The Swelle Life

Swedish Photography Berlin: Fashion Meets Art

Denise Grünstein’s focus is theme of women and nature, explored through a powerful and suggestive visual world conjured by the artist. 

The work of five internationally renowned fashion photographers from Sweden is currently on show at Swedish Photography gallery in Berlin. Artists Denise Grünstein, Julia Hetta, Martina Hoogland Ivanow, Julia Peirone and Elisabeth Toll explore and displace limits in 'Different Distances'. Their art is a game of balance between fashion and artistic photography, rooted in art history and personal experiences. 

Julia Hetta

Julia Hetta’s romantic and timeless images, published in magazines like Another, Dazed & Confused and Harper’s Bazaar, show an alternative world inhabited by mysterious and omniscient beings, evolving slowly in a place where the light is always soft, however permeated with a feeling of impatience. The colours are so saturated and the textures appears so real they make one want to step closer and touch them. 

Martina Hoogland Ivanow 

Martina Hoogland Ivanow’s photographs give the onlooker the sensation of a presence both real and poetic, combined with a menacing and hypnotic aesthetic. She works for clients like Prada, Miu Miu, Philip Lim and Bergdorf Goodman. 

Julia Peirone, Nike

Julia Peirone masters the art of capturing moments out of our control. Her images are revealing; for instance, her series of portraits of teenage girls uncover a self-consiousness during this awkward time of transition into womanhood.

 Elisabeth Toll

Elisabeth Toll, who works for French, German and Russian Vogue, says, "If there is no light, I can’t see anything". Her photographs are inspired by personal recollections, stories, impressions and sensations which she relives and shares with us. Exhibition curator Greger Ulf Nilson says, "These images spark my curiosity by their strong link to architecture and their dash of surrealism."

The exhibition is produced by Swedish Institute, Stockholm.

DIFFERENT DISTANCES is now open until July 20, 2013

SWEDISH PHOTOGRAPHY
Karl-Marx-Allee 62
D-10243 Berlin
+49 30 81473709
Monday to Saturday 12:00 - 6pm

Subversive Ceramics: Barnaby Barford's The Seven Deadly Sins

I think the most intriguing art works are those that deliver a message through craft, combining technical skill and statement. Even better is when a pleasing, and seemingly benign, exterior - such as clusters of pretty porcelain flowers - draws us in to confront us with something we didn't expect; to surprise, and possibly even shock. This is the experience British artist Barnaby Barford has created with his new exhibition, The Seven Deadly Sins, currently on show at David Gill Gallery in London's Mayfair. 

Known for his controversial re-modelling of traditional ceramic figurines, Barford describes his latest ceramic subversion as ‘love gone wrong’. He has made a series of mirrors which reflect the viewer and convey elements of the ‘sin’ they represent: Pride, Avarice, Gluttony, Envy, Lust, Sloth and Wrath. Human in scale, they reflect the viewer in full length, challenging perception in terms of form and message. The initial response is to marvel at their beauty and delight in the intricate detail which has gone into the construction of the sculptures. Then, the surprise, or shocking twist, plays its part when closer inspection of the frame's porcelain filigree flowers and foliage reveals images loaded with emotional, and sometimes distasteful, messages. For example, Gluttony carries images of fast food and takeaway menus, Envy uses photographs of the London riots in the summer of 2011, and Lust shows clusters of flowers bearing the faces of porn stars.

According to the artist's statement, Barford explores the nature of sin through these seven works, posing the question: Are sins a plague upon the social order or the grease that turns its wheels?  At what point does desire turn into obsession or an unhealthy intensification of a perfectly understandable impulse? Barford has spent the last twelve months considering the way society measures and values extreme sensations. “We are all hard-wired to desire power, love, possessions. That’s probably the way all humans have been like,” he says. “It’s not fundamentally bad to desire things but what interests me is the way these ‘sins’ can motivate people. How does the idea of ‘sin’ affect people these days when we live in a largely secular society? What are the consequences?”

In confronting what he sees as uncomfortable truths about contemporary society, Barford decided that the viewers of his work should find themselves not just reflecting on the ideas he has presented to them but also, literally, reflected within the mirror. “You see the piece and you see yourself within it,” he says. (I am dying to know how many people fix their hair when standing in front of these mirrors, especially Pride.)

Pride. Barford has created a mirror which demands that the viewer sees themselves in entirety, portrayed like a god, within the curved portal of an icon. This mirror is surrounded by a multitude of flowers in golden clusters which frame the viewer, giving the reflected figure an heroic status. Barford’s interpretation of Pride is his take on the familiar phrase, “If it makes you happy…”, expanding on the notion that pride can be defined by arrogance, defiance, desire for self-fulfilment and self-satisfaction, no matter what impact your desire might have on other people. He was inspired by Henry Fairlie, British political journalist and social critic, who said: “Pride excites us to take too much pleasure in ourselves, but not to take pleasure in our humanity… it causes us to ignore others.”

Sloth. Barford has created a mirror which resembles a lazy loop, a bulging shape, weighted at the base with the easy, swelling lines of a bag filled with cushions. “I wanted to use just plain white flowers for Sloth,” said Barford, “because it’s about not caring. It’s represented by a shape full of nothingness and the sense of an emotion which is too inert to love or hate anything or anyone.” He adds another quote from Henry Fairlie, “Sloth is a sin which believes in nothing, enjoys nothing, loves nothing, hates nothing, finds purpose in nothing, lives for nothing and only remains alive because there is nothing it would die for.”

Gluttony. An obsession with food is clear to see within this mirror. Resembling the bloated gut of the digestive system, the flowers carry Barford’s witty take on the availability of food and a human inability to resist temptation when it is presented so frequently, and universally. The flowers which adorn the puffy shapes of this piece are patterned with fragments of takeaway food menus and fast food advertisements. “From fatty kebabs to extreme fine dining, humans can’t stop thinking about food,” says Barford. He adds, “For a dieter the idea of food is negatively all-consuming and for the greedy person it’s a constant urge.”  The pale tints of the fast food menus are seductively pretty and appealing, just as they are intended to be in their real purpose.

Wrath. The sharp shape of a mirrored star sits at the centre of this intense piece. Using the hot, flame colours of red and yellow, the impression of a bomb-blast is immediately apparent. Barford has taken the intensity of anger, when it spills into violence, and has represented it in a cacophony of colour loaded with exploding emotion. “The bomb is a master motif of our time,” says Barford. “A British viewer might see this and think of terrorism but an Iraqi might think of NATO bombs and a Japanese person might think of Hiroshima. At first glance this piece may seem cartoon-like but Barford deliberately uses this style to evoke an emotional distance from the reality of violence. He sees the piece as an example of the way vengeance can be carefully planned, designed to inflict maximum damage and pain but ensuring that the impact is well removed from the person who has planned it.

Lust. Barford confronts the extremes of contemporary sex in this piece.  The flowers are beautiful, as with all the other mirrors, but they each bear the image of a porn star’s face, eyes closed, as they act out their roles for other people’s enjoyment. “I wanted to concentrate on the actors’ faces,” said Barford. “These films are impersonal, in the sense that it’s not the faces that the viewer’s want to see.” Yet the viewer of this piece will see themselves reflected within a splattered border of fleshy faces in varying states of ecstasy, disengaged, doing their job for the lust of others.

Envy. This, his most political piece, is about desire for other people’s possessions and the notion that, if they can’t have them then this festering resentment can result in wilful destruction and theft of other people’s property. Barford has used the urban disturbances in London and other UK cities in the summer of 2011 to illustrate this extreme sensation. “What happened during those riots was appalling,” he says, “but you can understand how a sense of injustice, coupled with violent opportunity, can catapult people into a situation when they take what they can, because they can.”  He adds, “There’s this idea that people feel an entitlement to enjoy what others have and an irritation that others should enjoy what they don’t have. We are sold the idea of society as being equal,” he says, “and everyone having equal opportunities. But sadly we are simply not equal.” This large oblong mirror is covered with a filigree of creeper, like a lascivious weed which threatens to engulf the entire piece. Each of the leaves bears an image of the riots; hooded youths throwing stones, breaking windows, rampaging in the city streets and confronting the police. The piece’s beauty belies the depressing violence which envy can promote so suddenly in people who believe they can justify criminal behaviour as an aspect of their ‘right’ to possess other people’s goods.

Avarice. The desire for money is plainly seen in this handsome piece. Florets of porcelain blooms each bear the fragmentary image of some of the world’s great currencies. Greenback dollars for the leaves, pink Euros and Sterling pound notes as well as Yuan, Rupees, Turkish lira for the flowers. Avarice confronts the viewer with their basic desire for wealth, depicted as the wreaths twist and turn across the mirror’s organic shape. “The obsession for wealth can be seen both reflexively and reflectively, demonstrating desire and seeing the truth,” says Barford.

The Seven Deadly Sins can be viewed at David Gill Gallery at 2-4 King Street, St James’s, London SW1Y 6QP until Friday, 12 April. Concurrently, an exhibition of his earlier work will be shown from February 9 – March 17 at the American Museum of Ceramic Art in Pomona, California, USA.  

Swelle's 5th Anniversary Giveaway: Win a £100 Voucher from Smartbuyglasses!

Congratulatons to Annushka! She has won the £100 voucher and has been notified. Thank you to everyone who entered.

It's hard to believe that The Swelle Life is now five years old! Actually, it does feel every bit that long, in a good way. We've explored so many beautiful and inspiring subjects through words and images - 1400 posts in total! (And still no carpal tunnel syndrome, but I am on my second prescription for reading glasses.) My enthusiasm has never waned thanks to all of these wonderful things out there in the world that keep the momentum going and the curiosity insatiable. I'm looking forward to another five years of sharing it all with you. 

To celebrate, and as a thank you for reading, SmartBuyGlasses UK is giving away a £100 voucher for a free pair of designer sunglasses or glasses to a reader of The Swelle Life.  This giveaway is based on a point system using Rafflecopter, so the more tasks you complete, the greater chance you have of winning.

Here are the tasks:

• 1 point - Like SmartBuyGlasses UK on FB
• 1 point - Visit SmartBuyGlasses, choose your favourite pair of designer eyewear and share it on your FB
• 1 point - Follow SmartBuyGlasses on Pinterest
• 1 point - Pin your favourite pair of designer eyewear from SBG on your Pinterest

a Rafflecopter giveaway

With 160 designer brands to browse you're sure to find a covetable pair. If it's eyeglasses you're looking for, some of my favourites are styles from Miu Miu and Prada, and for sunglasses it has to be Tom Ford or Marc by Marc Jacobs - I've got my eye on several pairs of cat eyes. And of course there's the ever-popular Ray Bans, including the Clubmaster style in 11 colours. Having trouble deciding? Use their 3D Try On Service that allows you to take a photo and see how the glasses look on your face!

These are my favourites from the Tom Ford selection:

This giveaway is open to readers worldwide. It will close at midnight GMT on 20th April, 2013. The winner will be announced the next day on The Swelle Life, and a representative from SmartBuyGlasses UK will contact the winner with details for redeeming the prize. Good luck!

Finally, I wanted to mention something special that the site is involved in: SmartBuyGlasses has a Buy One, Give One charity where they give away a free pair of eyeglasses to someone in need, for every pair of eyeglasses purchased. They have donated over $1 million USD worth of eyeglasses to impoverished people in Africa and Asia. You can read more about it here

Candy Hearts, Cakes and Elle Fanning by Will Cotton

Headpiece by Will Cotton, based on Alexander McQueen

This was initially supposed to be a Valentines post...obviously that did not happen. It was too soon after my first post of Will Cotton's works anyway, and that is a lot of sugar to consume at once (no complaints here though).  New York magazine's spring fashion issue featured a cover and spread of Elle Fanning as Will Cotton's latest muse, wearing designs from the spring runway accessorised with sweets and icing against candy land backgrounds that are blowups of Cotton's paintings. I haven't actually seen Fanning in any films so I have no opinion of her as an actress (though I hear she's talented), but I do like her as the human embodiment of sweetness in Cotton's paintings; it rings genuine. (Those Fanning girls really buck the child actor stererotype, don't they?)

Cotton reworked the clothes into "something even more perfect for the environment", adorning them with all kinds of dainty designs made from icing, and 'Cottonised' a brand new Reed Krakoff bag by shoving a couple of big squishy cakes into it!

You can watch the behind-the-scenes video featuring Will Cotton and Elle on The Cut:

Elle pipes the icing corset Will Cotton created to be worn over a Dolce & Gabbana bodysuit. Cotton made the earrings and headpiece, too. 

Elle Fanning wears a Marchesa gown in front of Will Cotton's Pastoral, 2009

Will Cotton hand piped this Erdem dress with icing to create sugar appliques

Eyes by Will Cotton, based on Dior

Will Cotton based this dot candy detailed bag on a Fendi design

This Thom Browne skirt reminded Will Cotton of a tea tray, so he decorated it with petits fours "because what a nice thing would that be?"

Elle wears a Marc Jacobs dress in front of a version of Will Cotton's Insatiable, 2008

And you thought your purse was messy. Will Cotton stuffed cakes into this Reed Krakoff bag!

Elle wears Reem Acra in front of one of Will Cotton's gingerbread house paintings

An ink on paper rendering of Elle in a Louis Vuitton romper by Will Cotton

Elle lounges on sugar crystals wearing Valentino's 'glass slippers'

Photos: NY magazine/The Cut

Bil Donovan: Seminar, Masterclass at L'Oreal Melbourne Fashion Festival

As part of the L'Oreal Melbourne Fashion Festival programme, revered fashion illustrator Bil Donovan will be presenting a business seminar and teaching a two-day masterclass. In his presentation Bil will talk about the role of fashion illustration in the contemporary marketplace and provide advice on fostering successful collaborations between artists and brands. His presentation will include a live demonstration of his work.

 “The role of fashion illustration in the contemporary marketplace continues to evolve beyond the scope of a single figure gracing a page in a magazine and is visible in markets as diverse as Branding, Package and Website Design, Animation, Merchandise, as well as in a thriving market called Lifestyle.”

The fashion illustration masterclass is an extraordinary opportunity to learn from one of the world's leading fashion illustrators, drawing from a live model. Lecturer in Fashion Illustration at New York’s Fashion Institute of Technology and Artist-In-Residence for Christian Dior Beauty, Bil creates artworks for clients worldwide.  He is the author of Advanced Fashion Drawing/ Lifestyle Illustration, and the illustrator of books including Edith Head’s The Dress Doctor, Prescriptions For Style From A to Z and Birds of a Feather Shop Together, Aesop's Fables for the Fashionable Set. 

The masterclass takes place March 22 and 23 and tickets are available to order through the L'Oreal Melbourne Fashion Festival website. 

To see more of Bil's work you can visit his website (you'll be glad you did!)

 

 

The British Library to Host Celebration of Film, Design and Fashion

A section from Julie Verhoeven's new artwork for the British Library's Spring Festival © Julie Verhoeven

Following the success of last year’s Spring Festival, the British Library will again host a star-studded five day celebration of the creative industries from March 1st - 5th. Aiming to inspire creative practitioners from all over the country, this year’s Festival invites industry experts, from Dylan Jones, editor-in-chief of GQ magazine, to leading fashion illustrator and artist Julie Verhoeven, whose portfolio includes Louis Vuitton, Versace and Mulberry, to speak about their sources of inspiration. 

From Russian propaganda to rainforest recordings, the treasures from the British Library’s archives have inspired up-and-coming creatives as well as established artists. This year the Library will reveal a brand new piece of art from Verhoeven to celebrate the Festival and, as a tribute to the Library's incredible collections, a series of postcards from some of the most influential figures in the fashion world, including Gareth Pugh, Alex Fury, Adam Selman and Christopher Kane, telling of their favourite item in the Library will be on display as part of a one-night pop-up exhibition. Also featuring that night will be the Library’s historic issues of fashion magazines, from Vogue to I-D, all part of Late at the Library: Fashion Flashback, an evening of music and fashion co-curated by the Central Saint Martins Fashion History and Theory degree students. The evening will also see GQ's Jones and fashion illustrator Tanya Ling give a special ‘In conversation with…’ talk, an exclusive ‘paper fashion show’ of specially commissioned designs by the Central Saint Martins Print Design course, a styling area where guests can receive makeovers with Chantecaille inspired by iconic looks taken from the Library’s Cecil Beaton archives, live costume drawing and sets by iconic British DJs, Princess Julia and Jeffrey Hinton.  

‘Manhood by Michel Leiris. Find it, read it, it will change your life’ – Gareth Pugh

‘My favourite book is Tokyo Lucky Hole, by Araki Nobuyoshi’ – Christopher Kane

Celebrating new work from budding filmmakers in the UK, the Library and IdeasTap launched an exciting debut film competition during London Film Festival. Filmmakers were asked to produce a new short film using sounds from the Library’s unique wildlife recordings, from haddock to bats. The winning film will be shown during the Festival alongside award-winning shorts from the Future Shorts Festival including the winner of the Grand Jury Prize at 2012 Sundance Film Festival ‘Fishing without nets’.

Designers from all over the country have once again been invited to host a stall at this year’s Spring Market on the Library’s piazza, selling products inspired by the Library’s collections and nurtured to market by its Business & IP Centre. The list of designers can be viewed here, and to watch a video of last year’s market on the piazza see here. 

Spring Festival Market, 2012

For more information about attending the festival and for a listing of events, you can visit The British Library website

Happy Place: Will Cotton Takes us to Candy Land

Will Cotton, TAFFY FOREST, 2007. Oil on linen, 72" x80"

A few weeks ago we looked at Wayne Thiebaud who often uses food, particularly desserts, to express the nostalgia he feels for his past, and he presents it to us from an unusual and intriguing perspective in his paintings. Now we're exploring Will Cotton who also works with sweets - he builds maquettes of the candies and cakes to create landscapes in his studio which he then paints hyper-real pictures of - as his preferred means to provoke discussion. But the similarities end there, according to Cotton (and probably anyone else who is familiar with both painters): "Thiebaud's cake paintings are in the tradition of still life painting, mine are about landscape." 

However, like Thiebaud's dessert works, his paintings are extremely appealing - who doesn't like the look, the taste, or at least the childhood association with sweets? - yet you sense immediately that there's far more happening on that canvas than simple representation. 

I'd love to go on, but I've been reading about Cotton for three days now and can't quite sum him up in a neat little package after attempting to digest his interviews which each take him at completely different angles. So if you're curious to know more, have a look here, here and here. And do it while eating a giant ice cream sundae with a disgusting amount of whipped cream and a cherry on top. 

 

 Will Cotton, PASTORAL, 2009. Oil on linen, 60" x 72"

Will Cotton, CROWN, 2012. Oil on linen, 80" x 68"

I never imagined I'd be talking about Katy Perry on The Swelle Life, but the result of her collaboration with Will Cotton  is too good not to get into. If  his paintings elicit an intense longing for a real-life Candy Land where you can wander around and have a nibble off a gingerbread house or a drink from a chocolate stream, then these videos from Perry's album Teenage Dream (2010) - Cotton painted the cover art for the CD and consulted on and built some of the video sets  himself - are the closest you'll get to the real thing. 

Before the video for the California Gurls single (which features Snoop Dogg wearing a suit covered in tiny pastel-coloured cupcakes) here's a look at how the packaging for the Teenage Dream CD was produced. It comes with a cotton candy scent and I love that the burly printing press operators were determined to find a way to get that sweet candy smell into the CD liner. 

 

 

When the nut house inevitably calls to confirm my reservation, I hope it's this one:

 Will Cotton, NUT HOUSE, 2007. Oil on linen, 36" x 40"

   

 Will Cotton, ALPINE RUIN, 2008. Oil on linen, 60" x 84"

 

 Will Cotton, CROQUEMBOUCHE, 2010. Oil on linen, 54" x 39"

Will Cotton's sculpture, clockwise from left: CAKE TOWER, 2010, polystyrene, acrylic polymer, pigment, gypsum, 48" x 16" x 16"; AGAINST NATURE, 2012, plaster, wood and pigment, 74" x 48" x 75"; SWEET, 2009-2010, polystyrene, acrylic polymer, pigment, gypsum, 46" x 38" x 38"
  Will Cotton, CUSTARD CASCADE, 2001. Oil on linen, 108" x 144"

Will Cotton, CHALET, 2003. Oil on linen, 70" x 80"

 Will Cotton, DEVIL'S FUDGE FALLS, 1999. Oil on linen, 96" x 144"

Will Cotton, FOREST, 2003. Oil on linen, 60" x 70"

Will Cotton, GHOST, 2007. Oil on linen, 72" x48"

Will Cotton, ICE CREAM CAVERN, 2003, Oil on linen, 70" x 80"

 

Will Cotton, SPUMONI RIVER, 2003. Oil on linen, 80" x 80"

 Will Cotton, PEPPERMINT HIDEAWAY, 2001. Oil on linen, 68" x 80"

 Will Cotton, MONUMENT, 2009. Oil on linen, 72" x 84"

 Will Cotton, SWEPT AWAY, 2000. Oil on linen, 68 x 80 inches

Will Cotton, "UNTITLED" 2003. Oil on linen, 80" x 120"

Big thanks to Julia!

'Shoe as Art' Series: Jan Jansen

I've begun to make my way through this mostly hidden world of shoes that defy the conventional notion of what a shoe is, and I'm taking you along with me on this new 'Shoe is Art' series. We've already seen the make-you-smile designs from Japanese shoemaker Tetsuya Uenobe - who can resist a stuffed leather bear hugging your ankle as you walk? - and we're going to look at other shoe artisans whose footwear creations are so wonderfully unorthodox that they essentially turn your foot into a walking exhibition. They range from the unique-but-not-a-massive-stretch-from-what-we're-used-to-seeing-these-days designs, to some that are just so out there they stop you in your tracks and cause your face to contort just a bit. (That happened to me today when I saw shoes made of dead animals. I guess when we wear leather we're doing the same, but this pair went well beyond the socially acceptable use of animals in footwear - would you be willing to walk on an actual hoof?) Whether you would wear these mind-bending designs or not doesn't matter; but if you're open to the concept, you can catch an intriguing statement from the designer/artist. And if you do wear them, you get to deliver that statement to the world.

Today we're looking at Dutch shoemaker and designer Jan Jansen whose work I was introduced to by Tetsuya when he mentioned Jansen as an influence on his own designs. Not suprising, considering 'the master of shoe design' is one of the most revered figures in the world of shoes, having created some of the most iconic and innovative styles to date. Jansen has been designing unconventional - though still largely wearable - shoes since the 1960s, the styles of which are still as relevant and current as ever, owing to his obliviousness to outside inflences: "Im not a trendsetter. I'm years ahead of the trendsetters." Jansen is probably the most prolific shoemaker when it comes to rethinking the design of the shoe; he is constantly developing new constructions, though he will use the the same ones for years and create variations of some. 

Jansen has received numerous awards for his work, including the Kho Liang Ie Prize (1985), the Grand Seigneur (1996), The BKVB Oeuvre Prize (2002) and the Max Heijmans Ring (2006). Many of his works are displayed in museums and galleries in Europe, and still Jansen prefers to refer to himself as a craftsmen, rather than 'artist' which has been attributed to him by peers and fans. In 2007, Christie's auctioned the collection 'Jan Jansen, In His Shoes' - everything sold and all of the estimated selling prices were realised. And significantly, many of the lots were a single shoe. 

With the exception of those gorgeous Orchid shoes above which are a current design on the market, this is a retrospective view of selected styles from the past five decades.

'Interchangeable 2', 1967. Metal frame mule with removeable patterned sock

'Stir my Blue Blood', 1991

'Serpent's Kiss', 1994,  is constructed of a python upper that looks as if it could bite, mounted on a platform and heel which Jansen has reinvented in wavy, ribbon-like stainless steel.

'

For Snoecks', 2000. Suede, goat leather, patent goat leather, vulcanised sole. 

 

Velazquez boots, 1979. These quilted satin platforms were made in collaboration with Fong-Leng to be worn with her red evening cloak, 'Velazquez'.

'Build Me Up', 1972. Extreme platform slippers!

Metallic green heels with silver piping and exaggerated back, 1996; the rattan sandal in nubuck, 1973.

One variation of Jansen's iconic sandals with rattan frame, 1975. The original prototype in ochre was copied by Prada in 2006 without credit to Jansen, right down to the colour. 

'High Tea', from Meubelcouture, meaning furniture couture. You're right, you can't wear it. It's not a shoe but a chaise longue, the structure of which Jansen based on his famous rattan frame sandal. If you tilt your head you can see that the seat features a face-to-face design in the leather. 

And another art work of Jansen's based on his shoe design is 'Cindy's Dance at Midnight', part of the permanent collection of the National Glass Museum in Leerdam, Netherlands. Using glass to translate his style from the traditional materials, the extreme yet elegant curves of this 'shoe' show off and mix the spectrum of the pinks and greens beautifully. (It reminds me of Cinderella, when the one wicked stepsister's attempted to scrunch her huge foot into the dainty glass slipper.)

 

What's better than watching and hearing the man himself? This video profile below is just wonderful, taking us into Jansen's Amsterdam shop and studio to see and hear firsthand how he approaches the process of making his shoes: "We don't have a budget for the amount of leather we can buy or what the collection may cost. We just go by what we think is nice and beautiful." This approach is extremely unusual these days, but then Jansen has remained independent, passionate as ever, and answers only to himself. And his wife Tonny who double as as his muse, style tester and colour advisor. Jansen also shows us how a hand made shoe is constructed, and watch for the table in the window of his shop which stands on women's legs outfitted in his shoes, of course. Also part of his Meublecouture collection, titled Hommage to Rubens. 

 

 
Shoe therapy: The news that we're about to enter a triple recession in the UK has just hit and it's been tough enough already, so if you're in need of a new pair of shoes, you may want to have a browse of the discounts available with netvoucher codes for shoes - you may find your that favourite online shoe shop is participating.

Photos: Christie's, Virtual Shoe Museum

The Delicious World of Wayne Thiebaud

Cakes. Wayne Thiebaud, 1963.

I can't believe Wayne Thiebaud hasn't featured on The Swelle Life before now. I remember seeing the American painter's work - he shuns the title of artist, looking down on "art" as "an abstract term that's still developing" - in art class in high school, it was one of his iconic dessert paintings and my eyes lingered on it for half a second before I turned the page in my survey text book. I didn't get it, I was too wrapped up in the fascinating, salacious and just plain weird lives and works of the Surrealists. At a time where adolescence is transitioning awkwardly into adulthood, the perpetual child-like curiosity and dreamstate exploration of the Surrealists just fit the teenage brain so well. 

We're looking at Wayne Thiebaud now because I became reacquainted with his cakes the other day, playing Go Fish with my daughter, of all things. We were using a deck of Modern Art cards I bought her that are made for the game  - a great way for children to learn the names of Modern artists and their works, and it comes in a set for Contemporary as well - and when it was her turn she asked me if I had any Wayne Thiebauds. A bell rung and I said Go Fish, and then later when I picked one up myself I looked at it with fresh eyes and realised I'd wasted so much time not appreciating what he did in 1960s, and what he is still doing. Yes, he is still with us at 92 years of age and incredibly, he still paints and does it as well as he ever did. In 2010 he created the google 12th birthday logo; it was of course, a birthday cake:

Like a Cezanne bowl of fruit, there's much more happening in Thiebaud's still lifes beyond his simple subject, whether it be a sundae, lipsticks, or a toilet. My initial response is noticing the presence of the subject; these are dramatic little pastries with their heavy, punctuating shadows that could not be reproduced in reality, and colours in acid hues that really stick. What I love is how each individual object, when conveyed as part of a group, has its own set of qualities and occupies its own space apart from what surrounds it. (This is the point where my dad is reading this, leans forward, squints and asks "Really?") What's been noted about Thiebaud's earliest work is its obvious 'pop' qualities derived from its focus on objects of mass culture, yet they predate Pop Art, suggesting that he may have influenced the movement. I'll take Thiebaud over Warhol any day. I can feel Thiebaud. 

For more about Wayne Thiebaud and to further understand (and fall in love with ) his work, watch the Smithsonian's video 

Wayne Thiebaud with one of his wonderful streetscapes. Like his still lifes, they also prompt us to look beneath the surface. 

 

 

 

 

 

 

 

 

 

 

LM Series: "Does Size Matter? Growth and Sustainability in Contemporary Art"

This is the fourth installment of the LM Series, documenting the discovery of new and wonderful, world class, art and food during 'Le Méridien at Frieze' at which I was a guest in October, hosted by Le Méridien Piccadilly in London.

The starting point of Le Méridien at Frieze was an intriguing panel discussion amongst influential art world leaders, part of the Outset Le Méridien Talk Series which took place in the ballroom at Le Méridien Piccadilly. The question of the day was articulated by Outset co-founder Candida Gertler who asked, "Does size matter? Is it right to keep going? And how do we resist the next big step? Will we be able to sustain it or will we self-destruct in a spiral of ambition? And so the debate began. Le Méridien's Global Cultural Curator Jérôme Sans moderated Frieze co-founder Amanda Sharp, Tate Modern's Curator of International Art, Mark Godfrey, Serpentine director Julia Peyton-Jones and Gagosian managing director of Europe Gary Waterston. In response, each panelist drew upon their own unique circumstances they face in moving their respective gallery or event forward, sometimes at odds with another's view, illustrating how subjective and contextual the topic of whether size matters really is. And that's what made it fascinating. The video above shows highlights from the discussion. (And beyond the compelling topic the film is very well done so I definitely recommend taking a look!)

I wanted to add, that at the dinner that evening at Le Méridien Piccadilly Terrace Bar and Grill (a five-course masterpiece by chef Michael Dutnall with inventive cocktail matchings by master mixologist Boris Ivan - and yes, I kept up, it would be a sin not to), I had the pleasure of sitting across from Jérôme Sans. We had a chat about the topic of the day, and I was so delighted to see right there in front of me how fired up (still) M. Sans felt about the very point of art becoming lost in the quest for growth simply for the sake of it, that someone as accomplished in the art world as he, had not lost sight of what really matters. Art is meant to move people in some way, and if it succeeds, why send it out the door a minute later to make room for something else? And why are we pushing for so much art to be produced? Which made me gush with admiration, even moreso, for what Le Méridien is doing for art, not as a commodity but as an enrichment of culture and ultimately, the individual. It's not all about what happens at Sotheby's.

Just one of the great views within Le Méridien Piccadilly Terrace Bar and Grill

Make Mine Multi-Faceted

 

('Faceted' would have sufficed but alliteration just sounds better)

I know what I want for Christmas. Forget diamonds, I'll take my facets in the form of water-based blue resin, please. (I wasn't going to get diamonds anyway but it's still a compliment.) I've been looking for decor pieces that are different from anything I have. My living room is in need of a minor transformation, and I like to buy things that aren't just space fillers but unique and beautiful and the kind of piece I won't be looking at in a year saying 'I am glad I am no longer the person who thought this was a good idea.' But these things of enduring significance tend not to come cheap, so it's a slow process building that collection. (If bookmarked web pages and blogs count as a collection, I'm already there!)

These Faceture vases, which I think are better without flowers - the way the light catches the facets is beautiful enough - are made by Phil Cuttance, a New Zealander who manipulates each object's form with a turn of the hand before casting, making every piece genuinely unique (you can see how he does this in the video above). Phil says:

“I like the idea of people knowing where products come from, and what goes into making them. I think a lot of products are now seen as ‘throw – away’ as they are made on a mass scale, in places far away from where they end up, and out of sight. There was time when people commissioned a local maker or craftsman to make an object, which gave it an inherent value. I like that model.”

Yes, us too! The vessels and the rest of his Faceture series, which includes lamps and sidetables, are sold at Australian-basesd shop theminimalist.com.au, my new obsession. The lamp is just awesome, but I like the slender design of the vessels so much that, for me, the the sidetable's chunky approach can't compare. (It's still cool though!)

This small vase is a limited edition colour called Summer Mint. That totally has my name on it.

The vases in two sizes, lamp and side table. I want to touch them for a long time.

Photos: The Minimalist

LM Series: Duro Olowu's Umbrellas for Outset

This is the second installment of the LM Series, documenting the discovery of new and wonderful, world class, art and food during 'Le Méridien at Frieze' at which I was a guest in October, hosted by Le Méridien Piccadilly in London. Watch for the Duro Olowu for Outset umbrella giveaway tomorrow!

Duro Olowu introduces his umbrella installation for OFT at Frieze Art Fair, with Candida Gertler, co-founder of Outset

It was a thrilling surprise to see Duro Olowu's name on the itinerary for my three art-packed days in London with Le Méridien at Frieze. In this case, the beloved fashion designer was seen as more of an artist due to his collaboration with Outset, a philanthropic organisaton dedicated to supporting new art. With the aim of bringing attention to and raising funds for the Outset/Frieze Art Fair Fund to Benefit the Tate Collection (OFT), this special commission was introduced as an installation on the special preview day at Frieze to celebrate the 10th anniversary of OFT this autumn. It was enthusiastically received and that was as much due to the affable charm of the designer as it was the beautiful umbrellas. (I had heard Duro was genuinely lovely and it's true!)

Two exclusive, limited edition designs in Duro's signature fabrics - one in vibrant multi-colour (edition of 500) and the other a bold black and white graphic (edition of 1000) - are available to buy in the shops at Tate Britain and Tate Modern for £85 and £65, respectively (not online at this time). And I have one in the multi-colour to give away to a Swelle reader - watch for details tomorrow, 14 November. Thanks to the generosity of Le Méridien, I have the black and white version for myself and I absolutely love it, it's a very high quality umbrella (of course!) and the fabric is just gorgeous, it makes rainy days instantly cheery. (And it gets lots of compliments whenever I go out with it.)

Duro's Limited Edition umbrellas displayed at Frieze in a large tree installation

I became besotted with Duro's original and vibrant clothes - those magnificent textures! - when I first laid eyes on them a few years ago. An irresistible blend of his Jamaican-Nigerian heritage and chic cuts, how can you not fall in love:

Duro Olowu AW12

Duro Olowu SS13

I was lucky enough to speak with Duro for a few minutes; he was full of smiles and happy to talk about what he does, and he's just so pure and genuine about it it's easy to see how his clothes have their specialness. There's no doubt they are all Duro. He told me that when he designs it's very spontaneous, it comes to him and he's off. 

More formally,  Duro explains his creative process behind the final umbrella designs in his artist statement:

"My original design for Outset's 10 year anniversary was inspired by the range and breadth of artists and projects that Outset has supported since its inception. Once I fully digested this diversity of media, geography and aesthetic points of view, my aim was to represent this broad spectrum with abstract shapes and patterns. The design evokes in a contemporary way the decorated umbrella which has for centuries been a fixture in parades, coronations and other celebratory occasions around the world."

Duro's designs elicit an excitement, a glorious energy that is right in line with what one would be feeling at a celebration. In that sense, Frieze, with its endless aisles of world class art and colourful characters roaming the floor and taking it all in, was an especially fitting event for the launch.

The leftover umbrella fabric was used to make vibrant notebooks , available at Tate shops for £12

We loved Duro's shoes! (And I forgot to ask who did them)

Duro and Candida (wearing a Duro Olowu jacket) with Jérôme Sans, Cultural Curator for Le Méridien

Photos #1, 5 and 6: Dave Watts Photography ©

Bil Donovan Illustrates for Saks Fifth Avenue

Earlier this year, Bil Donovan was commissioned by Saks Fifth Avenue in New York to create fashion illustrations to accompany their Saksfirst rewards program promotions. I think it's such a thrill to see fashion illustration being used more prominently in commercial communications. (Twinings will be featuring Bil's work on their new range of limited edition Earl Grey teas.)

I'm going to put the question out here and on The Swelle Life's Facebook page:

Would you rather see photography with models or fashion illustration in fashion publicity? I think you can guess my answer! Creative photography using models never gets old (Nick Knight), but there is a standard look to most fashion and beauty retail photography that is less than inspiring. For example - if your favourite department store sent you a postcard for their latest promotion, would you be more tempted to keep it if it were a model standing by a window looking winsome, or this:

Here's the conversation happening on Facebook so far:

Sarah says: "I love both, as there is incredible talent in both areas...although I am more likely to keep examples of fashion illustrations."

Cyn says: "These are so beautiful! I think more campaigns needs to be illustrations again, so much more creative!!!!!"

Carol says: "Both art forms share equal talent and inspiration, I tend to prefer the fashion illustrations and would be more prone to want to keep an ad illustration rather than a photo. I would like to see a campaign with both styles used together creatively."

Let's hope others follow suit so that beautiful illustration such as Bil's can be a part of our daily lives!

Images courtesy of Bil Donovan - thanks Bil!

Nick Knight Explores Illustration with Karlie Kloss

"Karlie Kloss dies an elegant death in Nick Knight and Edward Enninful's arresting couture editorial for W magazine. The pair draw inspiration from the kind of macabre, nightmarish illustrations that litter childhood fiction, offering up a vision which is part Grimm's fairy tale part mature Parisian opulence. The final images - which see Kloss clad in the best haute couture from A/W 2012, including pieces by Dior, Givenchy, Chanel and Iris Van Herpen - straddle dark and light, combining symbolism that is both sweet and sinister.

"Continuing his exploration of contrasts, Knight juxtaposes the delicate vintage-look images with pithy modern 'death app' films that see Kloss suffer various violent deaths, all while clad in couture. The striking images in this editorial mark of the start of Knight's investigation into fashion illustration."

The story behind this extraordinary collection of images was summed up so succinctly on the Showstudio site, I just quoted it. Nick Knight never ceases to amaze, constanty exploring new ways to create stunning and compelling imagery, using high fashion garments and fashion's most inrtiguing muses to deliver his aesthetic message - this time blending photography with illustration and yet again achieving something new and exciting. As always, I am in awe!

There's also a bizarre accompaniment to the images. You can see it here

 

 

 

Click either  image to watch the Livestream on the Showstudio site of the photoshoot with Karlie Kloss. You get to see every detail that went into creating the images - well worth a look!

Images from Showstudio

Le Meridien at Frieze: A Preview

Andersen's Contemporary Art, Copenhagen

I've just come back from a whirlwind three days in London as a blogger guest of 'Le Meridien at Frieze', an art-inspired event of discovery and celebration centred around Frieze Art Fair and the work of the Outset Frieze Art Fund to benefit the Tate collection (OFT).  I just have to come out and say it: I love Le Meridien. What they've done for us lucky bloggers at Piccadilly isn't exclusive to us, but rather an opportunity for first-hand insight into what the Starwood chain of luxury hotels offers everyone who stays with them: world class art through partnerships with local galleries (in London we are especially spoiled), and an extraordinary approach to food and comfort, the details of which are so artfully crafted by their handpicked LM100 members, whose muses range from perfume to the coffee bean. Le Meridien's brand of luxury is not about empty indulgence, but rather it's borne of a genuine love of creating and sharing unique and enriching experiences that can transform a stop for the night into an education. A really fun and memorable one. 

Let me undercore this thought:  because on a daily basis we're bombarded with messages using a "this is so hot right now, people will be into this so let's run with it" way of attracting business, it's a relief to know that there is something out there for those of us wanting more than what the hipster monkeys think we want. That means a lot to me.

I have so much to show and tell from those three incredible days  including meeting Duro Olowu who I adore as a designer and found to be the loveliest man (he's getting a post all to himself!), and convince you as to why I'm saying what I'm saying that I think it warrants a series, and this way I get to live it all again! So beginning Monday we'll look at the first installment of the LM Series, and I can tell you it's about afternoon tea, Le Meridien style. I guarantee you'll be surprised! 

Photo © The Swelle Life

Fashion Tea and Petites Madeleines

The current collection of Twinings' fashion-illustrated packaging

If you're in the Philadelphia area, you can attend the book-signing party for  Birds of a Feather Shop Together, a book of fashion fairytales gorgeously illustrated by Bil Donovan. It's September 13 at Hotel Palomar Philadelphia in the Burnham Ballroom. You can buy tickets here. And not only will you be leaving with your own signed copy of this stunning book to take home, but also meet Bil who is just lovely.

A while back, Bil Donovan sent me images for Twinings' new limited edition Earl Grey flavours which feature his illustrations, to be sold in the European market. I was so excited about this collaboration between the English tea kings and Dior Beauty's resident artist (among many other designations); firstly, to be able to have Bil's gorgeous work greet me in my kitchen everyday is an absolute delight, and ultimately I was overjoyed by the fact that illustration is proving to be seen as fresh and desirable and worthy of investment by commercial entities, rather than a forgotten artform of days gone by (more proof of that to come). It's just very reassuring that in our trend-driven digital age, the value of the beauty of traditional fashion illustration is being upheld and celebrated.

However, in my haste to get these boxes into my kitchen I went out and bought some that feature the current packaging which is more dramatic in black, not realising there was a previous edition thus leaving me very confused because it didn't look like Bil's style! I don't know who these ladies belong to, but in their saturated watercolour couture they are a lovely accompaniment to your morning cup of tea.

So I'll be watching out for the next 'season' of these teas featuring Bil Donovan's work, which include these gorgeous illustrations (I love that each tea bag packet is like a little piece of art):

And as for the petites madeleines, the French crispy cakey cookie that I love but would forget about when not in Paris (which you can even buy in vending machines if you're desperate), I've found they are really easy to make and even easier to eat. Especially if you make the mini ones like I did. I used a silicone mould and it worked brilliantly, no sticking whatsoever so none of the nice crispy shell was lost.

And being French, they have a history. They go back to the 18th century in the French town of Commercy, in the region of Lorraine. The story goes that a girl name Madeleine made them for Stanislaw Lezczynski, Duke of Lorraine, who loved them so much that he then gave some to his daughter, Marie, the wife of Louis XV. And royal endorsement will make anything skyrocket to wild popularity, so here we are!

You can find the recipe I used at Joy of Baking, and I added a splash of rosewater which I could taste in the batter, but of course it lost its richness when baked so maybe some rose essence would help maintain the flavour. I'm still trying to find some test this out, and lemon poppyseed are next. Chocolate is inevitable. 

 

Spinning Rainbow Umbrellas!

A long, bright burst of rainbow colour made the walk across the bridge at the Tynemouth Station a lot more fun this summer. Artist Stephanie Imbeau is behind the installation made up of colourful umbrellas - that spin! - and painted metal structures. The umbrellas were arranged individually as well as clustered to form floating spheres, leaving triangular gaps that allow you to see inside. Stephanie is an American who came to the area to further her art studies, earning a Master of Fine Art degree at Newcastle University in 2008. This is her second installation at Tynemouth station, and she's worked with umbrellas before.

The day I had my camera with me to take some shots before this bridge of joy had to be packed up, I got cut short when the metro came and I had to run off to get home. So I was only able to get shots from two vantage points, but I just love these photos, they're like a jolt of vitamin C. The swelled, colourful forms of the umbrellas, the lines of the windows and the wooden beams, and the transparent layer created by reflection of the glass and metal prism station roof through the windows of the bridge, made for a fantastically rich and vibrant composition.

I didn't catch the artist statement for the work and Stephanie's website hasn't been updated just yet, but there is a general statement about her body of work from which I especially like these points: "...retaining a sense of child-like wonder when looking at the world is important and an effective antidote to the stresses and anxieties faced in life" and "the use of industrial or every day materials point at the importance, beauty and significance of daily life". Just what we all need to keep in mind, I think! And her spinning rainbow umbrellas do the trick.

Have your eyes gone buggy? Close them for a few seconds so you can see the rest!

 Photos © The Swelle Life

Floral Friday! Fabulous Florals for Your Home

I chose florals as the focus of my July Ideabook for Houzz.com, and being so fervent for anything that blooms, I can't believe I got to 14 of them before doing this theme! It's a collection of 20 products offering ideas for bringing florals to your space in small, non-commital ways as well as through serious investment furniture. There's even something lovely for our dog friends (although we know it's really for the doggie mum).

You can view the entire Fabulous Florals Ideabook at Houzz or click the link in the sidebar widget on the right.

One of the Ideas is a painting by UK artist Stephanie Stow, a favourite of mine. I love her gestural, vivid approach to flowers and gardens and so I had a painting commissioned for our living room when we moved into our house. Stephanie was fantastic; she asked to see a photo of the room to get a feel for it, and also wanted the name of the paint colour on the wall it would hang on. She matched the dusty slate blue shade exactly, using it in the background elements to make the layered floral colours pop. I get compliments on it all the time, and regardless of where we're living in the future, it will have a home.

This isn't ours (I'll get a photo and add it) but I just love the aquas and peachy tones of this work called Coral Garden, and I think this was the one I asked her to base the composition of ours on:

Coral Garden, Stephanie Stow. Acrylic on canvas. 60cm x60 cm

Beautiful Book: 'Birds of a Feather Shop Together'

The books I loved most as a little girl had two elements in common: lovely and colourful pictures,  and enchanting stories. The stuff of wonderful daydreams that made childhood magical. As the years have passed, I've found that through their vivid imagery and words, these affections have remained firmly embedded in the mind and in the heart.

So what a treat is to continue the tradition, thanks to Birds of a Feather Shop Together, a gorgeous and witty book of 'Aesop's Fables for the Fashionable Set', adapted by author Sandra Bark who serves up life lessons with delicious fashion savvy.  Bil Donovan masterfully brings the fables to life with his vibrant watercolour and ink illustrations, taking the anthology from bookshelf to proud display.

It's such a joy to read; a fashion and beauty indulgence that feels a bit of a guilty pleasure until you reach the end of the tale and see that fashion and morals can indeed coexist! The original stories are found at the back of the book, though once you've read Bark's there's no going back.

This book has become one of my daughter's favourites, and when I have to put it down because it's bedtime, she invariably reaches over and opens it back up to have a longer look at Bil's illustration for that story. I love that this book is one she'll remember for the rest of her life.

Birds of a Feather Shop Together is a hardcover book  (the cover has a gorgeous texture with brilliant colour saturation) published by Harper Collins and includes 17  illustrated stories plus their originals. It is available to buy for £12.95.  

Huge thanks to Bil Donovan for introducing me to this beautiful book and to Harper Collins for providing the copy. It is much loved.

About the author and illustrator:

Sandra Bark is a New York Times bestselling author who collaborates on books with notable figures. The founder and curator of the street art blog the Scenic Sidewalk, Sandra lives and works in Brooklyn, New York.

Bil Donovan is a fashion illustrator whose work has appeared in various publications and advertising campaigns worldwide. A brand ambassador for Christian Dior Beauty, he teaches fashion illustration at the Fashion Institute of Technology and is the author of Advanced Fashion Drawing: Lifestyle Illustration and illustrator of The Dress Doctor. He lives in New York City.

To read about Bil on The Swelle Life, including our interview, browse the Bil Donovan category here.

Here's a look at some the book's stunning story illustrations, by Bil Donovan:

'Birds of a Feather' - the level of detail is just incredible!

'A Birkin in the Hand'

'Carpe Dior'

 

'Amanda and the Grape Gaultier'

'Best Dressed'

Images provided courtesy of Bil Donovan

Cupcake Monday! The Magnificent Artistry of Cake Opera Co.

Cute cakes have their place - it's nice to eat something pretty without feeling as if you're destroying it. But there is another level altogether in the world of cakes, an artistry where the ingredients are regarded as media, the edible kind, and cakes are masterfully transformed into objects of exquisite beauty. 

Alexandria Pelligrino is one of these extraordinary talents. As a fine artist she travelled to Florence to continue her art studies, then took up residence in Bologna, the gastronomical centre of Italy, where she became enchanted by food. This led her back to Toronto where she enrolled in the Patisserie program at Le Cordon Bleu. It was here that she met her future partner and pastry chef, Jessica Smith (more on her later!). Alexandria went on to found Cake Opera Co. in 2007 and has since achieved international recognition as one of the industry's leading cake designers. One glance at her stunning cakes - and her! (below) - and you wouldn't question why.

 

There are dozens of incredible creations on the Cake Opera Co.'s website, so I'm going to focus on my favourite of the cakes for this post. In the header image we see the Masquerade Ball-inspired Morretto Mask, one of the first of her signature 18th Century French figurine cakes.  The "doctor death" mask, worn by bourgeoisie to conceal their illicit rendezvous, juxtaposes the fawn in her arms, a symbol of birth and innocence. How often do we get symbolism in our cake?!

This is Cake Opera Co.'s Milk Glass cake which I think is my favourite for its simple yet luxuriously textured detailing, created to resemble 1920s milk glass. The original was created as the piece du résistance for their table display at the 2010 Wedding Co. Show. A milk glass collector herself, Alexandria studied and combined many of her own cherished pieces into the final design. The desired result was to be a sleek yet vintage looking cake, evoking interest with its dynamic architectural form and contrasting this silhouette against more simple, pressed glass-like motifs. It is finished with a spray of confectionary glaze to resemble lustrous glass.

The Château de Versailles' Galerie des Glaces inspired this magnificent Hall of Mirrors cake. Created completely of cast sugar tiles and 24Kt gold molded details, it was constructed as an ode to Louis XIV, Dauphine of France, lover of luxury and excess. I think it's almost as ambitious an undertaking as the Hall of Mirrors itself!

'Pomegranate' is the four-tiered beauty that was borne of a request from event stylist Cynthia Martin to collaborate on a project at The Fermenting Cellar. The Style Me Pretty wedding blog had chosen Cynthia to take a Bohemian Romance-themed inspiration board and turn it into reality.

The cake is adorned with luxurious hand-sewn ribbon medallions and brooch detail, as well as an evocative hand sculpted pomegranate crowning the piece which denotes mystery and opulence. I love it when the cake designer uses textiles as decoration, it's such a lush effect.

Little Black Dresser

Little Black Dresser
14”W x 46”H x10” D
MDF, Maple Veneer, Aluminum

It took a second, didn't it? Yes, it's a dresser, fashioned like a little black dress and it appears to be suspended from a hanger on a short rail protruding from the wall, though it's firmly secured.  LBD is one of many ingenious pieces of furniture by Straight Line Designs - a one of a kind workshop in Vancouver led by Judson Beaumont, a designer who says he is motivated to prove naysayers wrong when he's told "You cannot build that" or "No one would want that". (See, this is the role the crabbyfaces play in the world, brilliant people will come along and shut them up by pulling off something like this.)

No gimmicks: The LBD is exquisitely crafted and finished

We have to look at more of Judson's humourous and gorgeous work, but it is so tough choosing which ones. Each offers something fresh and unusual, and at first glance you've already rearranged a room around it in your mind or kicked a former beloved to the curb to make room. So here's a bunch, (but you must take a look at everything on the Straight Line Designs site):

 

Surely a queue would form to sit on Canned Bench at your next house party:

Canned Bench
60” W x 25”H x 29” D
Eastern Maple, Maple Veneer, Birch Plywood, Laminate, Vinyl

 

Cracked Cabinet
26” W x 56.5”H x 14.5” D
Eastern Maple, Maple Veneer

If you act up around Anne she will give you the business:

Anne Armoire
48” W x 6'H x 20” D
Western Maple, Maple Veneer

An impressive feat of engineering:

Accordian
52.5” W x 24”H x 17” D
Western Maple, Maple Veneer

Bad Table
40” W x 18”H x 20” D
Western Maple, Maple Veneer, Aluminium, IKEA Carpet (hee hee!!)

Bird Home
16” W x 60”H x 16” D
Mountain Pine Beetle Wood, Fiberglass Resin

How incredibly darling!

Photos from Straight Line Designs

Sketch Night in New York with Bil Donovan

If you can't read the details, you can see the Society of Illustrators website for full details and to purchase a ticket. It goes without saying this is an incredible opportunity to sit with Bil and benefit from his guidance - and it costs hardly anything! For more on Bil Donovan see his website, and give yourself some time to get lost in it.  

Bil is a great friend of Swelle and arranged for me to receive the new book of fashion fairytales he illustrated called Birds of a Feather Shop Together by Sandra Bark, published by Harper Collins. Watch for the review next week, with gorgeous artwork by Bil Donovan of course!

To See a Seaside Rainbow at Night

Sneaky rainbow: A big lesson I've learned since taking pictures is always look back when you've turned to walk away from the thing you were photographing. I did as I was passing the sculptures on the promenade next to the sea and caught the rainbow cutting an angle over the roof of the beach pub and metal 'sandcastles'.

Have you ever seen a rainbow at night? Thanks to an art installation that debuted in Whitley Bay (that's on the coast of the North Sea in the north east of England), we did last weekend.  If you live in the UK you've probably heard about it, officially called the 'Global Rainbow' project by artist Yvette Mattern, an American who came to know Tyneside well as the Baltic's artist-in-residence in 2005-2006. The spectacle consists of seven parallel beams of high specification laser light in the colours of the rainbow which was said to be visible for 5 miles along the coastline; however, it was actually seen all the way in Sunderland, 15 miles south. After its last viewing on Sunday it has moved to Preston where it begins a four-night show before heading to Strangford Loch in Northern Ireland to celebrate St. Patrick's Day on the 17th.

Because our local news is more interested in telling us who got a random beat-down in the street than the cool events happening on our doorstep before the fact, many locals only found out about it by actually seeing it - to their great surprise and bewilderment! Friends of ours who live in Whitley Bay awoke in the middle of the night to see the brilliant spectrum outside their bedroom window - she thought the house was on fire due to the fiery glow in their room, and he thought it was aurora borealis, which was recently visible here on two occasions.

The view of the rainbow behind Spanish City (there are some way better shots of this out there)

  The seven lasers were projected from St. Mary's Lighthouse in Whitley Bay

This photo isn't great, but it's not every day you get to see the ghost of George Washington! (left)

Photos © The Swelle Life

Artist Series: Pop Fantastic's Susan Canaday Henry

Late last year I received a scrumptious surprise package containing two beautiful art prints from New York-based multi-media graphic artist Susan Canaday Henry. She knew just what to send - one was a lovely pastel-hued scene with a rendering in her own style of Marie Antoinette languishing on a chaise longue. I love the shades of blues, pinks and purples she used and would be happy to live forever in this room. (Especially if I had Ladies in Waiting as seen in the shadows. Oh wait, that would be weird, wouldn't it? I like to get dressed by myself. Maybe one to bring me tea and macarons every afternoon, that would work.)

The other is the Empress Wu Zetian, the only woman in Chinese history to rule as emperor.  The composition is gorgeously coloured in saturated blush, flame hues and crimson. Susan has outfitted her in long, dramatic stripes and an intriguing headdress. Her commanding presence against a backdrop of hazy dawn-lit mountains creates a portrait of power and serenity.

What  struck me first about Susan's works was the harmony of the beautiful colours in each, and what looked to be delicately hand drawn detail and watercolour layering in Marie Antoinette and painterly brushstrokes in  I didn't want Susan to give away any secrets but was curious how she created these images, and lucky for us she was willing to talk about it!

"The drawings all start as pencil/watercolor and then are oomphed digitally--- I think that's what gives them a sort of dreamy look.

"I get a lot of feedback that the colors in my illustrations are very bright, yet nuanced. I don't want to give secrets, but I think the watercolor base gives a weird glow to anything digital, and I aim to make sure you can still see the hand drawn beginnings of my illustrations. I think so much today is too digitized, too clean. I approach Photoshop like makeup: not too heavy, but enough to add distinction. And layer, layer, layer! Add to that a background in traditional animation (I studied a lot of Golden Age Disney, UPA & Warner Brothers at Pratt Institute) and numerous visits to the Metropolitan to gaze at classics... mix it all together, and these are the results. It took a long time to get comfortable with my style because there's a natural inclination to want to produce what is popular, but I've also found that this is what makes me unique, and have learned better to embrace it.

"The Marie Antoinette print really helped me with that. So many people responded to it, that I finally made it available as a print, and it's my best selling image. Marie Antoinette is my favorite, but so is the Empress Wu Zetian. Like many powerful female leaders, she has such a fascinating (and ruthless) story behind her rise. I am hoping to continue the portrait series of Empresses and Queens in the new year."

Susan is such a faceted, talented creative - and she's fun, too! - so  I'll be featuring more of her work on Swelle and talking to her about it.

If you can't wait - and you shouldn't! - see Susan's website Pop Fantastic which showcases her illustration and animation work. I just love her And, Darling...conversations films. Zing!

To see the range of Susan's art prints including Marie Antoinette and Empress Wu Zetian, you can visit her shop on Society 6

Marie Antoinette art print detail by Susan Canaday Henry

Empress Wu Zetian art print by Susan Canaday Henry

CREATIVE LIFE: WINNER LAUREN ART DIRECTS WITH FOTOCRUSH

In conjunction with The Swelle Life, Foto Crush recently ran its “Be An Art Director” contest, where the winner gets to co-create a photo stationery collection with a Foto Crush Art Director - a very cool prize. The lucky December winner was Lauren and we're about to look at how their collaboration produced concepts that were developed to create beautiful artwork that means something. I had the opportunity to do one myself, and we're working on it right now. I'm so intrigued and impressed with the Foto Crush team's creative process, it's so well considered and collaborative, and it allows for a choice of three wonderful options in different directions, capturing various significant elements of the subject's personality and loves. I would have been thrilled to develop any of my three and it was very tough to choose, but I made my decision and am very excited for the next step. (It's like they really know you!)

 

Creative Life is a series of blog posts by Foto Crush that follows each winner’s journey, illustrating their creative progress, and ultimately seeing how each person’s artistry shines. Taken as exerpts from the Creative Life series, here is Lauren's 'Creative Life' from the beginning to the final artwork.

LAUREN’S JOURNEY, PART 1

 

"Right away, we could tell that Lauren was a whimsical, curious mix of wonderfulness. She teaches at an alternative high school, and is an amazing artist in her own right. The first step in the process was for Lauren to take our creativity personality quiz. The goal: To understand what inspires her, then use that to inform the 3 creative concepts for her to choose from. What we discovered was a woman of great faith, who adores her husband, with unforgettable memories of their perfect honeymoon in Italy. She has an eclectic range of music, a few of her favorite songs being Awolnation’s Sail, Toccata & Fugue in D’Minor, and Hysteria by Muse. And she has a real playful side, even back from when she was a little girl who loved her cat, peanut butter and naps most of all! So it was no surprise that Lauren added her own personal touch to our quiz (see colorful border), which gave us more insights into her bright & sassy personality."

 

LAUREN'S JOURNEY, PART 2: THREE CONCEPTS

 

"It’s great to think of these concepts as creative mash-ups of Lauren’s personality. Prior to creating a card design, we first put together a “mood board” of sorts. These boards communicate a certain feeling in color, font and mood -- with some hint towards the design aesthetic. We also aspire to provide variety between the three design directions. Lauren inspired the following 3 concepts: Love’s Kooky Light, Ever Present Love & Faith, and Most Beloved."

 

 

 

 

If you were Lauren, which concept would you have chosen? Take the poll here!

LAUREN'S CREATIVE LIFE: THE WINNING CONCEPT

 

"Given the holidays, and our "love" theme, Lauren selected.... Concept 2!  Ever Present Love & Faith.

"Now that we had the concept, our next step in the creative process is design. Lauren collaborated with our FC Art Director, Melissa, to interpret the concept into several design options. 

Together, they created these 3 designs. Design 1 and Design 2 (a variation of 1) are inspired by the idea of, if you could travel back and sit amongst the wisemen (Lauren's answer to the time machine survey question), what would you wear? Yes, a whimsical thought (hey, it's fashion!), but it was challenging too, being a mix of humbleness, gratefulness, and regal bearing. The 3rd Design is based on the more traditional idea of that very holy night. Here, to balance the awe-inspiring art, we added an element of delight with the little lambs -- integrating Lauren's own artwork.

 

 

 

"Ahhh, the happy ending to Lauren's creative adventure! After mulling over her choices, Lauren chose the kingly BLING to represent her Collection, Ever Present Love & Faith -- a gorgeous blend of etherial whites, pinks, bronzes & glistening stars -- and a very spiritual and romantic representation of love. And since her little lambs were too cute to deny, we also created a photo card from the 3rd option, called The Wisemen. (Did Lauren pick your favorite?)"

A collection based on Lauren's beautiful artwork was created by Foto Crush for the holidays and has been adapted for Valentine's Day, which is perfect for its romantic and dreamy feel. You can purchase it from their two shops: Foto Crush Etsy or Big Cartel.

 

Would you like to be Foto Crush's next Art Director? To participate in their next contest, email yum@fotocrush.com  with “I want to be an Art Director” in the subject line. The next drawing is this month. Good luck!

 

Nick Knight and the Death of Photography

One year ago, Nick Knight proclaimed, "I think photography is dead"  when he self-referenced during a livestreamed interview for the series Fashion Pioneers with The Business of Fashion. Taken out of context, it's a stunning statement considering he's tirelessly and fearlessly pushing the boundaries of what his chosen medium can be, and his unrivaled online creative home, Showstudio, is arguably the most groundbreaking and prolific showcase of fashion imagery and the processes behind it, a marriage of photography and film, much of it in collaboration with in-house filmmaker Ruth Hogben and guest favourites (Alice Hawkins is always a massive treat). To that he added, “Film died some years ago. I don’t miss it. None of my children read magazines. Fashion will be shaped by the internet.” 

Watching the whole interview - it's 4o+ minutes and well worth the time - is crucial to understanding the context of his statements which you want to do because it's better than reading excerpts and thinking someone you admire is hopelessly arrogant. He's not; rather he has the kind of humility only those who achieve great things acquire. His message, drawn out by the quietly astute Imran Amed, is that the way to move fashion forward is to create new, dynamic and groundbreaking fashion experiences that use our available technology to offer access to everyone who wants it (eg. watching Alexander McQueen's Plato's Atlantis on our mobiles), and therefore media such as photography and film must evolve beyond what traditional means can accommodate. Knight observes that, in this sense, photography "has become something else" altogether (hence "photography is dead"), and he's leading the revolution in taking fashion to this open place, beyond the fashion elite. (I've always thought fashion was wasted on a good number of the privileged insiders - bored faces at Chanel haute couture shows are as sure a sight as Lesage embellished boucle.)

At the time of this interview, no other image maker was following Knight's lead or cutting their own path in any meaningful way. The vision wasn't there. Has that changed in the past year? I can't think of anyone.

The images here are Knight's contribution to the January issue of W magazine. They are blowing me away. They are like photography, illustration and film all in one - I believe he directed a film and took stills to create the series which is drawn from the work of Erté, Aubrey Beardsley, Lillian Bassman and Irina Ionesco "to explore the future-fantastic visions of Spring/Summer 2012" for W. I think the imagery trumps the subject which is the clothes. Yet in 30 years of creating fashion imagery, Knight has never lost focus of why he's there, and I find that fascinating.

You can see all of the images, both published and previously unpublished, at Showstudio.

 

Photos: Showstudio

Floral Friday: Au Revoir, Francois Lesage

The man responsible for much of the heartbreakingly exquisite beauty of haute couture has died.  Francois Lesage was head of Maison Lesage, the legendary embroidery salon in Paris where rare magic happens. He was 82.

It seems the craft was in his blood. His father, Albert, founded the family firm in 1924 when he bought the atelier of Napoleon III’s embroiderer, Michonet, who had also worked for Charles Frederick Worth. Subsequently Albert married Marie-Louise Favot, an embroidery worker at Vionnet. With that legacy how could he have followed any other path?

Luckily he fell in love with beautifying textiles with threads and beads and has helped keep this highly skilled art alive, through the work of the Maison as seen on the best of haute couture (not without help from Chanel who saved the Maison by buying it), and ensuring new talent is nurtured through his Paris school, Ecole Lesage Atelier de Broderie. What a dream vocation. (A fellow Canadian named Sarah Crowley got her dream and moved to Paris to study at Lesage a few years ago, you can read about her time there and see her own beautiful designs at Glimpse Creations.)

Below is a delight of an interview with Lesage from 1987 from Fashion Television:

Christian Lacroix's exquisiteness was greatly owed to Lesage

Floral Friday! Papery Printed Porcelain from Bath

This past weekend I went on a girls' trip to visit a friend in Bristol (no one makes toast like you, Sophie) and it included a visit to dreamy Bath, which is a must when in town. We had gorgeous autumn weather and I really wished I had my camera, but I left it at home so I wouldn't be holding up the group or miss everything that was happening. I took lots of pictures in spring of last year which you can see here here here and here. (Though I do find my old photos a bit cringe-worthy so if you look, do it quickly, eh?)

While roaming the shops in Bath I popped into Rostra & Rooksmoor Galleries - I couldn't resist a turquoise-painted shop - and saw a collection of works by local ceramicist Janine Roper which immediately attracted me due to their Delftware influences. And then they really intrigued me when I noticed they weren't poured into moulds but had a papery effect in that they were obviously hand-formed. I didn't get her name (must work on that) but the woman at the gallery was really helpful and explained that the artist rolls out the porcelain into sheets, cuts and shapes it and then screenprints it. That is is so neat! She uses mostly traditional cobalt blue oxides and draws her print design from vintage 'Sunday Best' tea sets and other domestic items from her life.

I had to take one home and decided on the jug, a charming little piece that stands about 6" high. I pictured delicate flowers in it but really wanted to actually use it, as a jug. But I wasn't sure if that was a stupid idea (that happens a lot with me). Was it safe? Would I break it? I got all excited when I read the artist's statement the lovely woman gave me and saw the words "pour exquisite drinks from her range of pitchers of all different sizes." Permission! I've been displaying the jug on my aqua French side table in my living room, then last night when I was putting a tray of tea together I took it into the kitchen and filled it with milk. This was exciting to me. Is milk exquisite? No, not unless it comes from an exceptionally beautiful cow. But it made my tea ritual much nicer.

I know what I want to do in my next life. Study ceramics in Bath. That sounds pretty good to me.

You can see where the porcelain is folded, giving it a papery effect

The spout has been applied as a separate piece but it appears seamless from the exterior

Photos and collage © The Swelle Life

Latest from Alice Hawkins: "Museum of Costume"

Click the image to watch the film

(My headlines get less and less imaginative as the years go by.)  I've really been looking forward to this, Alice Hawkins' latest fashion film, from SHOWstudio:

"Created to accompany the Antwerp Fashion Museum's 2011 exhibition 'Dreamsuits: Designs by Nudie Cohn, the Rodeo Tailor', photographer and filmmaker Alice Hawkins lends her unique eye to Cohn's equally unique couture creations, capturing the glittering surfaces of Nudie suits drawn from the collection of Belgian entertainer Bobbejaan Schoepen on fashion film in 'Museum of Costume.'"

Country/Western/Fat Elvis outfits are not really what turns my crank (I guess I'm bringing that phrase back) and neither is the music that is performed while they're being worn. Alice Hawkins' film Musuem of Costume celebrates both, though it is focused on a particular designer and a particular artist of the genre. But her way of capturing her subjects just 'being', as if they are occupying moments outside of time and space as we know it, is always fascinating and mesmerising to me. Her style of highlighting detail with dramatic light and shade, through both flashing cuts and lingering looks, demonstrates her appreciation for the elements as much as the whole of the character, a study that is always a treat to watch. She made me appreciate the couture aspect of a style I would never associate with couture. But the details in the embroidery, textures and fabrics really are exquisite if you can get past the style of the clothes. I say this at the same time I'm thinking how fun it would be if everyone dressed this way.

Alice Hawkins' films are such a hypnotic, sensory experience (the more accurate descriptor would be 'sensual' but I feel weird saying that, like I should be slipping into a candlelit bath in the dark while whispering the word as I stare at you). 

I have to admit, I love this one best with the sound muted. No offence meant to the talented Bobbejaan Schoepen who has an awesome name and wicked car to match. I'd love to be taken for a ride in it with his stereo cranked.

Alice herself makes an appearance:

Bil Donovan Adorns the New Dior Suite, St. Regis NY

Where do I start...these images are pure joy! I'm humbly grateful to Bil Donovan for sending these to me (plus another tremendous treat further down). This is the new Dior Suite at The St. Regis New York. It's a stunningly decorated suite made spectacular by the presence of a nine by five foot watercolour painting by Bil Donovan who is Dior Beauty's resident artist. The photos alone left me breathless, so I can only imagine how the room feels with such a powerful thing of beauty looking on.

So many important and exquisite details were considered in the decorating of these rooms by Caroline Rippeteau and Bree Dahl that I couldn't bear to simply summarise, so here is the article from the The St. Regis magazine which tells of all the glorious finery:

   

In his painting for the Dior Suite, Bil Donovan has portrayed figures wearing two original Christian Dior dresses, one from Marc Bohan (1960-1989) and the other a creation of Gianfranco Ferré (1989-1997).

 

And Bil gave me a very special gift to share, a fifth painting from the Dior collections that wasn't included in the Suite's original:

 

I interviewed Bil Donovan earlier this year and featured some of his incredibly beautiful paintings, you can read it here

THANK YOU, BIL!!!

LFW: Fred Butler SS12 Teaser

It's going to take me a few more days to edit the rest of the shots I took at Fred Butler's mindblowing SS12 presentation at LFW on Sunday, but I couldn't wait to show one of my favourites - a head piece or hat, lilac-pink (one of the best colours ever) hexagonal sunglasses and fabric earrings that follow through on the sorbet softness of the voluminous scarf/top/jacket (in the full shot it's like a longer bolero style). The fact that I can't quite define it exactly is one of the reasons I love Fred Butler.

More to come!

Photos © The Swelle Life

POP!

This is an art installation at the Tynemouth metro station titled 'Transitions...From Here to There". It's comprised of metro tickets from the past, present and what is to be the future for travel in Tyne and Wear - the Pop smart card. Artist Kimberley Gaiger explores ideas about time, loss, travel, regeneration, and lost and found among other things, and as a result must have awfully sore shoulders from hanging all of these pieces up.

All are interesting ideas that are directly tied in to the nature of the space, but I have to admit I really just like the look of it! With the varying sizes and levels of saturation of the tickets and their placement on different planes, the work has a multi-dimensional feel that generates a momentum that kind of feels like time travel. (I'm guessing, I haven't actually travelled in time. I'm still mastering being on time.)

 
 Photos © The Swelle Life

Jet Black Perfect Pair

I received a gift recently, a very special pair of earrings of hand carved jet and sterling silver by artist jeweller Molly Vogel. She calls them Perfect Pair and I'm inclined to agree! There's no black like the saturated midnight hue of jet, and I love that she's  finished the perfectly smooth baubles to a subtle, matte shine. They have a nicely substantial weight that still feels comfortable to wear.

Molly is a very talented and thoughtful artist, you can read our interview here and see more of her work, including her stunning flower rings which are my favourites.

Photo © The Swelle Life

By Judith Frankland

HOORAY FOR HOLLYWOOD

This week I'm taking a trip down memory lane to the LA years. Accompanying me to set the glamorous tone are the witty and vibrant collages created by Jon Cooper, AKA renowned DJ Jon Pleased Wimmin. I asked Jon to send me some of his old Hollywood works in which he lovingly transformed a myriad of famous faces, and you, too, could be one of his subjects as he does bespoke commissions. Jon also has a monthly night at Dare in Edinburgh - a man of many talents! You can see more of Jon's work at poparttart.com.

OUT IN LA

The year was 1986, the city LA. I was a newly married, party-loving adventurous gal and it was a great time to live in The City of Angels. After a brief stay up in Hollywood we met some of the downtown glitterati and moved into the heart of the scene into a loft near  Little Tokyo. Downtown LA at that time was heady, fast, experimental and decadent. Life for us revolved around after-hours underground clubs - sometimes held on dangerous gang turf - and a thriving art scene bursting with openings and happenings. The players in this world were bright young fearless and fierce, as some of them used to say "funky fresh", and barely an actor in sight. One was the young, smart, beautiful and funny Alexis Arquette, who would go on to become a legend of the LA club and party scene and a darn good actor.

Clubs would spring up anywhere possible. One particular night there was no location for the club Plastic Passion, run by Brett Boreman, Joshua Wells and Steven Ernst, also incredible characters, who decided it would go ahead in the loft on the floor above us. As the music thumped, the ceiling moved as beer dripped through the floorboards onto our bed! They were hilarious, carefree days when a man on the roof with a gun was entertainment. We dressed and acted outrageously, while through the day I worked on my good old Bernina making clothes for men, women and a bit of both. A fabulous giddy year passed in a flash and it was time to return to London.

WARHOL'S SUPERSTAR AND SIR ANTHONY HOPKINS

Now a separated party-loving, still adventurous gal, I moved on a whim and through a twist of fate, to Hollywood. It was a very different scenario that awaited me . The downtown scene had dissipated along with that 80's experimental edge. Don't get me wrong, LA was still exciting and unpredictable. It was zany, not avant garde, with an urgent "gotta make it" feel. Fame was the name of the game - you know, the "I'm only doing this between acting jobs " mantra.

At first I flung myself into partying, but in retrospect, the heart of the scene was not beating as fast. One fabulous person I got to know was the fascinating Holly Woodlawn. Holly had been one of Andy Warhol's Superstars and was the epitome of glamour with a lovely, witty personality that I was drawn to immediately. Sadly, as fate played its hand again I became ill and had to move away for several months in which time we lost touch, something I have always regretted.

While getting better I had an amazing experience, coffee with Anthony Hopkins - a couple of hours of bliss. The word "charisma" defines this man. The day he walked into the kitchen of the house I was living in and opened his mouth, and spoke with that voice, made my life. He was everything you would expect - the eyes, his mannerisms, wit, charm - gush gush gush. He told me he had worked in Newcastle, my hometown, with Richard Burton. He was a down to earth, class act. As he was leaving, someone daringly asked if he would make a sequel to Silence of the Lambs, and to my delight he turned to me, and in chilling Hannibal Lecter style, he said "Clarice". He was good enough to eat!

Finally, I entered a party free, very productive period of my life with fierce determination and drive. To start the ball rolling, I helped a designer who catered to Rock n' Roll's elite - Alice Cooper, Ozzy Osbourne, Motley Crue, and Marilyn Manson, to name but a few. I was kept firmly in the background, sewing away every hour possible and plotting my escape to start my own line. My workmate was a lovely Vietnamese lady who had escaped the horrors of the Khmer Rouge by boat and had ended up as a seamstress, a brilliant one, in LA. She taught me so much and to my delight I got lots of gossip, innocently, from her. She had measured many an inside leg that many gals and guys would have relished doing! She wasn't fazed one bit by a famous name and half the time had very little idea who they were. As we toiled away, I discreetly interrogated her and she would nonchalantly tell me "Alice Cooper, narrow shoulders, large head, very friendly. Keanu, real tall, real nice. Marilyn Manson, lovely guy, very quiet" and so on. About the closest I got to any stars was designing and making some superhero costumes for The Monkees which actually gave me a thrill as I had worshipped them when I was a kid! Alas once more I was in the shadows and didn't get to do the fittings - drat!

NICE NELLY

At last it was time to set up on my own, and this I did in the shape of a line called Nice Nelly. LA is not the place for avant garde fashion and I battled to calm my designs down, I'm a "more is more" kinda gal! I recall one very prestigious shop on Melrose declaring that no one would ever wear rhinestones on denim when I presented my embossed patched and frayed skirts.  Battle on I did, the glorious weather keeping spirits up when sales were sometimes slow. I put my hand to everything to keep the wolf from the door. Outfits for Goth to strippers, a thong for a life-size bear puppet, and clothes featured on the extras in the Josie and the Pussycats movie and in several TV shows, including Buffy and Charmed.

Judith's Nice Nelly designs as styled for Glue magazine, Sept-Oct 2000

I rarely ventured out at night and was happily chained to the Bernina. I was also one of the only people I or anyone else knew of who would take the bus downtown to the fabric district, sometimes a hair-raising experience as it passed through one of the dodgiest areas. However, one party I couldn't resist was Leonardo Di Caprio's, I wasn't a fan but my expectations of a star-studded night ran sadly high. We got ludicrous directions to go to a parking lot on Sunset, leave the car, go through a metal detector and onto a mini bus that ferried us up to a haunted mansion in Los Feliz. The place was teaming with strippers, young wannabee anythings and a dash of bemused folk like me who also made a hasty retreat back to the mini bus and down the hill.

It's very normal to spot famous faces in supermarkets or just cruising Melrose, or in restaurants, even ice cream parlours - after all they are only human. The one star that made me self-conscious and get a silly walk as you do was Al Pacino - yummy! Seeing films such as one of those volcano movies being shot nearby was an every day event, and Biggie got shot just down the road - in fact it was quite normal to hear gunshots or helicopters overhead with the police on loud hailers shouting "put the gun down". And once in a while the earth would move in the literal sense, but that's LA!

VANITY SIZING AND DIVA BEHAVIOUR

I couldn't leave you without touching on the Size O debate and a little gossip. First, size certainly does matter in LA, even if it constitutes size fraud! Here's a wee story that will either fill you with glee or have you running off to purchase a tape measure to keep in your bag. I got an order from a very "hip " LA boutique with a fab clientele. As always, after delivery, pessimist that I am, I sat by the phone. It did indeed ring and it was the shop saying there was a problem with the skirts and could I drop by. Fearing the worst, I put on my bravest face and walked head held high into the shop. Well, lo and behold, it was the sizing! I had used small, medium and large labels. The owner exclaimed, "No one will buy anything with large in it", saying that even medium was pushing it. Could I please go and change them, preferably to XXS, XS and S. The best I could do was XS, S, and M, as they were the only tags I had on hand. No wonder LA is sometimes called the Land of Make Believe.

Now for the gossip, which I've whittled down to one item in the spirit of politeness. I met a very nice, very creative florist who told me the tale of how a large order had been made from the PA of a very famous singer/actress who was known to be extremely tight with her millions. The order was for lots of blue flowers for a dinner party. The job was done beautifully and the flowers delivered. The next day the PA returned to the shop and declared that Miss S........ would not be paying for them. Why? Wrong shade of blue. Guess that's just the way she was...

After a few years I could no longer attempt to conform to the restrictions imposed on me. I craved the creative freedom of the avant garde world of fashion, so I had a garage sale, packed my bags and said goodbye to the circus that was LA. Off for the delights of Paris! However, the fabulous experience of living in LA was well worth it, I love that city!

Fashion Illustrator Series: Interview with Bil Donovan

Bil Donovan for Christian Dior Beauty

Whether fashion is art is a perpetual topic of debate. Conversely, we'd be hardpressed to find objection to the idea that those who document fashion, in an inspired way, are indeed artists.  Fashion illustrators possess that magical combination of technical skill and provocative flair that is essential in bringing their subject to life.

Bil Donovan is one of today's most accomplished and revered fashion illustrators, and a true artist - deemed so by Christian Dior Beauty who named him their first Artist-in-Residence in 2009. Based in New York, he is also an educator, currently as Assistant Adjunct Professor at the city's prestigious Fashion Institute of Technology where he was once a student; and a fine artist working under the name William Donovan, a pursuit that allows him to engage aspects of his creativity in an expression unique to that of his fashion-focussed  illustrations.

In 2010 Bil published his first book, Advanced Fashion Drawing/Lifestyle Illustration through Laurence King UK. It's a beautiful textbook that "promotes the idea of observation, thinking and selectivity through a series of exercises and demonstrations that explore the concepts of line, shape and composition." For illustrators looking to broaden their perspective, this hugely inspiring and challenging book is a must-have. Bil's introduction alone is of immense value; his story will surprise you.

I had the absolute pleasure of interviewing Bil, my favourite fashion illustrator, about his work. I look at his pictures when I want to feel happy or elated; it's something in the combination of his precise, elegant brush strokes and how he chooses and uses colour. I'm drawn to his bright hues, though some of my favourites are mostly monochromatic - Bil is a master at summoning an exhilarating energy with his use of light and transparency and translating the space and proportion of a live event into two dimensions without compromising a shred of its vitality, even taking the beauty to a higher level. I would like to live in Bil's world.

 

DG: First, congratulations and big thanks for your book, a truly original and invigorating approach to fashion illustration instruction. It's hard to believe you were once told you were not a natural and that you should 'rethink your artistic pursuit.'  That professor would prove to be instrumental in shaping your path early on, when you took her advice to 'draw draw draw'.

I think you may be about to change the lives of others yourself by revealing this bit of information in your book - t’s a universal given in our minds that true creative talent is something we're born with, that comes easily. You've proven through your achievements that with insightful guidance and nurturing, anyone with the commitment to be a good illustrator can indeed be one.

Do you feel that without the specific education you received from several extraordinary individuals that you would have eventually found your way to where you are now, or was it absolutely crucial to your success?

BD: I believe that regardless of the degree of talent one person may possess, that individual needs to nurture, perfect and explore that ability through practice as well as understanding the fundamentals related to that field.

It is important to get a different perspective and evaluation of your work through the eyes of another and of course this would occur in a class. I know that studying with a variety of instructors sharpened my thinking and pointed me in the direction of pursuing my personal vision.

Would I have developed my eye, or draftsmanship without that experience?

Absolutely, probably through practice, but each teacher brings a distinct viewpoint and perspective to a class and those factors influenced my perception of drawing and nurtured my style.

I love the theatrics of a circle of easels occupied by artists surrounding a model perched on a model stand. Imagine this arena energized by the presence of an instructor who circles around the room pushing, encouraging, inspiring and challenging you to see, think and create work in a different light…the energy is palpable and courses through your body pulsing through your veins into your hand holding the pencil onto the paper…There is nothing like that. I’m still addicted and still take classes.

DG: The fact that you’re still taking classes will either be reassuring to young illustrators or totally intimidating! Then again, learning is a life-long process.  

Do you prefer the easel circle to the live event? Does the spontaneity of the live event force you to adapt your style?

BD: Each is unique. The studio setting is a more controlled environment and the energy is generated through the model, the instructor and of course the other artists present. If I create work alone at my studio then the energy is collaboration between the model and me.

Live events have a kinetic energy generated by the state of flux. You have no control of the surroundings and events occurring and it is great to allow that spontaneity to filter into the work. You have to be in the moment and constantly edit and adapt your process, rather than style to meet the challenge. There is no room for preciousness.
In September Ralph Rucci invited me to document his Spring 2011 collection and it was exhilarating to witness his brilliance and world; to capture that experience as models floated by in these gorgeous creations, for the press, editors, buyers and privileged guests…it was an Ahhhh moment and everyone took a pause at the beauty of his collection, they actually gasped, but I had no time or I would have missed it.
I had to let go and just trust that the essence of that moment would rise to the surface.

At Chado Ralph Rucci, New York Fashion Week, September 2010

DG: You conveyed the structure, textures and lightness of the Chado Ralph Rucci collection beautifully. We love to look at fashion drawings and paintings; they go even further in creating that ideal world, the fantasy, and capturing the essence of a collection than the fashion show itself. They can be so enchanting.

So why isn’t illustration a more regular part of documenting fashion today, alongside the photograph? Fashion week is typically fed to us through a singular view – there’s the catwalk and the wall of photographers at the end of it snapping the models in identical poses without facial expression. We could use a more fanciful narrative!

BD: Amen! I wish I had the answer to that question. And those who are in a position to choose the editorial content and create the narrative could best answer it. The fashion world is a business, and the editorial and advertorial markets revolving around that world must promote an image that meets the demands of a particular audience in order to thrive. However, I believe that this audience is underestimated in their ability to appreciate an illustrated narrative over a photo-realistic one. It is also the responsibility of the illustrator to reinvent the genre of fashion illustration with energy and concept to seduce the eye and capture the attention of a new audience.

DG: During a discussion earlier this year between Imran Amed from The Business of Fashion and Nick Knight for BoB’s series Fashion Pioneers, Nick declared, “I think photography is dead” upon reflection of the notion that as a medium it can’t evolve. He also downplayed the importance of the printed medium and claimed that ‘fashion will be shaped by the internet’, an idea which was supported by the massive public response to McQueen’s live streamed Plato’s Atlantis in 2009.

As an artist who also documents fashion and the curator of the January's exhibition Fashion Illustration: Visual Poetry, do you see a unified movement amongst fashion illustrators toward the use of specific technologies to create both the art and the means of access? How does the concept of evolution apply to the classic art form of fashion illustration, and it is imperative that the genre evolve in order to be influential in shaping fashion?

BD: All art has to evolve, high, low, commercial or fine and Fashion Illustration is no exception. Technology nurtures that evolution by providing a creative arena for exploring possibilities beyond our imagination.

We are witnessing Video, Animation, Drawing Painting, Photography, Performance and Music accompanies one another and move beyond the printed page. That’s entertainment!!!

However, I am a firm believer that your digital skills are only as effective as your traditional skills. Those with a foundation in drawing painting, composition and theory will have a competitive edge over those who to rely on the digital technology to make their work.

Anyone can scan a photo-distort-posterize and process it through a filter. But what makes it unique? Does technique dictate the work or do we dictate the technique to communicate and enhance our vision? Intuition is idiosyncratic and has as yet to be incorporated into digital technology.

Social networking has changed the landscape of how work is seen, perceived and promoted, unimaginable a decade ago.

 

DG: There seems to be an element of critics who dismiss beauty at its most simple and pure as fluff, as if meaningful expression can only be found in the edgy, hard, damaged, or ugly. How would you respond to that? 

BD: Work that is from the soul whether it is dark or light should never be dismissed.

My personal work is dark and my fashion work is light. It took me a long time to calibrate the two and realize that one does not invalidate or surpass the other.

Thank you, Bil. It was an honour.

For Chado Ralph Rucci, New York Fashion Week, September 2010

  For Vanity Fair Italia, 2011

 

For more about Bil Donovan visit his website, and if you're in New York you have a unique opportunity to see him work live:

All illustrations © Bil Donovan

Christian Lacroix and the Tale of Sleeping Beauty

This original content post features a sponsored link   

Fashion, particularly haute couture, hasn't been the same since Christian Lacroix closed his house as we knew it. Lacroix was my favourite couturier, his over-the-top, opulent way of arranging colour, texture and print an aesthetic I had to grow into, and when I did there was no one else who brought such joy. 

So when I heard that Lacroix had collaborated with Camilla Morton on a fashion fairytale that she rewrote and he illustrated, I made a noise that drew all of the neighbourhood stray dogs to my front door. Lacroix's first love, and as he seems to indicate in interviews on subject, his one true love, fashion illustration (that's right!?) could soon be heavy in my own two hands.

I ordered Christian Lacroix and the Tale of Sleeping Beauty straight away - you can check Amazon.com coupons for deals before going to the site - and was supremely excited to read it to my daughter, it's 'our' special book. (I love that at five years-old she can pronounce 'Lacroix' perfectly. That is very important, you know.)

It's an extraordinary book; Morton retells the fairytale classic as delicious fashion fiction - though firmly rooted in the bitchy reality of the industry, particularly that of fashion editors - working Lacroix in as a central character alongside Beauty, a fantastical biography of sorts. I was going to describe my favourite details but that would spoil it - if you haven't yet read it I wouldn't want to steal those sweet moments of discovery away from you. 

The next in the Camilla Morton fashion fairytale series - thank you for these, Ms. Morton! - is Manolo Blahnik and the Tale of the Elves and the Shoemaker, available in November. And apparently there are more in the works, though I have to say I feel satiated with the first in the series!

The hardcover without the sleeve, which I prefer

I admit I was taken aback by the dark, sometimes grotesque (see below) drawings that make up some of the pictures. I guess I expected 100% beauty from Lacroix, all colour and whimsical loveliness, but he is a true illustrator, portraying the ugly parts of the story as they really are. There is nothing beautiful about a woman so tragically self-obsessed that she sentences a baby to die on her 16th birthday - all because a party began on time despite her lateness! Still, in true Lacroix form, the details are exquisite. 

Like Lacroix haute couture, the pages are a glorious mix of things - contrasting fonts and colours playing with the electric illustrations.

  One of Christian Lacroix's many self-portraits

Interiors & Exteriors: Saltburn-by-the-Sea

  

Now I love our beach, the aptly named Longsands that spans Tynemouth to Cullercoats, and the neighbouring idyllic King Edwards Bay with the Priory Castle overlooking the North Sea from its beautiful, craggy cliff. But last weekend I really fell hard for the beach and seaside community of Saltburn-by-the-Sea in North Yorkshire. We were visiting our lovely friends in their new home in Yarm for the first time and they spoiled us in all kinds of ways, and one of them was taking us to their local beach to share the beauty.

Not only was the beach gorgeous and expansive with an impressive look-out pier, there were all kinds of charming little shops, restaurants and ice cream stands, and of course anything one needed to surf (no, I didn't, that would look ridiculous).  It was a clear, sunny day and people from all over had come to pretend it was spring. I have never seen a queue so long for fish and chips, and in England that's saying a lot.  (It was worth the wait!)

This post  is for this week's Interiors & Exteriors feature and it's long enough sticking to the theme, so I'll post the beach shots separately. Are you craving fish and chips now? I am.

In the town, just a quick uphill walk from the beach, there were some great shops. I was already lagging behind and we needed to eat lunch so I didn't go in, but I wanted some photos of the wonderful window displays of Northern Lights Interiors

As I was snapping away I saw a woman smiling from inside - you can see her below! and I smiled and waved. As I headed down the road she came out after me and asked if I'd take photos of the storefront, they'd been having trouble getting them without cars in the way and I was happy to oblige. I even had a man ham it up for me!

 

We passed a random rusted-out door that appeared to lead to nowhere with a keypad right in the middle. I'll bet if you pushed the right numbers it would transport you to another dimension. Prove me wrong!

  This photo would have been so much cooler if I'd waited just 10 more seconds...

 

On display at Arts Bank were lamps and tables in vibrant patchwork by Jane Atkinson and a metal sculpture by Ray Lonsdale. Each contains a 'secret meaning' in the form of an object placed in the head. Now, if I'd read the brief beside this life-size contemplative man instead of taking a photo and reading at home, I would have looked and been able to tell you what was in his head! 

 
   

Photos by Denise Grayson

Come back next Tuesday for Judith's latest!

Judith has held on and then some to that exuberant character and style that has inspired her peers. Pink 'Eyelash' dress and earrings by Judith Frankland, with hat from Relate charity shop.

TIM SOUTHALL

I met artist Tim Southall in the mid 80's when I moved into a tenement block in Somerstown (now immortalised by a film of the same name), situated between Euston and St Pancras stations in London. A tough Irish politically active area, so I was told. We were warned to stay out of certain pubs and mind our own business and all would be fine and it was. Except for one hungover Saturday when a friend and I ventured to the local shop and were chased by a gang of visiting football yobs (I was wearing a red white and blue stretch number with matching socks and platforms) - proximity to the main line stations on certain Saturdays could be risky! I hoisted my skirt up, off with the platforms, and we ran back into the maze of flats unharmed. Tim was my neighbour, we became friends. The whole building was full of artists, musicians, designers, professionals and the odd layabout. Jeremy Hardy, the hilarious, dry alternative comedian lived above me. Nightlife was in abundance and the scene was boiling over with clubs such as The Mud Club, the Asylum at Heaven, La Scala (all nighters) the Electric Ballroom and later Taboo, the Bell in Kings X was a regular meeting point, and the list goes on and on. Tim was a dedicated student at the Royal College of Art. We partied hard but work came first for Tim. My motivation and creativity came from what I was going to wear, constant new outfits using fabrics from Shepherds Bush market or Dalston. I was wearing bright colours, stripes, stars, polka dots - anything loud with kids' toys made into earrings, such as the big bright numbers I loved. A crazy, fun, carefree period when again I found myself in the midst of some hot talent. Tim was always at work or finding inspiration. He took me to The Chelsea Arts Club and numerous shows. When the time came for Tim to get his final show ready, to my delight he found inspiration in me for some of the wonderful, vibrant silkscreens.  I love them so much they make me happy and proud to look at. Me a muse, who would have thought? So with a smile on my face I will let Tim carry on as he has kindly sent a few words to go with the pictures. Thanks Tim for capturing that moment in time in such a fabulous way.

  Plug me in and make me go-go, 1985. Tim Southall. 120 x 80cm

  

'JUDITH' SILKSCREENS, 1985

Judith and I became friends in 1984 while I was in the second year of my masters degree at the Royal College of Art. I was immediately drawn to Judith with her larger than life character and crazy approach to life: a sort of smack you in the face and hope for the best, mad, living it large existence that I was desperately trying to create in my own life. Of course, there was also an echo of the age in this, a precursor to the Big Bang and excesses of the later Thatcher years. And Judith seemed to me to be the very embodiment of this age. Then there was the flip side; lurking in the shadows of those good times were all our demons, desperately trying to escape.

In the ‘Judith’ series of silkscreens, I was trying to capture all of the above and at the same time use Judith as a funnel for my own creativity. Much of my artwork rests on taking what might seem everyday and turning it into something special, fun or celebratory, often juxtaposed with pathos: Give Me A Drink… is a good example of this dichotomy swigging from the bottle in a bikini setting, not that Judith would ever be seen in a bikini! Dashing Away with the Smoothing Iron shows a woman in a more passive role while also being a reflection on Judith’s profession, whereas Plug me in and make me go-go is an electrifying piece – Judith as a real live wire, stylishly dancing on the spot; I am a Woman of Steel, sees Judith fighting for the right to party.

I should perhaps mention ‘colour’ along with comedy and vibrancy, and size; these are the largest silkscreen I have made to date and of course, looking back now – 27 years later things look very different, but still, no subject has inspired me to work to such a scale.

Tim Southall 2011

www.timsouthall.net

Dashing Away with the Smoothing Iron, 1985. Tim Southall. 105 x 77 cm

Give me a Drink at an Impressionable Age and it’s Mine for Life, 1985. Tim Southall. 105 x 77cm

I am a Woman of Steel, 1985. Tim Southall. 105 x 77 cm

 

Header photo of Judith Frankland by Denise Grayson

 

Karen Elson Can Sing

 

It took me a while to get up to speed on Karen Elson's recording debut. I recall hearing quite a while back that she had made an album and I guess I figured it would filter its way down to me. Well, it didn't, not until yesterday when I was reminiscing on YouTube. For once one of their suggestions was for a video I would actually watch (I guess they haven't clued in yet that I am always up for a 'hits to the crotch' or 'barfing babies' montage.)

I had no doubt she would have musical talents, for to be Jack White's wife you would have to be good to put it out there. And that's what she thought, too, with regards to her songwriting. He already knew she sang 'like angel, had a gorgeous voice' (awww!) but she hid the songs she'd written until she was sure she wouldn't get divorced could impress her beloved, and impress him she did and they got to work and we now have an album called The Ghost Who Walks and some videos. White calls her style 'folk-country-goth', which fits. She plays guitar, sings beautifully, delivers hauntingly catchy songs and of course looks incredible while doing it. And she uses a lot of peach. We could use more peach in the world. (Don't laugh, it's a good colour!)

'Who is this Karen Elson' you ask? She's best known as the British model with vibrant red hair and transluscent skin, who had no eyebrows for awhile and that became her signature look. She was referred to as 'alien' and all kinds of ridiculous names for her unique looks by people in the industry who obviously forgot that she was paid to be memorable. And now everyone is shaving off their eyebrows. Fickle industry!

Lu Flux's Personal Toile de Jouy

A couple weeks ago I covered Lu Flux's SS 11 collection Over the Hills and Far Away and wondered as to the origin of the print on this wonderful men's outfit and women's dress, knowing Lu there was a story behind it. And it turns out there is!

I'll just relay what Lu told me:

"The prints are drawn by my good friend and many time collaborator Neil O'Driscoll (he also makes my films each season). A very talented man! The toile de jouy is in fact personalized and is made up of pictures of me and my boyfriend Alex, our dog Burt Wellington and many of our friends which is so so lovely."

Isn't it? How great would it be to have you with you friends, furry ones, too (I love that her dog's name is Burt Wellington!), immortalised in a toile de jouy? I've always loved this style of print, especially in blue, and it flows right into Lu's style of storytelling through clothes. My first recollection of the toile de jouy was in my aunt's teenage bedroom when I was very little (looks awesome under Shawn Cassidy posters). And I think on a quilt, too, also at my grandparents'. Both in blue.

A little background - the toile de jouy originates in - can you guess? - France! in the late 1700s in Jouy-en-Josas, a village near Versailles. The factory that manufactured it was founded in 1760 by German-born Christophe-Philippe Oberkampf, (1738-1815), a textile entrepreneur. According to Quilter's Muse, the factory at first produced only floral designs block printed with wood blocks. In all, more than thirty thousand block print designs were utilized to print fabric there. Imagine the archives!

As for who printed Lu's, I think I know, but I'm quite certain it wasn't done with wooden blocks!

Intergalactic Transport Blackmarket: For Quilts, of Course!

 

 

Can you say your quilt is made by an Intergalactic remnants trader? You can, if you buy one of Jimmy McBride's aka Stellar Quilts hand embroidered creations. I have never, ever seen quilts - or anything else from an independent craftsperson/designer, well he's a textile artist actually - promoted this way. I pity anyone trying to top this film featured on Etsy for ingenuity, it's a tall order. Traditional craftsmanship combined with forward thinking has limitless potential for new concepts that appeal to what lies within so many of us these days - a yearning for that nostalgic feeling, and the wonder of technology. They can co-exist! I love McBride's message that no matter how advanced we as a civilisation become, we will always need comfort and warmth.

Do you remember when you were a teenager and started going over to guys' houses (only when parents were home, Mom and Dad if you're reading this - and they were gay!) and you first saw their bedroom (as you passed the open door on your way to the bathroom) and you saw that they still had a space-themed bedroom? McBride's quilts are the perfect transition piece from space-loving boy to man, so if you're 15 and you're still into your planets and stars and spaceships and beginning to feel a little uncomfortable about it but you aren't ready to pack it all in for the grey or navy striped bedspread, you don't have to leave it all behind - you can still have planets and stars plus nebulas, spacestations and a scene depicting an "attack on the energy collectors surrounding V838 in the 3rd quadrant occupied by the Reni"! Each quilt tells a part of McBride's intricately woven space odyssey so if you really want to indulge in the fantasy, oh boy can you! And you've invested in a piece of art you can really live with.

Pillar in the Carina Nebula

 

Hey, wait, it's ok Mom and Dad! That's (my brother) John's room I'm remembering! It was like being in Battlestar Galactica. Which reminds me that the only non-girlie thing I ever wore was Battlestar Galactica running shoes when I was 9. I don't know what happened there but they must have been the only pair Buster Brown had in my size at that particular time my feet grew another centimetre. That's the only place my mom would take us because they measured our feet properly and sold proper shoes. In other words, they didn't sell Sparks. I remember one day we had to take off our shoes at school for some reason and I was the last to grab mine from the pile to put back on, and the teacher held them up and said 'Whose are these?' and I sat there looking around thinking some dummy doesn't even recognise his own shoes. The other kids had to remind me they were mine. I tried to pretend that of course I knew they were my shoes, I was just taking my time getting up. Me and those BGs, we just didn't gel.

Weekend Fashion Film Treat: The Good Life

Every so often something truly great comes along and I'm gushingly grateful. Something that evokes an emotional response of the extraordinary kind, as in not the kind of the thing you experience in day to day life, and connects with a part of you you would almost forget existed if it wasn't so thrillingly nudged every now and then. (Say what? In short, I lose it for beautiful things that tap into a dream state and I can't tell you why. I don't know exactly.)

Photographer and film maker Alice Hawkins made The Good Life which showcases some of the best of AW 2010, it's a moving editorial of sorts. But for me this film is not about fashion.

This is how it's described on Showstudio (yes, them again. What can I do, they're awesome):

"Proper doesn't have to mean prim - Alice Hawkins gives the bourgeoisie mood of the A/W 2010 collections a terribly British spin in a tongue-in-chic ode to Margot Leadbetter, Beverly Moss and quintessentially English class consciousness."

I didn't grow up here so I don't know the 70s TV show after which this film is named, I don't have a reference for Margot Leadbetter, and Google can't seem to tell me who Beverly Moss is, though something tells me I should know. But that's all fine, I prefer no context for this film. As I mentioned I'm not viewing this as a fashion film, though it's tough to ignore the familiar outfits, and the fact that I fell in love with that Dior ribboned sweater on the catwalk, the one that the wonderful Jean Sherman is wearing at her vanity table (which looks a bit different on her).

The Good Life is like David Lynch doing the The Housewives of Orange County (without the boob jobs, trout pouts, useless husbands and ingrate kids). It's a bit film noir and completely dreamlike. The way Hawkins shot it is dramatic and stunning, she plays with light and dark to create the passage of time - the bright, waking sun of dawn with birds chirping, the washed out look of dusk, and the deep shadows of a mysterious night. Yet her passage of time doesn't necessarily make any sense, all weaving in and out in quick seconds and at the same time dragging slowly, which is a huge part of its appeal. Any of the scenes in The Good Life could be seamlessly edited into Lost Highway or Mulholland Drive.

The film also taps into the standard feminine idealism - perfect house, clothes, hair, family, life - and every waking second is bliss, all smug smiles of true contentment. It's as if their air is not the same as the one we breathe. Why, they don't even need it! They exist on a different, Lynch-esque plane.

I imagine Hawkins asked her cast? subjects? to play the impossibly glamorous, self-satisfied woman. But something tells me, if their stories are true, that they felt right at home and quite deserving of such a portrayal.

After writing the previous paragraph I read this, which would have me believe these women are indeed only a slightly less exaggerated version of their 'characters' and that's exactly why they were chosen. I don't think Hawkins like actors, she's intrigued by real people and exaggerating their fun parts. The article also touches upon why the film reminded me of pageants - the unnatural poses, the frozen smiles, and the complete and utter belief in what they portray, which I would sum up as nothing. If you asked them to stand there and smile without moving for a whole hour, they would, no questions asked. Hawkins is into all of that, "she's attracted to those who 'make an effort'". Works for me.

 
 

Anrealage's Totally Unwearable Beauty

'Does this dress make me look fat?' Yes, and that's kind of the point, at least peripherally.

 

Usually, unrealistic interpretations of how women should look draw criticism. We should all be tall, skinny and eternally wrinkle-free, etc. But in the case of Kunihiko Morinaga, the Japanese conceptual designer behind the label Anrealage, the impossible manifests in ways that challenge conventional notions about the human body and how we dress it. We're too stunned for harsh words.

Plastic inflatables as a material fly in the opposite direction of a shape that offers that svelt look and feel we endlessly pursue, so at first sight we ask, 'Why?' But Morinaga's designs aren't derived from that myopic ideal of looking long, lean and chic. In fact, in many of his previous collections, he ignored the body altogether. The 'clothes' were structured objects that had absolutely to do with the human form. Morinaga likes shapes. Basic, three-dimensional shapes like the sphere, cube and pyramid. He may be an avant-garde designer whose followers likely include the Kawakubo and Margiella set, but he never intended for anyone to try to wear his pyramind hoodie or trenchcoat cube. It's just not possible, no matter how broad the mind:

Photo credit: Paul Barbera of Where They Create

When Morinaga does decide to welcome back established patterns and consider his creations as things people might actually wear, he does so beautifully, with couture attention to detail. His SS 11 collection is a hybrid of the two, in that you can actually put these clothes on, but very few would.

As much as I love feminine, figure flattering dresses with pretty details, I always give time to hearing someone's alternate view of our reality. Isn't it more fun and enriching to try to understand something so incongruent with our beliefs than to dimiss it? (But I hope Tom Cruise isn't reading this.)

These angel wing sleeves really are divine. They also come in handy on long flights.

The third one is more practical than it looks - you wouldn't have to wear a bra.

 

Show photos: WWD.com

Curiosities from London Fashion Week

 

Fred Butler in blue at the Cooperative Designs presentation at Groucho Club

These are some photo bits and bobs from London Fashion Week, interesting things beyond the shows, presentations and exhibitions - more to come on those, I'll wrap it up eventually!

Eley Kishimoto's event Flash On Week at Shoreditch Studios showcased product collaborations using various incarnations of the print duo's iconic 'Flash' design, first seen in 2001. Looks like I arrived too late and missed Mark Eley speaking about this project, but there's a great synopsis of the event at Amelia's Magazine.

 

I couldn't help but notice these two fabulous friends paying homage in head-to-toe Eley Kishimoto:

 

It's not every day you get sprayed by giant, walking fragrance cannisters:

 

More Fred Butler being her awesome self. It was a blue day as you can see. Update from Fred's blog: She wore a blue cord bustier and circle bag by threeASFOUR worn over vintage dress and Alistair Carr padded bomber jacket. 

And the following photos were taken before or after the Felder Felder and Hannah Marshall shows, starting with one that's a bit blurry due to me spinning around to catch the noisy, frenzied exit by Paloma Faith and pals:

 

I'm getting a Centurion-Cleopatra-Xanadu vibe here. Come on, you know the one.

Kanye West's ex-front-row companion, Amber Rose, made her exit through the backstage door. I'm not sure why since you wind up in the same place as the people who left from the front. And she was only too happy to pose, as you can see. Does anyone know what she does? Just curious. The chain belt is current season Felder Felder, by the way.

 

 

And Erin O'Connor, who was one of the very few who could pull off flats at Fashion Week, and willingly at that (you get the feeling most would rather die than be seen walking and standing comfortably):

Photos by Denise Grayson @ The Swelle Life

Swelle Boutique Autumn Preview: MITRA

          

Autumn is soon arriving at Swelle Boutique! I'm happy to announce the first of the new offerings is a smart and femine Victorian-inspired mini collection of one-offs by MITRA, called Victoriana. The young dynamo behind the label is a talented Florida-based artist and designer who likes to give us a little fantasy in our clothes, as she does in her inspired and playful paintings. 

The Victoriana collection consists of a taffeta and brocade Soirée strapless dress with black piping on the front and back; Victoriana wool coat with a jacquard yoke on front, back with jacquard-covered puffed cap sleeves and front pockets, with pale yellow lining throughout; and a seriously sexy outfit of the navy Parlor Gathering Top with gorgeous details you must see for yourself (below) paired with a soft grey, light denim pencil skirt with a back slit revealing a hint of black lace peeking out.

As always, garments are available to buy in preview so if you're interested, please contact me for more details. There is only one of each piece. The dress and outfit are small and the coat is very roomy, it's a true large.

Swelle Boutique is being redesigned and rebranded as I write this. A huge thanks to all who loved the look of the debut design and I hope you won't be disappointed that it's going to look much different. I built the first version myself to get Swelle up and running and now need a look and template that's going to accommodate growth, and a wider variety of designer styles. I do plan to continue to infuse a dreamy feel with my photography as that's where my heart lies, and as always the clothes will be beautiful and feminine. Some exciting new designers will be joining Swelle throughout the season - all collections designed exclusively for us - and I can't wait to bring them to you.

Please watch for a late September launch and until then, the last of the summer clothes - all one-offs and limited edition pieces - are on sale.

 

 

   

   
 
  

Photos by Denise Grayson

Scenes from a Rural Niagara Zoo

There's a zoo in Stevensville, Ontario, not far from Niagara Falls. It's called Zooz. The other day my parents and I took my daughter and I was pleasantly surprised by our day. Usually I come away from public family places exhausted and not wanting to see another human for a week, but this time I left not dreading going back next year! That's a compliment. We even had the rehearsal and sound check of a Guns N Roses cover band as the soundtrack to our time at the playground near closing time (they have concerts on weekends as well). The singer didn't sound much like Axl Rose but the music was solid and made me want to do this in the sand. 

Now, I'm not sure I like the idea of caged animals unless they're being protected, but they've done a nice job creating marshes and lakes, have metal sculptures juxtaposed nicely against the foliage, and they do a hippo and giraffe feeding. Apparently the hippos spray 'urine and feces' on each other and will do the same to spectators as well. Funny how no one walks away after they tell you that. 

He, or she (I didn't see that 'part') looks sad but hopefully isn't. At one point, this pensive baboon who looked so much like an old man, actually unnerved me a bit by looking right at me. I suddenly felt self-conscious taking photos.

A pile of lemurs which looked like little freaky-eyed pandas

Every zoo needs a water park. Actually, when you have kids with you, and it's freaking hot, it does.

 

 

A rare sighting of Coca-Cola in its natural habitat

 

Giraffes are such unusual and fascinating creatures. They had a male and a female named Noah and Rainbow. If I had to name them I might have gone with Mr. Furley and Tori Spelling.

 

 

 

Toronto Art: Shaun Downey Finds Fame with 'Blue Coco'

Blue Coco. Shaun Downey

Carrying on with all things Toronto during my stay that is just about *sniff* up - an event that links my former home with my current one - I introduce you to Toronto artist Shaun Downey. The name may ring a bell, however, as may the painting above. Shaun's portrait Blue Coco was recently selected for exhibition in this year's Portrait Award competition at the National Portrait Gallery in London, England. Out of the 58 chosen from 2,177 entries, Shaun's work was singled out to be the 'face' of the gallery's advertising campaign, including a 9-metre-high banner at the museum's entrance on Trafalgar Square to mark the exhibition's opening in June.

It's an intriguing portrait worth a long stare or two, don't you think?

So who's 'Coco'? She's 20 year-old model Dearbhail Bracken-Roche who goes by the fashionable nickname when working. She sat for Shaun at age 17 when the friend of a friend introduced the two, and the rest is now blue-tinged history. Interestingly, she's now living and working in London and has found fame in the city, often being recognised in the street. I suppose that happens when your giant, unusually beautiful face is plastered over one of London's most famous and popular landmarks, as well as the tube stations. (How would you feel? Honoured and thrilled or completely freaked out?)

The artist and muse at the National Portrait Gallery in London. From Shaun's blog.  

As you may have guessed, Shaun prefers to paint portraits. The work featured on his site is exclusively portraiture dating back to 2004, and all of his subjects are women, though they are not always captured in the formal pose. There's a quiet calm about these pictures, as if the seemingly ordinary moment is being held not just within the frame but is occupying a pensive dimension in which we're being granted a peak. The background colours are soft yet often vibrant which make his work, in my mind, 'happy' pictures, something I'd like to look at everyday. His paintings are gorgeous.

Congratulations, Shaun!

The Doorway. Shaun Downey, 2007 

 

Green Mug. Shaun Downey, 2009

 

Holly in Yellow. Shaun Downey, 2009.

 

The Reception. Shaun Downey, 2005

 

The Old Apartment. Shaun Downey, 2006

 

Noémiah in the National Post

 

 

Imagine my surprise and delight when on Saturday I looked down at the table in my mother-in-law's living room - we're in Toronto now! - and saw Noémiah's gorgeous illustrations by Miss Paule T.B. spanning the entire cover of the National Post's Style section! The gestural renderings of Noémie Vaillancourt's beautiful and unusual feather and chain jewellery were most obviously the highlight of the feature on Montreal's Festival Mode & Design, which practically gushed about the exciting design talent produced by this vibrant and electric Canadian city. 

Swelle Boutique currently offers an exclusive mini-collection of one-off necklaces and earrings by Noémiah. There are four pieces left!

Gone...But Not Forgotten

Gone...But not forgotten from Laura Seymour on Vimeo

If you're a professional or amateur photographer (who isn't these days?), film maker or music composer residing in Europe you may want to consider submitting your best work to Hitachi G-Technology's Driven Creativity competition. Winners and runners-up will be awarded innovative G-Technology drives and the overall winner will receive €5,000 to fund their next project. You can enter until September 30th, 2010 here

Entries are judged not merely on aesthetics but also on the inventiveness used to get your result. One stellar example is Laura Seymour's Gone...But Not Forgotten submission for the film category. It's got it all: technological wizardry to wow you, music to engage you and enough sunny sentimentality in the visuals to leave you feeling that everything is right with the world.

How did she do it?

"Asked by composer Richard Anthony Jay to create a video piece for his track 'Gone...but not forgotten' incorporating super8mm footage, I was inspired by the wealth of public domain archive footage online and decided to attempt to make an animation solely using this footage, and still imagery also sourced online. This involved a long process sourcing the materials, then compositing a massive tabletop composition in Photoshop before then bringing into After Effects to animate one camera over the table-top and all the elements within that needed to move at set times in time with the music. As the concept is about memory, families and capturing the stories of people from times now gone across the four corners of the table, the important thing was also to portray a different aesthetic/finish for each area of the table using filters and colouring to recreate different film stocks. I used the Magic Bullet colouring suite 'Looks' to achieve this in Final Cut Pro."

(If you're reading this in an email subscription click the title of this post to see the video.)

Belsay's Extraordinary Measures, Indeed

Ron Mueck's Drift. 2010

Belsay Hall, Castle and Gardens has quickly become one of my favourite places in England, or anywhere else for that matter. My first visit in April resulted in some fantastic photographs thanks to Belsay's various photogenic, magical muses, both permanent and ephemeral. English Heritage began using the historical site's attractions to host full-scale art exhibitions in 1996 such as Fashion at Belsay - which included Stella McCartney's crystal horse housed in the medieval castle, fortunately back for a reunion when I visited - as well as 2007's stunning Picture House project featuring an installation by Viktor & Rolf.

Belsay's latest art exhibition, Extraordinary Measures, showcases the work of some of England's most  ingenious and curious creative talents. Each handpicked artist visited the site to gain inspiration, then set to work with the central idea of scale in mind. The exhibition as a whole has a kind of shrinking and growing effect, something like an Alice in Wonderland experience with malevolent insect fairies and fish-bashing babies in place of the murderous Queen of Hearts. While much of the exhibition will bring a smile to the observer's face, equal parts will strike a nerve in their own peculiar ways.

I was lucky as Stella's Spot to be invited to their press which included an introduction by curator Judith King, a short film, and tour of each of the installations which were most times explained by the artists themselves as nearly all were present.  

Extraordinary Measures runs at Belsay Hall, Castle and Gardens until September 26th in Northumberland. There's a warning about nudity (the same goes for this post!) and strobes which accompany Mat Collishaw's zoetrope in the castle. Pity for anyone who can't watch as it's the most impressive piece of the exhibition, in my opinion.

Here are my photos from the day, beginning with one of my feel-good favourites, Slinkachu's miniature reproductions of rather normal events made curious by the incongruency of their settings. The actual installations were set up last year throughout the gardens and grounds and Slinkachu photographed them to preserve what was the most fleeting part of the exhibition - they were left to be snatched up by the hawk-eyed or carried away by animals or the wind. So in the place of the figures are the photographs.

 

 

 

Tessa Farmer's A Darker Shade of Grey was one of the most bizarre things I've ever seen. I felt sick looking at it, yet it was the installation I took the most pictures of. What I'm showing here is the most palatable of the work; it was actually the crispy insect carcasses and not so much the taxidermied rodents that elicited the visceral response. There is something morbidly fascinating about dead animals, especially ones arranged in battle scenes and adorned with crab shell armour with scorpion artillery fighting malevolent insect fairies.

Come again? Fair enough. Farmer's narrative centres on the war between the Northumberland native red squirrel and the outsider, the grey squirrel who is apparently kicking red's fluffy tail. With the help of the skeletal insect fairies who think their grey foreign counterpart shouldn't be penalised for being successful. There's a metaphor in there somewhere but after hearing Farmer speak about her work I don't believe there's a hidden message, it's simply a dramatised version of conflict between two species.

This reminds me that I saw a skinned whole squirrel at the food market last weekend, marked with a stuffed toy version so you'd know what it was. I would rather eat the stuffed animal.

 

There was a bit of condensation in some of the glass cases from the rain - the hazy effect is not me trying to impart a dreaminess on this scene, especially as it was more of a nightmare! This mouse is being attacked by a militia of the bug-riding malevolent fairies made from insect parts - it looks like they're holding bayonets! 

No animals were sacrificed for the sake of art. Farmer purchased the taxidermied squirrels and rodents from Ebay, the red squirrels being of Victorian origin. You really can get anything on there. A journalist asked after taking in the full spectrum of the painstakingly fashioned scene,'Why go to all this trouble, wouldn't it be easier to just paint?' And then the artist ordered the evil fairies to descend upon him and poke his flesh relentlessly with their tiny, crude weapons. At least that's what I feared might happen when I heard the question. Oh, Dude.

  

Scalesdale is an interactive, evolving model village located in the castle kitchen created by Newcastle architects Jenny Gillat and Tim Mosedale. Visitors will decide how the community develops.

Mat Collishaw's The Garden of Earthly Delights is just the coolest thing. It's a zoetrope or spinning wheel that runs for 90 seconds at a time (I think), and in that short span you are mesmerised and disturbed by the scene that appears to be unfolding in front of you. I say 'appears' because those babies whacking fish with clubs to a soundtrack of layered, unnerving noises that is giving me shivers as I recall it now (I'm serious, real shivers which is odd because it's more creepy to me in memory than it was in person) aren't really moving at all. It's like an animation. Me and the journalist next to me didn't realise that they weren't moving until he asked a question and was told so. I don't know how Collishaw configured and callibrated the zoetrope to create such a compelling effect, but he's done a few of these so the man has certainly mastered the task.

 

 

Woodland Unhappy Families by Freddie Robins is an homage in yarn to the classical Greek architecture that inspired Belsay Hall. Set behind a window nestled in the quarry gardens, two knitted birds play the characters in a sorrowful tale of love and loss from Greek mythology.

 

Wild Horses by Ciaran Treanor was made possible thanks to his award of the Belsay Fellowship in 2009 that enables a young, emerging artist to participate in the major contemporary art exhibitions at Belsay. The Newcastle University architecture student referenced Belsay's stables outside the castle for his installation of gestural figures that, from specific vantage points, appear as running, jumping horses.

Ron Mueck is a master at creating utterly convincing sculptures of the human figure. Here he has placed his various 'people' (and one giant chicken) within the rooms of Belsay Hall to play with scale. Standing next to Spooning Couple was a fascinating experience. Observations of how real the two look and how sweet they are juxtaposes with the fact that they are obviously not real as they are less than half the size of adult humans. But you want to believe they are. And you can't help but want to put some pants on the guy.

 

This was certainly disconcerting. I first felt as if I should just let the poor guy be naked in privacy, he looked so uncomfortable (yes, I was aware he wasn't real, he's nearly 10 feet tall sitting - those are some high ceilings in that house). But the emptiness of the room was actually quite inviting, the contrast to the feeling one would get sharing a small, low-ceilinged room with the giant Wild Man. Now that would be uncomfortable.

 

(Sorry for pointing that thing at you.)

Youth, Ron Mueck.

 

A giant panel of windows in the Quarry Garden is an awesome sight to behold. Mariele Neudecker's From Here to There is Not That Far is an ambitious undertaking that was well worth the effort. It was a bit surreal, walking through its doorway felt as if I was passing over into another dimension which is what the artist intended; in developing the idea she was drawn to the moment in Alice in Wonderland where Alice passes through one reality to another, entering a rich and luscious garden.

Photos © The Swelle Life