 15 years of building up our old company, we had no choice but to leave it. Once you have lost your independence, everything changes. We had to walk away and start again. Luck is a funny thing, what at the beginning feels like the worst thing ever, in the end turns out to be the best thing ever. The learning from howies was to focus. To do one thing well. Like better than anyone on the planet. To build a great team. And to have ideas. Ideas will shape our destiny.

Your denim is produced in the small welsh village of Cardigan in Wales. Why did you decide to stay in the UK rather than take your manufacturing elsewhere?

Our town knows how to make jeans. It made 35,000 pairs a week for 3-4 decades. Then one day, the factory closed. But the skill, the know-how, the knowledge is all still here. This a story about a town that has a second chance to show the world that it knows how to make a great jean. It seemed like an obvious thing to us to try and get our town making jeans again. In a saturated jeans industry where many people can’t tell one brand from the next, how does Hiut Denim stand out? We have spent almost a year on getting the fit right on just two pairs of jeans. We are the only British brand making its own jeans in its own factory. And we have over 100 years of experience within our team of making jeans. Our Grand Masters can make only 10 pairs a day. Our job is to make the best jeans we can. And not the most jeans we can. We love the idea of being able to visually document our memories. What inspired The History Tag? We will be first jean in the world to come with a HistoryTag. Think of it as a way of attaching the memories you had in them to your jean via a website. It will let you to see your jeans being made and, if you chose to, you can upload photos of where you went in them and what you did in them. It’s like an iPod for memories via the website.

It means one day when they get handed down or end up in a second hand shop, their stories will go with them too. The HistoryTag will become a badge of honour for those who want to make products that last. Think of it like two roads coming together. One called ‘Geek’, which is the internet and its ability to tell stories, and the other called ‘Luddite’, which is a company who wants to make great products that last. And the more we can make a product that lasts, the more stories it will have to tell. As humans, we have a deep-rooted desire to know the history of things. And objects have stories to tell. With the historytag it will be able to start to tell those stories. What is the best piece of advice you could give anyone looking to start their own brand? To understand the importance of quality. To understand the importance of a team. And to understand the importance of ideas. If you understand those things, you won’t have to worry about too much. Where do you see yourselves in 10 years time? Do have any specific plans or goals for the future with Hiut Denim? Our aim is to build the most influential denim brand in the world. And, if we do that, we can get 400 good people their jobs back.



LOVE The easiest way to get your customers to love your brand is for you to love it first. The biggest mistake you can make in life is to do something just for the money. People living for the weekend are people who are dead 5 days a week. Love pays well: Not just in a pay cheque but in your health, in your happiness, in your day to day and family life.

CHANGE Is your idea going to change something? HAVE A PURPOSE: All businesses understand what they do. Not all understand why they do it.

I am a runner. Some days the wind is against me. Having the wind with me is like a Zeitgeist.


Everything is easier when it’s with you and harder when it’s against you.

Brands with a purpose have real strength to them. They have a reason to exist. That’s the important stuff.

Lot’s of people start businesses but have no idea if the Zeitgeist is with them or against them.

The customer knows it’s important too.

They have not considered the trend. They have not asked themselves what the customer will want in the future.

In the beginning it won’t make you rich, but it will make you happy.



How to identify a niche before others?

If you don’t have a big budget – have a big idea. Great ideas cost no more than the rubbish ones – that’s nice to know! Ideas don’t care about who you are or where you are. they don’t go to the ones with the most money or the biggest smiles. Be different? Be better. If you can’t be different be better, but ideally be both. Be experimental, try things out. Make small bets, fail fast, ask yourself why it failed. Don’t let it put you off. Biggest success may well come from failure.


STORY A great brand is a great story. Think of it as a film: Who are the lead characters? What is the struggle? The setting? Once you do this you start to give your brand some human qualities – that’s important. Us humans like traits. We like David v Goliaths, Good v Evil and Right over might.

Part of your job as an entrepreneur and a brand builder is – to always have your radar on. Notice new behaviors, patterns and unanswered needs. Study trends and watch the zeitgeist. Ask people questions. Go looking for that star


Carry a notebook/write notes to yourself (One day, they might be important).

VOICE Find your brand’s voice. REMEMBER IT’S GOOD TO BE SMALL - SO BE YOURSELF Some voices are incredibly inspiring, some are as dull as dishwater. Some real and some fake. Some resonate with your inner soul and some might leave you cold. It doesn’t have to come in the form of words or actions – it could be a smell or some music. Be clear, Be focused, Be yourself, Be emotional, Be instinctive, Be useful, Be the change, Be consistent, Be relevant, Be positive. It’s all about creating an identity

boot strap Bootstrapping: is a way of starting a company so that it requires the minimum amount of investment.



Look after yourself – it’s so important.

The shares you are to sell at the beginning are the ones that get you the least amount of money but are the ones that cost you the most in terms of equity you have to give away.

A big part of a managing a business is being able to manage yourself. If you allow it, it will run you.

Build your business for a while before you start selling chunks of it.

Tricks to stop worrying – Breath. Write down the worst possible things that could happen


Deal with each day. One at a time. Don’t dwell on the past and don’t live in the future.

A great brant is a great story

Keep working in the now.

Delay any investment

Don’t spend time moaning. Be thankful for each day.

Delay until you have some good quality sales data, some proof of demand. That way, your hand is the stronger one.

1000 f a n s Why 1000 true fans can make you successful Your strength of feeling within your 1000 fans will go a long way to determine your success. To build this fan base will take time though, a lot of personal attention, a lot of letters, a lot of phone calls, responding to mentions on Twitter & Facebook. You have to show you care more. If they are to care more.


team Tell them your mission. Tell them how important it is to you. Find brand mentors. Make them feel good. Pick your heros: Write them letters, phone them up. You’d be surprised, people hardly ever do this any more. Don’t play small, even if your budget is.

Enjoy the ride, it’s your ride. You make the decisions. Get your mind looking at the positives. Surround yourself with people who take you up, not bring you down. Time – ‘You can do anything, but not everything’. Working with great people takes less time than average people. Balance – Learn how to switch off. Some people obsess over their business, don’t. Get a hobby, and obsess over that instead.

The Do Lectures is a tiny event that started out in a quiet corner of West Wales that inspires you to go and do amazing things. At The Do Lectures you’ll gain practical tools, new ideas, and a different point of view. Speakers talk about their lives, how they think, what they’ve changed, or even what they hope to change.


Our jeans are the first in the world to have HistoryTag. A way of attaching memories to your stuff.

anyone producing works of art needs to acquire only 1,000 True Fans to make a living. A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff ,even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can’t wait till you issue your next work. They are true fans. One thousand is a feasible number. You could count to 1,000. If you added one fan a day, it would take only three years. True Fanship is doable. Pleasing a True Fan is pleasurable, and invigorating. It rewards the artist to remain true, to focus on the unique aspects of their work, the qualities that True Fans appreciate. - Kevin Kelly [1000 True Fans]




Daddison is a Bristol based designer known for his distinctive visual style and playful approach to his work. His name may not be instantly recognisable but you will have almost certainly seen some of his work displayed in clubs, boutiques, bars and galleries across the country. He has recently collaborated with more well known brands such as Penguin, Gap, Eastpack and Ralph Lauren. Platfform is honoured that Daddison has created this unique print for our ‘12’ issue. _______ * Tear off and keep

Let your tastes merge as seamlessly as your iTunes playlists and your love for take out Chinese. Nothing says I Love You like a merging wardrobe and colour-coordinated basics. You’re in love and you want the whole world to know it. After all there’s no better accessory than a well-dressed spouse on your arm. A couple that dresses together stays together. This is what true love looks like…

Art Direction & Styling // Lucy Smith Photography // Lauren Owens Make-up // KB Artistry Hair // Richard Kerr

Eau de


When celebrities and designers bring out a dozen new perfumes and aftershaves every year, it is no surprise that we are drawn into the frenzy that is fragrance. But what is the price that is paid to our well being if striving to be the next Sean John? Is it totally Unforgivable? Bethanie Dwyer sniffs out the truth.

Sometimes in life, it takes only a nostalgic whiff of freshly cut grass and one is transported back to a carefree childhood, running around the endless fields of youth. Maybe on a lower note, the smell of rain-speckled concrete takes you back to last Monday, 9:00 am and being late for work. It is no coincidence then that the side of the brain that controls our sensory smell, is also in charge of emotions, memory and creativity. The fact that the clever perfumists at Chanel, Jean Paul Gaultier and Hugo Boss have exploited this evolutionary grouping and are now earning a revenue to the moon and back no longer surprises me. It was 15 years ago when I realised that perfume was big money. At the time ‘big money’ to me was roughly twenty pence (but that meant twenty penny sweets, more than enough for a 6 year old.) One colourful summers day, sat in my best friend’s garden; we set to work on the manufacture of our very own ‘Eau de Kid.’ When posed with the question: ‘What are the ingredients of perfume?’ How many of you would stab at water, sugar and rose petals? That was my shot at the perfume industry... I failed.

that attract the opposite sex; they convey fertility and therefore make us desirable. Obviously the eau de toilettes that we purchase will be disguised by the subtle notes of rose and homely scents of honeycomb. Furthermore the faces in front of the advertising campaigns, being so beautiful, enhance the idea that to use scent you will ultimately attract your future love. As the Lynx advertisement quotes: ‘Even Angels will fall.’ Although we are bombarded with endless advertising stating that the new way is natural beyond compare, reality begs to differ; centuries have gone by since perfume was in its raw, natural form. To a generation of eco-warriors, a frightening fact the Committee on Science and Technology presents is that 95% of all ingredients of a fragrance bottle are synthetic compounds, derived from a petroleum source. Yes, the same petroleum that is drilled from beneath our fragile Earth’s crust and is in imminent depletion. With a revenue for UK women alone standing at £739 million for perfume in 2010 (lagging slightly behind on the male front) what value does disposable vanity hold over our future resources? With a high priced designer stamp on their fashion products, mere mortals can only dream of owning a sample of this high-end life and that is where the fragrance industry fits in so snugly. Designers create smaller, less valuable components to their fashion lines and brand it with their famous ethos, so that every Christmas we beg our other halves to surprise us with the fragrance of the elite. Can we justify this small fortune? Some would argue it takes us to an animalistic level as many of the fragrances we buy contain pheromones

Now imagine a sponge, a porous object that sucks its liquid surroundings into itself; that is our skin. The solvents found in the perfumes we purchase are absorbed into our bodies. Of course some is evaporated which leads to the gentle whiff we sense as we pass by. Unlike their synthetic counterparts, these hidden compounds are plant based and our garden fancies can lead to serious health defects when dissolved with other hard chemicals. Take Benzyl Acetate, found in many plants and used for its renowned pleasant aroma; the sweet allure masks its true villainous qualities. Linked with pancreatic cancer; the carcinogenic vapours are an irritant to our eyes and our respiratory system. No, you have not just been blown away by that hotty at the bar so much so that you lose your breath. In actual fact their CK One has just made its way into your system giving you sore eyes and wheezy breath. Now to Acetate’s counterpart: Benzyl Alcohol. Found in your car air freshener, have you ever found the smell of someone a little too overbearing? Pushing the boundaries of sickly? Well with side effects ranging from nausea to vomiting, I think you have found your culprit. Dutch artist Lucy McRae may have stumbled upon a genius alternative to dousing ourselves with the sweet smelling liquid. In collaboration with Sheref Mansy, McRae has begun to develop an ingestible fragrance which would turn the foul stench of sweat, sweet. The pill would presumably have a naturally pleasant odour. Yet with the acids of the stomach and digestive system ripping the pill to shreds, what travels through the blood stream and out through our pores is yet to be discovered.

Leading from this very contemporary experimentation is the idea that the foods we eat can help maintain a desirable smelling aroma. After one too many curries, we all know the effect the garlic and spices have. That they seem to smoke from our satisfied tummies for hours, even days after the deed of the cheeky takeaway was committed. Committing to a vegan diet can create fresh aromas to be emitted from your body. Some vegans even declare that their armpits have the scent of freshly baked cookies! Who knows, the next line of fragrances could be inspired by your local bakery. A less challenging way to change your body odours naturally is making sure you keep to a diet of fresh produce, also sprinkling cinnamon, cloves and nutmeg on to your meals can tackle less pleasant aromas. Such edible additions, due to their strong properties can stick to your body and mouth for much longer. So what should a person who appreciates their self image really do? It seems a little, not so often approach is a good mantra to stick to. In small quantities the ingredients of our fragrances cannot harm us and maintaining a healthy lifestyle and diet will only do us justice. In the not so distant future perhaps a natural remedy or supplement will be derived to keep us smelling fresh...

Before starting as a fashion intern, I received many a warning from individuals that had been led to believe in what I call the ‘DWP’ complex (Devil Wears Prada). Yes, that cliched tale of the egotistic Editor versus the inexperienced, naive Assistant. But in reality; to my disappointment, the Miranda Priestly’s of the magazine world are few and far between. Those very few seem to dwell in the adjacent office space inhabited by a women’s publication whose name I daren’t mention (you know who you are).


James Whiting, our fashion features editor, talks about his time as an intern at Esquire magazine.

Coinciding with London Fashion Week and several high profile cover shoots, the intimate office space was bustling. Invites were strewn over desks, bouquets of thanks encroached on the email covered screens and the fashion cupboard was fit to burst. My ‘To Do’ list was lengthy even before my arrival.

That’s right, you’ve guessed it, no budget for the newbie assistant to join in the fun. So, back in gloomy London we made our own fun by attending any night time fashion event that we could wheedle our way into. In fact we didn’t need to wheedle, surprisingly I was turning down invites...the joys of an official Esquire email. Models were sent my way daily; for personal judgement, with their portfolios bursting with images from their latest Gucci or Brioni campaign shoots. Not a responsibility I was expecting to be given, but I enjoyed it none the less. My boss regularly utilised me as a sample model, both on appointments and in the office; looking ridiculous in jewel encrusted Prada was not a high point for me.

I’ve always felt that I have a good understanding of the fashion industry. I can name the key movers and shakers, understand the wine and dine philosophy and even attempt to speak its mother tongue. However, I underestimated the sheer variety of tasks to complete and the speed at which the publication must move in order to keep up with it’s competitors.

Apparently, the previous interns had not discovered the joys of alphabetical filing, or indeed how to use a hole punch. So with my O.C.D. in tow, I plowed through the paperwork with an unnatural feeling of sheer delight. Slowly developing square eyes due to countless emails and a slight distaste to the sound of my telephone voice, I tackled preparing for an ominous and unusual portrait shoot (I won’t disclose the details for fear of being sued).

Predictably, I went from having zero, to dozens of ‘friends’ who coincidently all worked in PR... go figure? The post room was quickly filling up with packages, parcels, boxes and bags; samples all addressed to me, the space next to my desk was soon to become a reject bin. The big fashion stories were looming and my deadlines were speeding towards me at full pelt.

However, I’d like to say that the shoot went without a hitch solely because of my personal efforts, but I’d be lying. Each and every member of the tight knit machine that is Esquire UK, choose to persevere despite illness, personal crisis or just the Monday morning blues, never forgetting that Friday afternoon soon approaches. In London that can only mean one anyone?

Unfortunately, the talents just so happened to either reside in Los Angeles or be required to wear very tight, Versace swimwear on a sun-kissed Miami beach...

The Spring Court trainer. An amalgamation of Parisian classical chic and a tennis shoe designed for the clay courts of the sixties.

_to centre stage


Florence Grimmeisen clarifies the meaning of “fair game” as the basis for the Spring Court brand. Envisage a rhythmic tennis game, between two old friends. There is no rush, there are no over zealous serves and the game represents a plutonic love of the sport. In correct clay court manner the gentlemen groom the court with a drag mat and wander to the clubhouse for a lemonade. This is the birthplace of the original tennis trainer by Spring Court. It was in 1936, in a very similar circumstance, that Theodore George Grimmeisen brought the first clay court tennis trainer to the French footwear market. The trainer aficionado’s amongst us will no doubt query the lack of all singing all dancing brand marketing campaigns or world bettering brand ventures a lá Nike. It is not an oversight. The family run brand are conscious to trade only on the strength of their classic product rather than inhabiting an led backlit musical banner brandishing the words “Spring Court” across the streets of London. In its former days the trainer was donned by the tennis greats of the era. The likes of Jean Borotra, Jacques Brugnon, Henri Cochet and Rene Lacoste paraded around the courts of Europe sporting the trainers trademark fourhole ventilation system and arch support. The trainers became the unparalleled tennis shoe of choice both in terms of performance and style. During the sixties more A-list wearers continued to appoint the brand as their preferred sneaker.

None so idolised as the infamous John Lennon whose love of the brand saw him walk up the aisle in the white low cut dap. After wearing the trainers once again on the front of The Abbey Road Cover in 1969 the kinship between the companies sporting roots and music culture was affirmed. This tapestry of antiquated narrative and vintage glamour of the thirties has created a brand that is rich in context and charm. Any brand is born out of its founders vision, but within Spring Court there appears to be the presence of a family’s vision in no way diluted or challenged by the passage of time. Spring Court today reaffirm their product as ‘the original tennis shoe’ and trade only on the notion of “fair play” as the company’s ethos. The trainer in question is a design classic. The shoe features signature Spring Court trademarks such as the four-hole ventilation system on the gum sole as well as a natural arch support insole. Technicalities aside Spring Court offer beautifully balanced casual trainers that ooze comfort. Available in leather and canvas editions as well as in an array of collaborative styles the options are diverse, however, the core of the brand lies in the mid cut white dap, the Spring Court original. Finally, and in the nature of fair play; three cheers for the subtlety of the Spring Court manner, which only illustrates the family’s passion and confidence in their product. The original tennis shoe since 1936.

Words and Illustration by Hannah Cook

Do You Read Me?, Berlin. Whether you are interested in fashion, photography, art, interior design or culture, Do You Read Me? will have something for you. This fantastic magazine store is a creative’s dream. Laid out in a minimal yet stylish way this is far from your local newspaper shop, so drop in and immerse yourself in the design world.

Treehouse Hotel, Ploemel, France. Relive your childhood dreams in the French countryside by spending the night in a treehouse. Situated in a paddock, relax in the company of horses and treat yourself to a massage in the onsite spa facilities. This peaceful hideaway could not be further away from the memories of splinters and spiders.

Blé, Thessaloniki, Greece. Blé is the creation of minimal architects Claudio Silvestrin and Guiliana Salmaso. Whether you are interested in the architecture or just want to admire the beautiful pastries, this one of a kind four-floor designer bakery is well worth a visit.

The [12platffôrm] guide to the

Seal the deal with your other half by attaching a padlock to Pont Des Arts Bridge in Paris. All you need is a padlock, a permanent marker and a ticket for the Eurostar to see if the myth of the “lovelock” results in everlasting love.

weird and wonderful

Pont Des Arts Bridge, Paris.


Nemo 33, Belgium. With a maximum depth of 113ft, Nemo 33 is the deepest indoor pool in the world. The non-chlorinated and warm spring water welcomes those with an interest in diving, or those who just want to swim in this unique pool. Underwater windows at different levels allow specators to really appreciate the grandness of this experience.

Hospitalis, Latvia. Welcome to the world of surgical dining. You enter the clinical white restaurant as a patient to be seated by a waitress, acting as a nurse, at a hospital bed. On ordering, your food will be cooked by “doctors” and drinks are provided in beakers and test tubes. Not for the fainthearted this bizarre concept is ideal for lovers of gore.

Weinerei, Berlin. You’ve heard of an “all you can eat buffet”, now enter an “all you can drink bar”. Berlin’s concept of “pay what you want” bars is ideal for those on a budget. For just one euro you can drink the night away in this cosy bar and pay what you think it has been worth at the end. Just make sure you are there early enough to bag yourself a seat.

Buchstaben Museum, Berlin. The Buchstaben houses a large collection of letters in all shapes, sizes and materials. Step into the world of letters and see what hidden messages you can find.



In the world of fashion, sneakers have only had a relatively short life. An old pair of Nike’s Jordan 5’s would have cost around £50 25 years ago (an expensive purchase back then). Who would have thought they’d now be worth £1,500? Since once being considered the footwear of sports, sneakers have filtered their way into practically everyone’s wardrobe. Whether they are for comfort, wearing to the gym or for fashion’s sake, we all own a pair. Sneakers have become a huge phenomenon worldwide with some collectors obsessing over particular brands and styles. Limited edition and vintage are the best collectors items and are also worth the most money. In Los Angeles and Tokyo dedicated shops have been opened allowing these obses-

sive’s an outlet to negotiate prices, selling their wares to buyers all over the world. Specialist websites have also been developed specifically for buying and selling rare pairs. One such obsessive, Simon Lee, a Bristol-born artist who now resides in LA, has been an avid trainer collector for many years. “My interest in sneakers was sparked way back in my high school days,” he said, “It was mandatory for pupils to wear proper shoes, so it became incredibly risky and therefore cool to get away with wearing sneakers”. Simon has taken his obsession to a whole new level with his intricate paintings of some of his favourite footwear painstakingly detailed down to the very laces. Simon took his obsession with trainers to the extreme when he decided to paint his most famous piece of work to date -“Dunk Therapy”.

Converse All Star Chuck Taylors which were originally created in 1917 for playing basketball, have now become a fashion must. A pair will only set you back at around £30 but some pairs have been released in limited editions and often in conjunction with big designers. Fashion fusion collaborations such as Adidas/ Diesel, Puma/Alexander McQueen and Converse/ Commes de Garcon have seen prices soar with some rare releases costing in the region of £200+. It would seem that even high fashion designers are approaching a whole new market and realizing its worth. Recently Nike created and re-

They were so rare that collectors bought into the hype. The lowest price paid was $4,000 and the highest went for $75,000. So was this all for charity or just a great pair of limited edition sneakers? Simon tells us that when a brand such as Nike announce on their website that a particular model is being released, collectors quickly spread the word. “I’ve camped overnight outside the sneaker stores of LA on many occasions to be one of the first to get my hands on a pair”. Usually only one pair are sold to each customer and in some circumstances wrist bands are given out to those in the

Some artists are now making a name for themselves by painting directly onto their sneakers; customising designs and creating looks and colours different to the originals. Artists such as Sabotage, Mizzee and Insa create new colour ranges and showcase them online. With instant comments from collectors and fans across the globe the big brands have taken note and have even released sneakers in collaboration with these artists using their colours and designs. So the next time you are having a clear-out and you come across that tatty old pair of

They were so rare that collectors bought into the hype. The lowest price paid was $4,000 and the highest went for $75,000.

////////////////////////////////////////////////// leased an exact replica of the pair of sneakers worn by Michael J. Fox’s character Marty McFly in the blockbuster film of the 1980’s “Back to the Future”. Like those worn in the film the Nike logo glows in the dark, but unfortunately the technology is not available to have them lace themselves (yet!). Designed by famed Nike shoe designer Tinker Hatfield only 1500 pairs were made and over 10 consecutive days 150 were sold each day on the auction website eBay. All the money raised went to Michael J. Fox’s charity for Parkinson’s disease.

queue to ensure that sneakers are sold to those who arrived first. As soon as the entire stock is depleted, within hours of being released, the sneakers can be bought online for at least twice the price. At times it is better to hold on to a purchase because as they become harder to find, their value increases. Simon currently has somewhere in the region of 100 pairs of sneakers in storage in Santa Monica LA, awaiting the right moment to sell. Rare vintage sneakers such as Jordan’s and Dunks, all made by Nike, are worth the most.

sneakers at the bottom of your wardrobe – stop. Don’t hastily toss them in the bin or take them to the charity shop. Perhaps it would be worth having a look at one of the many collector’s websites. Failing that, get out your paints and have a go at redesigning. It’s quite feasible that those sneakers are worth a lot more than you might think. They could even quite possibly be worth a sneaky fortune!

The Female Form;

Constrained & Manipulated London based textile artist - Khaitee Mills Khaitee creates installation based work; taking into consideration the space in which the viewer will see it. The aim of its shocking and somewhat disturbing appearance is to generate a reaction from the viewer, making them feel uncomfortable. These pieces signify the restrictions women face concerning their figure and ways in which they attempt to control the way they look through manipulation of their body and/or general appearance. She says “It’s all about ‘idealistic beauty’; touching upon, not only body modification but also disfigurements, eating disorders, growth, and body image as a whole, as well as the psychological analysis behind it”. She uses a vast variety of textile techniques and materials such as knitting, embroidery, and latex in order to create shapes and forms that are bound together with the intent to distort the boundaries between the inside and outside of the body. Khaitee is currently a Textile Design student. After she graduates she would like to complete a master’s degree in Fine Art. She plans to move on to producing collaborations with other designers and artists and eventually create an independent name for herself.


Kara Kibble

EXTREME FASHION: BY STEPH TURNER Iris Apfel leads the New York fashion followers in her signature oversized glasses – “the bigger to see you with,” she likes to say; her words have a hidden message, bigger is better, better is wilder, wilder is the way forward... Gone are the days of subtlety and sobriety. In are the days of extremity and insanity. The ‘little black dress’ will always be a timeless classic, however a new lease of life has entered the fashion tribe... EXTREME Fashion. The concept of less is more, has never entered the minds of extremist fashionistas, its now more, more, more… colours, patterns, more insanity! There’s no time for shyness and restraint, gone are the Chanel moments of elusiveness and class, because fashion has a new battle on its hands. It is a battle where there is no war, but one that always swings back into the front row of fashion consciousness with a bite that stings. Because let’s face it, what’s better than flashes of clashing colour, ominous patterns that make you dizzy and the zaniest designs since Gareth Pugh strolled into the limelight? Enter: Extreme Fashion, it seems these designers have more than a thing or two to say about it... Take House of Holland for example. Since when did sunny day/cloudy day/ blue-sky jeans become acceptable to wear walking down the high street? Nonetheless, it begs the question: Can we actually wear what we see on the catwalk, or is the catwalk just a place for self-expression. And furthermore

is it a place where art exists and fashion begins? Or nowadays, since the world is now a place where only governments speak of political correctness, and morals seem to have gone out the window, we can now wear exactly what we want, when we want, regardless of what people may think. But what DO people really think?

shock, for example, Grace Coddington of American Vogue who always wears black and Nick Knight who owns the same four pairs of jeans, four identical white shirts and the same tan shoes , and wears the same outfit everyday, its like it’s his uniform. these people don’t need to create through clothes, therefore can dress ordinarily...”

Imagine yourself buying something ‘way out’, outlandish and equally outrageous. You put it on in the mirror, feeling good about yourself, just for the other half to walk in and compare you to Lawrence Llewellyn Bowen. Not quite the reaction you may have been looking for... and that leads us to the main question: Is extreme fashion for the fearless or for the foolish?

This leads to the question of why we dress the way we do and what it means. There are many people out there who like to wear ridiculous clothing because, for them, it is self-expression and it makes them feel good. Equally, people convert to their fashion tribes because they feel part of a group. Then there are the individuals. The ones who simply do not care what people think, but wear exactly what they want with no boundaries and no worries. Extreme fashion has always been present, and at the forefront of fashion intentions. It’s what keeps fashion alive, pleasurable and entertaining; it makes the world we live in a wondrous place. However is this still fashion, or something that’s crawled out of a jumble sale screaming ‘wear me, wear me, who cares if it goes, just walk with an attitude and it will be ok!’ In the consumer market we live in, clothes are coming from every direction, so why shouldn’t we wear what tickles our fancy? In this dreary, uncertain, despondent, sometimes desolate world we live in, imagine if the ‘fashion police’ stopped all colour, all pattern, all creativeness, we would be looking into a hole of monotonous and mind-

A prominent international stylist, voiced her opinions on dressing outrageously. “If you are in a position of authority, take for example, Anna Dello Russo, editor of Japanese Vogue, I wonder if they get away with wearing outlandish outfits and being classed as fashionable, as opposed to a young student intern trying to get attention through their ‘absurd’ fashion sense?” She then went on to say: “When working for British Vogue, one of the women, who worked in a higher position than me, used to come into work in the most outrageous clothes. One day she turned up with a basket on her head as a hat. On asking her why she wore such outfits, she told me she felt it was her duty to wear the craziest clothes”. She then cited, “the more successful you are, the less you need to

Rules for Extreme Fashion:


Is extreme fashion for the fearless or for the foolish?

numbing darkness. Iris Apfel once mourned about fashion: “There’s a sad lack of glamour in the world today, and there’s absolutely no fantasy.” Those people brave enough to stand out from the crowd, unafraid of the confused looks and ignorant comments from the person stepping out of Primark, should be saluted. They are the fashion front-runners, the ones who when we see them walk past us in the street, make us smile and secretly think: ‘I wish I could dress like that’. They bring us something that only a person who is fearless yet foolish can do. These are the people who inspire our designers to make beautiful clothes that shock the audience. Because if we cannot shock and captivate people then the fun of fashion leaves the room like an irreplaceable whisper. Whether it’s foolish or fearless, one thing this fashion panache is, is fantastic.

You must wear your over-styled garments with your head held high, every raised eyebrow is a tick in the box, the more unbelievably preposterous, the better. Who wants regular high street when you can save up for that outrageous Vivienne Westwood coat which is actually a pair of trousers worn upside down, inside out, which will undoubtedly wow the crowd.

#2 Forget the passer-by in Tesco, who asks you to please be more appropriately dressed on a Monday morning as it was only a day ago they were recovering from the hangover from hell, and that the psychedelic patterns are reminding them why they should never drink again.

#3 With extreme fearless dressing, there are no rules! You can be who you want to be, express the mood you are in, without saying a word. It takes you back to the main purpose of wearing certain clothes. For instance, black symbolised grief and white symbolised purity. Therefore, are we just, in the strange circle of fashion existence, going back to our roots?


New Jersey based, self taught designer Mark Tauriello finds his inspiration in a number of unexpected places. A fusion of sci-fi, punk scene, horror and new wave; it’s no wonder his outfits are classed as extreme. Sporting lego brick glasses at New York Fashion Week , he’s not the shy and retiring type. _________________ “I imagine that I’m making works fit for an avant-garde space age massacre”.


mark tauriell0

His sculptural, colourful and bold ‘2084’ collection is fit for any post apocalyptic world and gives you the same uneasy feeling as when you are watching Freddy Krueger run a mock in his red and green striped jumper. Referencing Orwell’s 1984, Tauriello’s hand sewn geometric armour provides a talking point for any crowd watching one of his shows. References to films such as Suspiria, Forbidden Planet and of course Nightmare On Elm Street are evident throughout his story and I’m sure that he will continue to explore these genres; converting them into wearable installation pieces.

Illustration - Kelsey Jones


OF MICE AND MEN At the very mention of the word ‘collaboration’ sparks of excitement fly within the fashion world. When labels unite to create a limited edition design, or capsule collection, customers are sure to receive the best of both brands. Taking part in such collaborations, Disney has made its mark within creative industries. The connections between Disney and high fashion are not exactly instantaneous, though the presence of the childhood characters has become evident within recent years. Featured within publications such as Vogue and across designs from labels such as Dolce and Gabanna, Disney has inspired creations.

While the magic and wonder of Disney seeps through the childhood of many adults, the familiar characters hold significant memories within our inner-child. The nostalgia that is held within the fairytale-like stories that Disney is associated with allows us to escape from the real world. The presence of Disney characters within the glossy pages of highfashion magazines reflects the strong attachment of the adult sector with the brand. Stylist Michelle Duguid, smiles as we discuss the relationship between Disney and fashion. She explains how her young son interacts with the characters expressing how ‘everyone loves Disney because of the heritage of the brand.’ She added ‘people grow up with it and watch their children in turn grow up with it. Parents see the relationship between them and the characters develop and so people become attached to the cartoons.’ Moroccan designer Jean-Charles de Castelbajac has used iconic Disney characters in previous collections. Vintage Mickey features and a series of 101 Dalmatian prints are also present. Though the designer also carries a lower priced JC/DC line, you wonder what caused the decision to use prominently child-based cartoons characters within his high-end collection. Though he is not alone, Dolce and Gabanna have also featured Disney imagery along with Italian fashion house Pinko. The interest of Disney for adult target markets is evident.

The glamour of the Disney villains and heroins are so exciting as the women are always so well dressed, especially Cruella.

The surreal, dream like world that can be created by high-end fashion designers often tell story’s to help generate ideas behind their latest collections. The experience aspect of fashion shows is of increasing importance with many designers reaching out to digital and augmented elements to enhance the fantasy behind the collections.

Michelle discusses how villainous immortal Cruella Deville inspired a styling project for Russian Vogue. She said ‘the glamour of the Disney villains and heroins are so exciting as the women are always so well dressed, especially Cruella.’ She explains how women dress differently in Russia, glamour is a daily ritual, even in -40 degree temperatures. A famous Walt Disney quote reads that ‘all cartoon characters and fables must be exaggeration, caricatures. It is the very nature of fantasy and fable.’ Michelle refers to this statement answering ‘I think that this is what the best fashion images rely on. Stylists love to take an idea and push it to it’s most fantastical point.’

BLOC28 is a contemporary art company, set up by Disney, allowing artists to reinterpret the house image. The project was set up in 2007, starting as just a few graphics but it soon set off into its own program. The artbased collection is made up of contemporary mural, graffiti and street artists that were inspired by Disney cartoons during their childhood. The idea behind the project was to see how Mickey could be interpreted...

The artworks are able to reflect the individual style of each artist as iconic Mickey acts as a blank canvas for each to construe. The program has received a positive reaction, which is due to the selection of artists who have been chosen from the community, helping the project to stay rooted. In keeping with Walt Disney’s cartoons, the pieces do not only have to tell stories amazingly but be visually interesting. Once completed the artworks are produced onto street wear, vinyl’s and guitars, creating an urban aesthetic to the 83-year-old mouse. BLOC28 artist David Flores explains the importance of the subject matter; ‘The Mouse never left, it’s still here and now onto the biggest project yet. If you think about it, Mickey Mouse himself has fed thousands of people with jobs and creative outlets and memories, he’s the biggest celebrity in the world. ‘Disney has an expansive base within the fashion industry. The heritage of the brand will continue, in good faith, to influence designers with the seductiveness of magic and excitement. Contemporary art pieces expand the image and versatility of the iconic characters, continuing with the accessible nature of classic Disney products.

Polly Crane PARED is a campaign to promote awareness of the need for a more responsible approach to fashion consumption. Pared highlights the 7000 tons of recyclable textiles that end up in landfill across Europe each year, fuelled by the 80 billion new garments manufactured worldwide and the estimated 55 kilo’s of new clothing purchased by each individual. The creator of Pared, Polly Crane, believes that consumers, individually and collectively, have the power to demand more from the fashion and retail industries in relation this issue.



All very powerful stuff but Pared presents the facts in a unique and old school charming way, sending the message through a great film, a beautifully designed and easy to navigate website and a range of printed reminders to help keep you on the straight and narrow. At Platfform we’re loving the ‘keep me cards’ – a gentle nudge of the conscience in our wallets that whispers maybe we don’t really need that second pair of digital print pyjama trousers after all...



Image - Alice Moore

“A mickey mouse watch I had when I was 5 from Disney Land...Its tiny and useless but has so many memories attached to it” “A fork that I stole from the restaurant where my husband proposed to me, every time I look at it I get reminded how happy he makes me” “My lucky pair of socks - I put them on whenever I feel like I need some extra luck, and yes, I do wash them” “My vintage leather jacket. I picked it up in a really strange shop on my first ever trip to New York. I love my leather” “My Dog” “A key that I found in the sand when I was on a beach in Thailand. I won’t ever know what it opens but it reminds me of my travels” “A bowler hat that I picked up in a charity shop, the same day I found out I was pregnant with my first child” “An old plane ticket. Actually, the place I took when I moved from the USA to England. To me, it was a huge step” “A coconut shell i’ve had since I was a kid from a fairground we went to on holiday once” “A pair of trousers - losing all your worldly possessions is one thing, losing everything and being left naked is a step too far” “I have nothing of sentimental value. True story”


by Trisha Mayers

xxxxxxxxxxxxxx A pre-requisite for cool. A true fashion classic that has transcended generations and defies passing trends. Few can deny the timelessness of the leather biker jacket, as it has expanded its versatility and acquired wardrobe status throughout the past century. A garment originally of utility, it has made its way into the selection of classic garments. Coveted, a go-to item that can satisfy any stylistic needs. In these modern, culture clashing times the biker belongs as much over a crisp white tee and battered Levi’s, a lá James Dean, as it does over a delicate silk hâute couture gown. And it is this versatility and cross-gender appeal that has secured its reign in the wardrobes of the young, old, style conscious or style averse, guys and girls of many a generation. As with all utility wear that has infiltrated the world of fashion, the way was paved by the guys, with the rise of biking culture and celebrity bikers such as Marlon Brando donning the style in 1953’s ‘The Wild One’. The original Schott ‘Perfecto’ became exactly that – perfect; created in 1928 the black leather version with asymmetric zip, belted waist and press-stud epaulettes became the consummate incarnation, which is still in production, and has hardly changed since. But as ever, it did not take long before the girls began coveting their boys’ wardrobes and making them their own. Champion of masculine style Marlene Dietrich was hijacking men’s leathers as early as 1931; the then risqué idea of girls rocking their bad boy beau’s jackets was the ultimate in rebellion. Biker jackets carry a reputation that precedes them, early wearers were universally considered wayward and troublemakers. A French term ‘blouson noir’ synonymous with gang culture and delinquent youths was coined in 1960’s Paris.

You would be hard-pushed these days to find anyone who would fear the now universal leather biker, its power to intimidate waned in the 1980’s post-punk era and its status shifted to that of classic wardrobe staple. Tactile and indulgent there are few investment pieces that justify their costliness; many people search for years for the perfect biker, with just the right fit, like a second skin. Hardwearing and never ephemeral, a biker can last a lifetime, and subsequently become an heirloom-like piece, going on to endure for many more. The primitive fabric can protect like armour, robust and lasting its beauty lies in its changeability, leather wears and evolves, it displays its authenticity. As described in French newspaper Le Figaro in March 2003, “its veins and scars attest to life, the folds and creases that show up once the garment is worn, and its patina laid on one day at a time”. Its lived-in character improves with age; the ravages of time, illustrated through scratches, cracks and scars, tell tales and conjure memories. My own quilted leather biker became a casualty of a heavier-than-usual night, but the almighty tear to the lambskin, which I feel less than obliged to repair, has not reduced its value or wearability, quite the opposite, and I will continue to cherish it for a lifetime. A garment that since its inception has been protective, utilitarian, rebellious and reviled; atop the backs of rockers, mods, punks and the masses, the uniform for the Hells Angels and the stylish fashion pack alike. As it approaches a century since its incarnation, having never become passé, it has earned its place as a certified classic, and will surely continue its reign as a cherished piece for generations to come. For many will echo the sentiment of Sid Viscious’s suicide note, “Please bury me next to my baby, in my leather jacket…”

Image - James Whiting

James Whiting

That is the question. I’m sure Shakespeare often had this quandary (well maybe not); it’s a consideration that has perplexed me for some time now, three years and five months to be exact. After living with the idea for such a long time I am confident that I want to ‘rebel’ now rather than later, but will I still be as fond of my choice to express myself with ink in my more mature years? Being of a generation that is open to personal creativity it is difficult to grasp the dusty opinions of my familiar elders. On the streets of Britain, young and old alike seem to be sporting some kind of skin art. Tasteful or not, you can’t deny its appeal to the masses. From ‘painted’ arms and legs to token flowers and hearts; trendy twenty somethings have absorbed this form of self expression quicker than the ink which penetrates their skin. As Pamela Anderson once said, “Tattoos are like stories, they’re symbolic of the important moments in your life”. Today we are obsessed with ‘having a story to tell’ more than ever, overnight ‘celebrities’ being churned out by reality shows are testament to this phenomena. Having little concern for this culture, I remain in despair when the latest tangerine lovely graces the covers of gossip mags exhibiting their latest ‘slag tag’ or ‘tramp stamp’ as it’s referred to over the pond. A tattoo is for life, or at least until a more affordable removal technique is discovered. So why the sudden mainstream acceptance of an age old art? Why have we found such normality in what was once considered the epitome of rebellion in western society? The world’s first tattoo, or ‘tatau‘ (meaning ‘to mark something’ in Tahitian) was created over 5000 years ago. In fact it was probably a mistake; a wound rubbed by a soot covered hand that healed and preserved the colouring underneath, or so the history books tell me. The Ancient Romans believed in the purity of the human form, tattoos didn’t have a place in their society unless you were a condemned criminal. The vision of Brit warriors charging toward them clad in symbols of their ferocity soon changed this and Roman soldiers began marking their bodies. The power of a tattoo lies in it’s backstory, without that it’s just graffiti. Having retained the associations with its colourful past, tattoo designs of today tell a tale of stereotypes and sensationalist associations.

The Egyptians, Maori tribesmen, Greek gladiators, native Americans, criminals, circus folk and sailors alike have all contributed to this psychedelic saga. Throughout history the art of tattooing has gradually developed into the boutique business that exists today. Tattooists now focus their talent on specific areas of the art and each develop their very own style and flair. With most of my day time TV watching revolving around Miami, LA and London ink, it is clear to see that the market for this product is no longer so niche. Tattooing is enjoying a world wide renaissance and naval style tattoos are particularly preferable. Any self respecting hipster seems to be exhibiting an anchor or swallow on their person; whether it be as part of an intricate chest piece or a minute smudge upon an extremity. Seaworthy symbols are synonymous with British history, so like the sailors returning home with self inked images of flowers, scrolls, mermaids and serpents; the British youth salute their grandfathers and cast off the shackles of modern conformity - or so they think. I have always had an appreciation for the tattooed pin-up, as have many others in my generation. Curvaceous, scantily clad women are the perfect symbol of vintage; with their rouged smiles and curled hair-do’s, they give Bettie and Dita a run for their money. Immortalised in ink, the tongue-incheek poses, burlesque ethos and the current resurgence of forties and fifties glamour all draw me in. But I’m not so sure of its longevity and what does it mean to me other than being visually ‘cool’ image today? Whatever I decide, no amount of peer pressure, celebrity endorsement or fashion preaching will sway me. If I

Tattoo Artist Molly Pritchard, has a more than extensive portfolio of work; spanning old and new styles she specialises in portraiture and realism. When invited to view Molly’s work first hand, her dedication to the art was clear. Her designs are flawless to say the least, ranging from intricately feathered birds to characterful pin-ups, I will certainly be seeking her expertise and skill in the not so distant future.

Contact Molly Pritchard at: inkcognito, 164 Richmond Road Roath, Cardiff, CF24 3B164 02920 255 124

‘Gra-və-tē Gravity: the unseen enemy of flight. A natural phenomenon that prevents us from reaching the soaring heights of our dreams. Albert Camus said once “those who lack the courage will always find a philosophy to justify it.” But to reach the escape velocity necessary to launch a career in fashion requires more than courage: it requires aspiration, vision, determination, tenacity, stubbornness, perseverance, single-mindedness and endless amounts of energy. The following pages pays homage to those who walk the earth with their eyes turned skyward. Here’s to the Class of 2012, to those Magnificent (wo)Men and Their Flying Machines…

Art Direction: Photography: Assistants: Models: Hair: Make-up: Location:

Ric Bower and Tom Clulee. Ric Bower. Carys Huws and Kelsey Jones. Daisy Browne, Jessica Ware and Daryl Woolard. Layla Evans and Jacob Fessey at Toni & Guy. Lisa Caldognetto, Dean Rudd and Davinia Smith at MAC Cosmetics. tactileBOSCH Studios, Cardiff.

Daisy wears reversible charcoal flannel slashed coat-dress by Katie L. B.

Daisy wears wool, cashmere and silk dress and handcrafted leather belt and accessories all by Anita Nemkyova.

Jessica wears gold silk and cotton dress and statement embossed leather basket woven accessory by Sasha Flaherty.

Daisy wears black coated cotton dress with slashed front detail by Chloe Rees.

Jessica wears embellished pig suede concertina jacket and galaxy leather bodysuit by Lucy Hopkins.

Jessica wears pink silk dupion dress with embellished detachable collar accessory by Lisa Lau.

Daisy wears black double-layered jacket with hologram pocket detail and white double layered cotton shirt dress by Lucy King for LVK.

Daisy wears cobalt silk pleated dress and Deco terracotta neckpiece by Steph Kent for ADDLIB.

Jessica wears parquet paneled tweed jacket with shredded ribbon sleeve and parquet paneled hot pants with contrast laser-cut leather panel details by Laura Jones for LCJ.

Jessica wears white shifted sheer panel shirt and black shifted sheer panel trousers by Lucy King for LVK.

Daisy wears oversized tailored wool flannel jacket with dropped lining, high-waisted oversized tailored trousers and asymmetric sheer and cotton shirt by Rebecca Pickford.

Jessica wears ballooned sleeve linen jacket with gold and cobalt silk dropped waist dress by Steph Kent for ADDLIB.

Daryl wears navy gabardine double fronted suit and white cotton asymmetric pleated bib shirt by Jessica Roles for JARJAR.

Daisy wears parquet paneled body suit with contrast layered laser-cut leather panel detail by Laura Jones for LCJ.

Daisy wears reversible paisley cotton blouse and silk dupion cropped harem style pants by Demi Watkins.


20% OFF ANY SERVICE T&C’s Apply. This page must be brought to appointment. Mon- Fri only. TO MAKE AN APPOINTMENT PLEASE CALL OR VISIT : 35 ST MARYS STREET CARDIFF CF10 1AD T : 029 2039 9900 UNIT 2 CHURCHILL HOUSE CHURCHILL WAY CARDIFF CF10 2HH T : 029 2023 2404 T&G_Ad_Cardiff.indd 1

1/5/12 09:21:25

__tactile BOSCH Gallery & Studio

On walking into the Tactile BOSCH Gallery and Studios you get the impression that this is not your stereotypical exhibition space. Greeted with the word ‘moist’ in neon lights as you enter the building it’s apparent that your inhibitions are about to be put to the test. Converted to its present use in June 2000 by Kim Fielding & Simon Mitchell, the 200 year-old property has an eerie feel to it, full of dark corners and unusual objects scattered around the three buildings. It was opened for the use of both established and emerging artists as a place to create and showcase their work in an alternative location. Rooms in which dead trees are laid to rest and walls smothered in crimson velvet, it’s safe to say that this space is unusual. It has been supported by Arts Council of Wales plus numerous Cardiff based curators and artists. The exhibition space has received high praise for its versatility and ability to adapt to each person’s artistic vision. As a first time visitor to Tactile BOSCH, it is a refreshing alternative to your average art space; with both elements of surprise and excitement, as you peer round the corners into the unknown.

Kim Fielding 07951256255

Old Victoria Buildings, Andrews Road, Llandaff North, Cardiff, CF14 2JP

T he 1000 Journals Project * In the Summer of 2000, San Francisco graphic designer Brian Singer, more commonly known as ‘Someguy’, released 1000 blank journals into the world. The instructions printed inside each of the journals were simple, ‘Add anything you like, then pass it on. This is an experiment, and you are part of it’. Fueled by the frustration that many of us have lost touch with our creative side, which even I can admit to sometimes, he launched the project to inspire the creative being that each of us have within ourselves, to surface once again.

Kirsty McLean

As a child I was never without a notepad, crayons and brightly coloured stick men in various fairytale scenes from my vivid imagination; they would always manage to make their way on to the walls of my bedroom. Although I followed a creative path when growing up and now find myself studying an imagination fueling degree, I still can’t help but feel I have lost some of my creativity along the way. This is exactly the question ‘Someguy’ poses. “What happened to us? Where did our creativity go? We were all creative people at one point in our lives and now we all go to work every day and sit in traffic” (1000 Journals documentary.) From speaking with Brian Singer, his inspiration behind the project is both clear and fascinating. “I was originally inspired by what people write on bathroom walls. It seems, in the privacy of a bathroom, people will write their true opinions about everything....war, drugs, sex, and politics” Singer photographed and catalogued these “public discussions”, telling me that his initial thought was “it’d make an interesting coffee table book”. From this, came the idea of creating a book to “facilitate the continuation of the conversation”. He wanted people to have somewhere to continue on adding their thoughts and opinions which led him to the idea that “the books should be blank, they should travel, and there should be a lot of them”. Since being set free, the journals have been traveling from hand to hand throughout the world; the pages slowly filling with memoirs, scribbles and illustrations of those who happen to find them. The pages in the journals display a cross-section of various cultures and characters, giving an insight into the lives of people all over the globe. Some people chose to paint in them, some scribble down emotional and heartfelt messages of morality, anguish and joy. Many people add self portraits or personal photographs, leaving a visual reminder of who’s hands the journal had fallen into. He explains to me his surprise at how long people seemed to hold on to the journals, saying “I was surprised that people felt they had to do something “good” in the journal, I want to do something good, and don’t have enough time right now. I’ll get to it this weekend”. This perhaps explains why some of the journals which have been traced are still almost empty to this day.

When I asked him what he hoped to achieve from letting 1000 blank journals into the unknown, his initial answer was “it’s hard to say”. When sending the books on their way he explains “I didn’t know what was going to happen. When you throw a message in a bottle out into the ocean, you can hope that it’ll return, but its not something that I’d bet money on”. What started as a collaborative art project has spiraled into somewhat of a phenomena that even he himself ‘never anticipated’. If anything, he thought it ‘might make a good book’ but along with that, the story of the 1000 journals has been made into a documentary and various exhibitions have been held about the project. Some of these exhibitions have been participatory, creating opportunity for community engagement, for people to connect with their creative side and each other. The 1000 journals project has travelled from classroom to classroom, teaching children and adults alike the joys and benefits of journaling whilst using entries as discussion points. Museums too have got involved, sometimes launching their own journals into the world as an outreach effort. Singer also talked to me about the extension of the project, 1001 journals. com. This online forum provides a method of interaction between all those who have been lucky enough to find one of the original copies and have contributed to them. It enables people to scan in and upload their individual entires, documenting each individuals journal progress whilst it travels. These days, it’s really the only place that you can get such a journal; you can sign up for someone else’s or alternatively you can launch your own. This idea of starting your own seems to have captivated the imaginations of many, with new journals being registered each day. When in San Francisco last year, I naively hoped to find one of the originals. Scanning the dusty shelves of old bookshops and tables in small hidden-away cafes, I hoped to find a lone journal waiting to be picked up and carried forth on its journey. Unfortunately, I have more chance of finding a golden ticket in a chocolate bar than I do coming across one of the treasured 1000. Until then, I will have to make do with starting my own, re-kindling the love for illustration that I had all those years ago. So why not do the same.

For more information on the 1000 journals project, visit To register for a journal, or to start your own, visit Find the documentary on Amazon.


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Platfform Magazine  

Issue 2 of [platfform]