The Swelle Life

Cupcake Monday! Maisie Fantasie's Floral Beauties

Maisie Fantaisie must have the most gorgeous collection of wedding cakes, they are so ridiculously pretty without being overdone, the epitome of edible loveliness. And I love that their photos are beautiful, accessorised with the pastel patterned wallpapers and charming cake stands. To quote an adorable, small and always smiling Italian man who used to do deliveries for us at the production studio I worked at in Canada years ago,  "'preciate." That's how he said "appreciate" which was his way of saying 'Thank you." (Do you know how many bad photos of pretty cakes I see? Far more than good ones - what a waste and so frustrating!)

Here are just a few of Maisie Fantaisie's floral designs, and I'm glad Im already married because I would never be able to choose! (Well I guess there are other reasons, too.)

Each design has a suggested flavour, although you can have your pick of their many options which are as gorgeous as their cakes.  The cake on the bottom left, Romantic Rose, is described as:

Madagascar vanilla bean cake, Amedei Chuao chocolate buttercream, grosgrain ribbon, satab
ribbon, handmade sugar roses, sugar pipework.

Enjoy drooling!

Photos: Maisie Fantaisie

HAPPY NEW YEAR! FIREWORKS FROM LONDON

Click to view the show on BBC

This is the spectacular display that is surely responsible for hundreds of small animals in and around London having heart attacks last night. Every New Year's Eve the BBC presents this world-class fireworks show put on by the City of London which you can watch by clicking the image. If you want to skip past the audience chat and get right to it - I highly recommend doing this - forward to about the 3:00 mark for the countdown.

Happy New Year! I for one am looking forward to a 2012 that bears no resemblance whatsoever to the last half of 2011. Onward we go!

 

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! 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

LFW: Jasper Conran SS12

Update: Jasper Conran is brilliant at documenting his behind-the-scenes processes with inspiring images, and so he thought I might like to see his album of 1930s photos of the 'leisure class' that he drew upon to create his collection (as portrayed by photographers Jacques Henri Lartigue and Georges Hoyningen-Huene), and also the backstage slideshow for his LFW show. He's right!

Click the images to see more:

I have to admit I was really hoping for details of the more overtly feminine kind at Jasper Conran's SS12 show - huge thanks to LFW sponsor Glaceau Vitamin Water for sending me - and not so much sporty.  I fell in love with his lace doily-look laser cut flower appliques from two years ago and wanted more of the sort. See the beautiful pages from his design scrapbook for SS10:

But I also love a surprise and was wowed that Conran's return to sporty and a bit preppy was also lithe and flowing. With lots of sexy backs, clean cuts, precision cutouts and transparency. The clear, geometric shaped and appliqued bags were especially neat and would make just as much sense carried empty  - if not more!

The show notes listed each outfit in detail and I love that by-gone approach to the fashion show, like an old salon presentation narrated by an MC. Actually, that's exactly how it was at Craig Lawrence and I'll be getting to that dream of a show as well.

(I love Jasper Conran's designs for Wedgwood too!)

 

"White cotton pique long tunic dress, white cotton pique shorts"

"Black silk cotton sleeveless jacket, black silk cotton A-line skirt, translucent black  and white handbag"

"Red chiffon panelled applique shift dress, white crepe de chine slip dress"

"White crepe sleeveless t-shirt, white crepe split panelled skirt, clear shoulder bag"

"Black silk cotton top, black organza straight cut box pleat skirt, translucent red handbag. Red crepe shirt dress, translucent red box bag"

"Grey melange linen jersey sleeveless t-shirt..."

"Red crepe A-line pleat front bustier dress"

"Shocking pink crepe split front dress with square wrap back"

 Photos © 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:

Cupcake Monday! Coolest Halloween Edition

Cupcake Monday's new love, Arthur & Aleksandra, wins hands down for most original and the coolest of the Halloween cakes. I mean really, how cool is a glass skull vessel with black cherry liqueur to dip your pipette in and drizzle over red velvet sponge and pure white cream cheese frosting? A clever trick and a glorious treat.

If you love what Arthur & Aleksandra are doing (how can you not?) see their first Cupcake Monday feature here and visit their blog. Then prepare to suffer intolerable cravings!

And their brilliant version of the Halloween bat: Rich chocolate sponge topped with a white chocolate and milk chocolate frosting. Embellished with  a dark & white chocolate shard. Dangerous indeed!

Photos courtesy Arthur & Aleksandra

LFW: Orla Kiely SS12

Orla Kiely brought her girls back after having two-dimensional representations the past two seasons. They rotated on circular platforms to show off the waist-focussed silhouetttes and fresh prints from every angle. I love that you can expect the same thing from Orla Kiely season after season, yet it never feels like 'Oh, that again.' Her shapes are classic, ultra feminine and youthful, but she eludes monotony and overt girliness by using high quality fabrics, thinking through textural details, and creating print graphics that look refined.

There were lots of  clean white cottons amongst the spring colours, my favourite being the coral which was soft and gorgeous and edged in a sheened trim:

 

Orla had ice cream in branded cartons served by a 'cigarette' girl. I had some, of course!

I love this girl, she gave me big smiles with every outfit. Happy clothes!

 Photos © The Swelle Life

A Look at the New LFW Cinema

Inside the BFC Show Space at Somerset House

Spring Summer 2012 is the first season at London Fashion Week for the BFC Cinema, set up in a tiny black hut-style theatre in the BFC Show Space at Somerset House (BFC is British Fashion Council). They did livestreaming as well as show their programme of fashion films on a loop which is what I caught when I popped in after the Jasper Conran show, which I saw thanks to LFW sponsor Vitamin Water (photos coming, I swear. 'Twas a good one, too). 

You can watch some of these films at LFW TV

Here are my favourites of what I caught, starting with House of Flora's film by Ryan Parry. "A playful nod to Grace Jones, Keith Haring pop art and gestures of Josephine Baker", it was an infectiously energetic performance with plenty of colour and striking shapes in the body movements, designs and backdrop.     
 
     

Now this next one was pretty cool. The subject is Sarah Angold 's lighting sculptures which I thought were accessories because this was fashion week, and I kind of wish it was actually possible to wear one of these translucent coloured pieces. However, this film by George Petrou was loooooong. It ran with several minutes of silence and then a soundscape by Danny J Lewis sprung in to remind you there had been no sound until that point. For fashion week especially, when people don't have long to sit and watch, an edited version would have been better received. People got tired of waiting for it to end and left. That's a shame. It would be best played at parties hosted by Timothy Leary, if that were possible.

Charlotte Olympia's To Die For by Jam and featuring Portia Freeman, is a gorgeous, surreal, murder mystery featuring designs from the current AW collection.

First two photos © The Swelle Life

Others shot from films, as previously credited

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

Floral Friday! Wallington's Walled Garden

Now we enter the walled garden at Wallington at last. After a beautiful walk in, past the mansion and past the lush lily pond with baby coots frollicking about and a bed floating in it, I came upon the wall and went through the wood and iron door. On the other side was the most stunningly landscaped garden with sheep grazing on the green hills that overlook this romantic dreamland.

 
 
  

I love the texture of this plant that I don't know the name of.

 

 
    
   

 

   
     

 

Photos © The Swelle Life

Floral Friday! The Walk Into Wallington

(Apologies for missing Versailles which I promised for yesterday. We travelled back to Toronto to find that the cable and internet were out. So Rogers made a liar out of me. Ach. However, I am flagellating myself for not delivering, it's way overdue.) 

The proper title of this post is actually 'The Walk Into Wallington's Walled Garden' but that's a big of a tongue twister. Last week I showed you the incredible pond, dense with lily pads and frollicky baby coons, which is actually what's behind this gate after you've walked a couple of minutes through the forest:

And we continue the tour which makes no chronological sense at all because I'm taking you back to the beginning!

 

The mansion at Wallington is a real treasure trove of curiosities. Last year I showed you the dollhouse rooms but there's so much more and I'll get to it one day ...

   

Next week we finally get into the walled garden which is so beautiful you won't be able to stand it.

Photos © The Swelle Life

Floral Friday: Six Baby Birds and a Bed in a Pond

First - I've been travelling this week and am now in Toronto for my summer visit home. Next week I will get back to Interiors and Exteriors on Thursday and finish showing you Marie Antoinette's domain at Versailles...

I think Monet would have appreciated this scene. Carrying on from last Friday's intro to my visit to the walled garden at Wallington in Northumberland (in the north east of England in case you're not familiar), I take you to the pond which was a wonderful surprise on my way to the gardens. After walking through a forest we came upon the lily pad covered water and I noticed some movement on the surface - it was six fluffy black baby birds! I think they were coots, a marsh bird. They were so light that as they ran with their spindly legs the lily pads didn't even move.

 

Two other babies look for food amongst the firm yellow flowers:

 

What is that off in the distance?

Why, a bed of course!

I can't find anything about this bed which makes it even more mysterious. It's an installation, but who put it there? I don't really care why, it was neat. Like a (very) small-scale Cristo and Jean-Claude.

It started to pour. Luckily this was on my way out after being through the garden (see some of those next week) and it wasn't enough to deter me from taking another shot:

Photos © The Swelle Life

Floral Friday! Contrasts at Wallington

I went back to Wallington in Northumberland today to photograph their stunning walled garden which I missed when I visited last year. And had I actually known what I was missing I wouldn't never have been able to leave. Last time, I spent a couple of hours in the mansion, particularly in the dollhouse rooms which you can see here and here (I never did post anywhere near what I had altogether, I hope to dig out the rest one day).

These gardens quickly became my new favourite place and I'd love to go back with a picnic and just take it all in without my eyeball pressed against the viewfinder. A serene, huge pond covered in lily pads with baby coots (a black marsh bird) running atop greeted us on the way to the garden gate, and I couldn't pull myself away. (Somewhere my husband is nodding firmly and slowly with eyes glazed over.) Oh! And there was a red and white bed floating in it! Come back next Friday to see what I'm talking about.

To start, here are some of my favourite shots from a small patch in their enormous and breathtaking garden. The gardener seems to have wanted to create a bit of drama and planted a few varieties of vivid flowers with leaves so dark they appeared black. I especially love the first photo, the flowers appear as if they were painted.

 
 
  
 
 
 
 

Photos © The Swelle Life

No More Fish in the Sea? Selfridges Answers with Project Ocean

 
The Project Ocean t-shirt by activist and fashion designer Katherine Hamnett

I love fish. I make salmon, trout or some kind of white fish for my family once a week and I feel like I'm doing something good for them. So it's disturbing to hear that if overfishing continues, the major fisheries will collapse by 2050.  Imagine Britain without fish and chips! I kid but it's dire news indeed that if our ways don't change we could wipe out entire species  and leave the seas barren by the time my daughter is 45 years old.

Selfridges is bringing the issue of overfishing to the forefront in Britain with their launch of Project Ocean which challenges the public to imagine a world with “no more fish in the sea”.  The initiative is spearheaded by Selfridges Creative Director Alannah Weston, working in partnership with the Zoological Society of London (ZSL) to increase awareness, inspire changed consumer habits and raise funds. 

Running until 12th June, the project is both a celebration of the oceans and a forum for conservationists to issue an urgent public wake-up call to address issues of sustainability, overfishing and marine protection. Participants include international marine protection campaigners and 22 environmental NGOs, as well high profile activists from the worlds of art, fashion, culinary arts, and entertainment.   

Selfridges has displayed commitment to the issue by eliminating all endangered fish stocks across all their restaurants and food halls, which means we can buy our fish knowing we are not contributing to the problem. Find out which of your local fish markets offer the same commitment. If they come up short, know which fish are threatened and don't by them. To help, Project Ocean has developed a “Fish Guide” in partnership with the Marine Conservation Society (MCS) to identify which fish to eat and which to avoid, suggesting alternatives to those under threat.  The guide is free and available in booklet format or via a more detailed phone app version, including recipes from participating chefs and a sustainability-minded restaurant guide compiled by Fish 2 Fork. 

As part of its commitment, Selfridges has sponsored the creation of a marine reserve in the Philippines on a unique double barrier reef, creating a safe haven for endangered fish.  The public can help ZSL to help set up and support marine reserves around the world by donating to Project Ocean and purchasing bespoke Project Ocean ribbons, bracelets and access. A marine reserve manifesto developed by participating NGOs will encourage society to make their policy makers act to protect marine reserves on a long-term level.

So far Project Ocean has raised £83,705. To help further you can donate here

You can learn more by visiting the Project Ocean micro site, show your support on their Facebook page and follow their progress on Twitter.

Cupcake Monday! Sheffield's Fancie-est Cakes

If only I'd known about Fancie Cupcakes when I visited Sheffield last spring, it would have made my trip to get biometriced at the city's immigration office so much more pleasant, and most certainly sweeter!

Fancie was founded by pastry chef Amanda Perry who has grown a single shop into a city-wide chain in a very short time, and surely the people of Sheffield are grateful! They also host neat events such as "The Ultimate Cupcake Experience", where they provide everything you and your friends need to recreate your favourite Fancie cupcake.

I had a little chat with the lovely Amanda to find out what's behind the pretty treats at Fancie:

Why a cake shop?

AP: I am a trained pastry chef so puds have always been my thing. I started Fancie three years ago - before I realised how cupcake-obsessed the world and his wife were going to become! Today we have four shops and a wonderful army of staff including our team of bakers who start at 3am every morning!

What's your absolute favourie dessert?

AP: I'm a total chocoholic so it would have to be a really good bitter chocolate torte or a simple but delicious Brownie!

Any standout moments you'd like to mention?

AP: I was once taken to see a very special guest in a restaurant in the Lake District where I was pastry chef, only to see Stephen Hawking sat there. He turned to me and said "I really like your sticky toffee pudding." That was quite a compliment!

Wow, indeed! And what's your favourite flavour of cupcake?

AP: My current favourite is our praline flavour- chcocolate brownie base with a choc hazelnut frosting and sprinkled with toasted hazelnuts! Deeeelish.

And it was at this point that I seriously lamented not having a Fancie shop near me and had to deal with an unbearable cupcake craving, which I am now having again! If you stand the tempation, you can see more yummy Fancie treats and get location details at their Facebook page.

Yes, they do macarons!

 
Someday I will dive face first into one of these

 

Their Raspberry & Rosewater cupcake has completely done me in.

All images courtesy of Fancie

Cupcake Monday! Fiona Cairns' Royal Creation

You may not be aware, but two Fridays ago there was a wedding in England between one of the world's lesser known princes and a girl he met at school. It went off with minimal fanfare and left the British populace largely unaffected but for a vicar who did cartwheels up the aisle after the ceremony, though rumour has it a red squirrel crawled up his pantleg and the gymnastics were a peppy attempt to loosen it from his knickers.  It's not known whether the squirrel has since repented.

Kidding aside, the cake was pretty spectacular. Sometimes you see the results of what wealth can afford people and you think "What a waste of money." Not here, at least in my opinion. Renowned British cakemaker Fiona Cairns created the official version in an all-white, flower and ensignia-adorned traditional fruitcake.  Its delicate and elegant and not at all pretentious, in relative terms, compared to some ostentatious celeb cakes which were five and six plus feet of what would appear to be subjective beauty. Norway's Crown Prince Haakon and his bride Mette-Marit had a 7 tiered wedding cake of raisins and rum that weighed 140 Kg, measured 2.69-metre high and was decorated with Viking ships. Hmmm...I hope it tasted good.

Fiona talks about how she felt when she was asked to make the Royal wedding cake and explains the 'language of flowers', a Victorian tradition that Kate asked her to incorporate into the design of the decoration:

 

The delicate details:

Fiona Cairns with her Royal masterpiece

Photos © AP

DESIGNS ON LIFE

It's good practice to be wary when someone declares that their careers in designing, painting, singing, writing novels, etc.,  began at the age of two, or in some cases just after entering the world! However, sometimes these claims are in fact true. I was two or three years old when I was introduced to fashion and design. Do I remember? Alas no, my dear Mama told me. I do however believe a seed was firmly planted for the future.

Mum would take me almost daily into Newcastle city centre where she would leave me at one of the high end clothing shops she had worked in while she went off shopping. Evidently I would quietly watch as assorted ladies tried on a myriad of garments. These hung neatly in glass cabinets and were treated with the utmost respect and care. After this we would go to Fenwick, which at that time, had the fab carpet with the name on it throughout the store and you were served individually with a very personal touch. Up to the terrace coffee shop next where I would turn into my alter-ego Lila, and in answer to the waitress, "No, the little girl would have a coffee, not pop" and wanted to be treated like a grown up.

Back home Mum would draw ladies and ballerinas for me and encouraged me to draw dresses. Soon I was making countless books of designs, even pricing them. We got Vogue monthly and it was not long before I pawed endlessly through it. Mum made my clothes and I remember vividly a fuchsia cape, pinafore dress and beret. When I would get my hands on Dad's newspaper (The Telegraph) I headed hastily to the fashion page and its usual row of illustrations of the latest looks. From this, the one and only designer I have ever truly been a devoted fan of, was the genius Bill Gibb (See Bill Gibb, Fashion and Fantasy by Iain R Webb), who sadly left us way too soon. His amazing, innovative clothing was a wild and wonderful mix of contrasting fabrics, florals, stripes , tartan, anything and everything. It seemed he took his references from history and the world in all its glory. He was quite simply an inspiration and continues to be.

Designs from then 15-year-old Judith

I have just finished taking part in an exhibition of a mix of artists and designers. My presentation of seven outfits is part of a work in progress to be finished very soon and used for promotional purposes in anticipation of presenting a small collection next fashion week in London. It is the first I have undertaken in eight years. The main reason I took part was a way of dipping my toes back into the water, rather than throwing myself in at the deep end, and to that end it was a worthy experience. The look of the collection is strong - I like to say "for the woman who likes to say hello"-  and bold, lots of colours and textures, using some marvellous school uniform fabrics I chanced upon. Manny More wonderfully illustrated the clothing in his unique and brilliant style that captures the exact feeling of the garments. (Denise will be talking to Manny in depth about his work soon.)

 

Fashion is my life, it always has been, even when I took detours running clubs in Italy and moving to different countries rather than towns. I was still making one-off commisions, and for several years had a line of a more commercial nature than the one I am now working on. I have finally found my niche. My life experiences are vast and varied and time will tell how this lust for adventure past and present influences my work as I enter my grown up period. I'm excited and have found immense pleasure in pattern cutting and want to explore the possibilities this can create in my next pieces. I would love to work with a professional pattern cutter in the future, and frankly, I feel they do not get the applause they deserve. We can all play with and drape fabric, but boy it takes talent to bring that to life. I want to stretch my imagination using the limitations a one woman venture has in a positive way, perhaps combining textures and colours to create my own personal cloth. I want to burst out and let my mind run riot and enjoy every minute, I'm ready.

All in all, the exhibition has made me focus and come to the ultimate conclusion that indeed my passion is for fashion, something I never really doubted in the first place, but a nice nudge is a good thing.

David Johnson at Shapersofthe80s.com has given a detailed account of my work in the exhibition. He also filled me with laughter, sushi and ice cream with his wonderful wit as a fab topping, a super weekend.

Also, see Katherine Wildman's coverage of the exhibition at North East Life - we love  her!

 

Illustrations by Manny More; photos by Denise Grayson; final photo of Judith and slider detail photos by Katherine Wildman

Interiors & Exteriors: Two New Old Teacups

Can you take another week of vintage teacups? I've just added two more cup and saucer sets to my collection and couldn't wait to photograph one of them especially, I bet you can guess which.

The beautiful handpainted turquoise and gold floral set is from Noritake, but oddly the mark on the bottom of the teacup is only a partial print of their Komaru symbol with no writing other than what looks like three errant letters, and as far as I've found there wasn't an era in Noritake production where only the symbol was used. I wonder if it's a second? On one side of the exterior the handpainted flowers remain, but the gilt decoration is completely missing, as if it was never there. Considering the other side shows hardly any wear, and the inside  is full ornate, it seems intentional for whatever reason. More than likely it's pre-1921. But it's so gorgeous and so delicate, it's like eggshell, none of this matters. Let's call this piece mysterious and curious!

The other set is a perfect little miniature George Jones.  In 1907 Trent Pottery became Crescent and after 1921 the marks said 'Made in England', so that puts this set somewhere between 1907 and 1921. It's incredible that so much of this delicate china survives 100 years.

For the two previous vintage teacup and teacup posts see the Interiors & Exteriors archive

 
  

   
 

All photos  © The Swelle Life

'In Fashion': Alice Hawkins at Showstudio

God I love this woman. In lieu of this week's Pretty column (maybe it counts because the subject is pretty?! Give me that, thanks) I'm linking to an interview that Showstudio's Alex Fury did with photographer Alice Hawkins in February and have just released. I've been so looking forward to this; until now I'd only read interviews and saw her work, my favourite being her relatively recent fashion film The Good Life which I embarrassingly gushed all over. And I almost just did it again. 

The glamour-obsessed yet throughly down to earth Hawkins loves to transform her subjects in way that is superficial and rooted in humanity all at once. What does that mean? Click the image to find out.

 

Ashley Isham's Floral Autumn

Last but not least of my (untimely) London Fashion Week coverage is Ashley Isham. I wasn't familiar with the London-based Singaporean designer (yes, that's what a person from Singapore is called, I looked it up) but I was all 'ooh!' as soon as his first look hit the runway. From my fortuitous vantage point - I was directly in line with the models as they began their walk from backstage - I was in awe of the headpieces which were a mix of silk flowers, pouffy embroidered tulle, some with chopstick-like appendages finished with tassles. The more florals the better and they were echoed in the dresses as prints and lace appliques. The all-dress (+ 2 jackets) collection offered short and full-length styles (with the odd appearance by the hybrid variety, the 'mullet' dress - short in front and long in the back. Perfect for those days when you're not sure if you're party or business).

There was a bit of sheer paneling - or nothing at all - in the mid-section of some dresses, and I wondered if these were simply showpieces and the production for retail would cover up the belly-buttons and ribcages that were saying 'Hello'. I think the ornate-ness of the headpieces atop those slightly exhibitionist outifits made them seem more naked; with simple hair and minimal accessories they just might work on the right person at the right event such as the Grammys (though I think the belly button should never be the centrepiece of an outfit! Bikinis excepted).

On a good note, the one that matters, the glorious headpieces and vivid floral prints made me want to run around in a meadow until allergies would make my eyes swell shut.

 

  

 
 
 
 

   

Photos by Denise Grayson

THROUGH THE LOOKING GLASS: ACTOR TIM POTTER

Tim Potter would be a glorious Mad Hatter. He is creative, experimental and intensely loyal to his craft, he seems to relish in a challenge, having played many diverse roles over the years. He was just as at home playing Captain Hook in Finding Neverland (starring Johnny Depp) as he was portraying Spanish genius and serial lunatic Salvador Dali at the Royal Court. He stretched his skills even further playing Blanche DuBois in a production A Streetcar named Desire.

I met Tim at the Carlisle College of Art in the 1970s, we were both in the foundation course and became friends. He was striking, intelligent and hilarious. We had to do a bit of everything, and when Theatre came around Tim and I were in the same group. As luck would have it, it was Panto season. To my humiliation and horror I was chosen to play the Princess to 200 screaming kids twice daily for a week of torture. I was overweight, not pretty, a party animal and it was the eve of Punk. I was poured into an ugly Laura Ashley smock dress, hairpiece and make up that would have horrified the worst drag Queen. Tim played a brilliant Dick Dastardly type villain that was so scary one little boy had an accident when Tim went into the audience. As I climbed reluctantly up a wobbly high scaffold tower, stuck my head out of the "window" and cried help, one kid went as far as to shout "I wouldn’t marry her if you paid me!"

It was in this Theatre that one lunchtime I found Tim playing, very loudly, a fantastic record by a band called The Sex Pistols, and before I could say "Anarchy" I was hooked and soon morphed into "Looby”, the bow-loving colourful punk, egged on to be more OTT by Tim and his childhood friend Richard Ostell. When we went home at weekends we went to Maxim's disco in Barrow where once a week they had punk night. If the bands turned up (in those years it was always if) they would play to a handful of people - Tim and friends pogo-ing madly and Richard and I posing.

When Foundation finished Tim and I headed South - Tim to the Central School of Speech and Drama me to Ravensboune which fortunately was near Bromley, the town that the infamous" Bromley Contingent" which included Siouxsie, Steve Severin, Billy idol and Philip Salon, had put on the punk map. We had great nights up in the West End and at Croydon Greyhound. One afternoon, Tim and a friend popped a note through actor John Hurt’s door (he lived opposite) inviting him for coffee, and to their amazement he came and was just great. What a gent, what an actor! He was filming the Elephant Man at the time and told them David Lynch had shown the cast Eraserhead on set.

One of the last times I saw Tim in person was at a soiree celebrating his birthday held by his friend Rupert Everett at his flat in Chelsea. Tim was sitting in a rocking chair dressed as Miss Haversham, full of great expectations. (HA couldn’t resist!) That was the last memory I had of him until recently when we got back in touch, so very Tim. I spent many years living out of the country and so we had lots to catch up on. He told me that around 1979 he was a member of Acme Acting, explaining that the troupe would take the play to people’s homes. I was so interested and asked him if he would write a piece about his experiences way back then. He did and sent me some fabulous, startling pictures of himself in some of the productions he has been in. Enjoy!

Judith (as 'Looby') with Tim Potter (far left) and Richard Ostell, 1977

Over to Tim Potter...

Tim Potter as Captain Hook in Finding Neverland, 2004

ACME ACTING performed plays in people’s homes. That is, we used the whole of the house, and the audience followed us room to room. The doorbell rang, and that was the start of the show. In Psycho, Norman Bates would enter, showing his guest, Marion Crane, around "The Bates Motel", i.e., your flat. Speaking dialogue from the movie, he'd fix her a snack of milk and cookies from your fridge, and chat to her over the kitchen table, with you watching, sometimes inches from the actors’ faces. When Marion took her shower (Marion was me, in black 1950s corset and knickers - well, I lacked the required female "bits"), I remember one householder, in a panic, begging us to stop. She got really freaked out. We didn't stop. How could you stop in the middle of a murder? In fact, we generally had the upper hand in the house, running up and down stairs, rifling through drawers and "personal things", using cutlery, serving up meals. The main shows, Psycho and Streetcar Named Desire, were played as realistically as possible (despite the inherent absurdity), so audiences ideally would be moved as well as amused. It was helped by being acted in real rooms and hallways, and peoples' homes took on a new dimension as backdrops to the drama. Your washing machine might go into a spin cycle, noisily interrupting one of Blanche and Stanley's scenes in Streetcar. Your pet dog might get very friendly with Norman Bates’ leg. Would you ever sleep soundly in your bed again, after witnessing Stanley rape Blanche there? (to the sound of jungle drums.) Would you ever step into that shower again? We left fake blood on the bathroom tiles, and people with a whole host of cracked memories.

ACME ACTING were Jim, Tim and Louis, recent graduates of the hated (to us anyway) Central School of Speech and Drama, a very conservative place. We needed to rebel against that authority (they'd expelled our friend Rupert Everett, so what the hell did they know?) and the youthful mood of the times was punkish, experimental, in a way perhaps unknown today. Our theatre company reflected that. It was a surprise hit, having a life of its own, and we performed to a lot of thrilled audiences - although it could go wrong, and I'm thinking of one Psycho to a solitary lady and dog in a council flat, where the performance was greeted only with a depressed silence. Ah, well...

For Tim Potter's full acting credits go to IMDb. Tim now lives in Brighton and is writing a children's book - perhaps a copy will find its way to the child of the child Tim scared all those years back? Alas that we will never know but in true dramatic style let’s assume it will!

    Tim Potter and ACME ACTING in i-D magazine

Tim, Jim and Louis of ACME ACTING

Apocalypse Now

Psycho

  Psycho

ACME ACTING photos courtesy Tim Potter; photo of Judith Frankland 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

 

Judith carries on from Act 1 of last week's Balenciaga Hears the Sound of Music - read it here.

Judith, with her vestal cherubs, says "Call me Old Fashioned but I couldn't resist." Nun's collar and cuffs by Judith Frankland, skirt is vintage from West Germany and the headpiece is from Relate charity shop. 

Act 2 The Chenil Gallery in Chelsea was the setting for my next show. Steve Strange modelled for me and asked his beautiful friend Francesca Von Thyssen to also do so.This led to the lovely spread in the Italian magazine Donna. Melissa Caplan, talented and extremely inventive, also showed her line. At that time she was dressing Steve, Spandau Ballet and Toyah. Our dressing rooms, like our clothes, could not have been more different. Melissa's was calm, organised, alcohol free. Mine chaotic, unorganised and alcohol friendly! To the sound of Ultravox's Vienna my models made their way, if somewhat wobbly, down the makeshift runway. It was a fun day.

Steve Strange and Francesca Von Thyssen model Judith Frankland

Judith's card from the 80s. She was 'Judi' then

I was next commisioned to make four outfits for Steve, a young boy, a teenage boy and an elderly man for Visage's Mind of a Toy  video. It was made by Godley and Creme (10 cc). The four identical suits were in pale blue/ turquoise moire taffeta with antique looking frilly lace shirts. It is a stunning video, beautifully shot. After the day filming, hair stylist extrordinaire Ollie and I went off to check out the Brummie rivals to London's Spandau, Duran Duran. We went in critical mode but after a few drinks left Planet Earth and had a fab time. A few weeks later so did Duran for different reasons - the rest is history.

Judith designed and made four costumes for Visage's Mind of a Toy Video

Steve Strange wore Judith's designs for the Fade to Grey cover

HELL! An ironic name for Steve and Rusty's next club in Covent Garden. Why? Because word had spread about "The Blitz Kids " and how they dressed and acted, and as usual, some mindless buffoons didnt like it. They would come and stand outside heckling and threatening. The window was smashed one night and we were all locked in the club for our own safety. The end was in sight for that small selective scene. Some would acuse the Bowie video for this; however, while this is probably true, it was only part of the demise. It was on the cards as bands and designers took off and became household names, plus with all the magazine coverage and TV it was inevitable. And let's face it, fame was the name of the game for the majority of the patrons.

Judith kept the invite to Hell's opening night

On a lighter, funnier note - Steve had made me cloakroom girl, a job I also took over at The Blitz when (Boy) George got sacked. The cloakroom was next to Steve at the door. One night he had to leave me alone for a few minutes and gave strict instructions that no one was to come in free of charge. As fate would have it, Helmut Newton, Bianca Jagger, David Bailey and friends arrived. They sailed in and just as I was about to stop them to make them pay Steve had spotted them and came like a bat out of Hell to stop me. The visiting Royalty went off and spent the night in the kitchen!

 

Judith's designs featured in Donna magazine which featured Boy George, before fame, on the cover:

 
When Steve and Rusty decided to put on the big event "The People's Palace" at the Rainbow everything was changing and growing rapidly. The look we favoured was an Ethnic style, Berman and Nathans sale being a favourite haunt. Our look was a DIY style of long robes, baggy pants, big shirts,  beads, shawls, sandals and rags in the hair. Steve started to look like Robinson Crusoe with designer stubble and a "tan". There was to be a fashion show and I was one of the chosen ones, but to my horror everyone pulled out the day before. Steve would not hear of me bailing and picked me up in a taxi to make sure I arrived. It went on not as planned - six outfits does not maketh a show! It was a fiasco with the same models coming on twice to lengthen it. That evening and night bands such as Ultravox , Peter Godwin's Metro and dance troupe Shock performed. However, I have to say if there was one fabulous thing that did come out of this affair it was that a young Depeche Mode played! I can actually say I was on the same bill as them - HA! To this day they are still one of my favourite bands and probably the most consistently successful and innovative to come out of those years .

 "New Romantic" hit the High Street and Royalty attempted a watered down version to the delight of the masses and the club scene exploded. The last of the "Dress up" clubs was, I would say, St Moritz, hosted by Chris Sullivan. It had a 1930s Berlin ambiance and everyone made an effort to look impeccable. The music was eclectic, the club ran for a short time and I really liked that night out. Le Beate Route and Le Kilt became the next "in" places and bank holidays in Bournemouth with, for instance, Blue Rondo a la Turk playing. It was all very boozy and wild with lots of fun heaped on top. However, a new theme to my life was about to begin and I took off to Vancouver on a whim. I stayed almost a year. I had started my search for home and this would take me back and forth to more foreign destinations over the years. To this day, every few years I get itchy feet and flee to pastures new.

Well, I have tried to fill you in a little on those early heady days, and next week I will begin the real reason I loved the idea of this opportunity to write this blog. That being to share tales of the things I love, people I admire, and celebrate some of the incredibly talented and interesting folk I have met along my way .

Next week I will start withTim Southall, an incredibly gifted artist who was still at the Royal College of Art when I met him back in the mid 80s. He did me the honour of doing some prints inspired by me and included them in his graduation show. Big question: "What do I wear? " It's just like going to the Blitz again - all I know is it must be bright. However, right now I'll just Fade to Grey 'til the next time. PS. Lots of outrageous events have been left out of this week's blog to protect the not-so-innocent, including myself!

Photos of Judith Frankland by Denise Grayson

LFW: Bora Aksu's Exquisitely Structured Textures and Knits

I LOVED this show. Turkish born and London-based Bora Aksu spoiled us with all kinds of delicous details worked into his highly structured pieces.  It was one of those shows where I found myself making audible 'ooh and ah' sounds as I snapped away. And that's how it should be!

In a predominantly black, silver and grey palette with pops of emerald green every few looks, there were intricate and bold knits; lace and panels of sheer chiffon and leather - the latter which at times resembled a breast plate, like a glam Joan of Arc, and was seen plain as well as embossed, outlined with large stitch holes; jackets and shirts with reconstructed tuxedo elements; harness belts; flirty skirts; and a clear plastic-y material that showed up in sleeves, panels and skirts for a more structured transparency than the chiffon could offer.

As you can see, in many of his outfits Aksu used all of these elements to create complex, highly textured garments to stunning effect.  You want to take them in your hands and have a good look and feel at everything that's going on - front, sides and back. The collection is a perfect balance of hard and soft, the silks and knits tempering the rigidness of the leather to make it something wearable.

 
 
  

  

 
  
 

 

Photos by Denise Grayson

  Judith Frankland wears a top, skirt and earrings of her own design. The perfect transition outfit for busting out of the convent.

BALENCIAGA HEARS THE SOUND OF MUSIC, Act 1

That was the description given to my graduation collection by a very generous journalist  back in 1980. My name in the same breath as the Spanish genius Cristobal Balenciaga (1895-1972) and my beloved "I want to be a nun when I grow up" film The Sound of Music - how fabulous! I accepted the comparison and compliment with delight - after all, I'm only human! My graduation show at The Cafe Royale in London was attended by some of the most glamourous faces from the Blitz and the Head honcho himself, Steve Strange. Thanks to them it was received with an enthusiastic cheer! I was told years later that Vivienne Westwood was there, this was before the McClaren-Westwood Worlds End collection had been unleashed on an awestruck London.

My small collection was predominantly black and white taffeta, brocade, velvet and satin.The black and white striped satin had embossed polka dots in turquoise and yellow in two different sizes and widths; it also came with a tale or perhaps a tall story . The delighted salesman who brought the bolts up from the basement of the shop in London "especially for me" proceeded to tell me that this fabric had been created for the Rolling Stones some years back for a tour and this was the last remaining yardage. With glee I didn't hesitate to say "I'll take it all" and the story, to this day I don't know the truth, but then again I still believe in Father Christmas!

THE VEIL AND STEPHEN JONES

 On the day of the show, my Mum who had travelled down from the Lake District with her friend was backstage with me while I nervously put the finishing touches to the frocks. Today, at 81 years old, she still recalls seeing a rather unusual looking young man coming towards us. He was wearing a suit complete with knickerbockers and ballet style shoes with bows, carrying what turned out to be the crowning glory of my ultimate piece, the black Wedding Dress. This gracious and polite young man was Stephen Jones who had kindly created this architectural wonder for me. This veil headdress was made of stiffened lace on a metal frame and was simply amazing. Who would have thought at that moment that a few years later he would be hailed as one of the world's greatest milliners? Hmm...actually anyone who came into contact with him or his work knew, it was so obvious. The dress and veil was to be worn by the beautiful statuesque model Sheila Ming, possibly best remembered now for her role in the Duran Duran video for Hungry like the Wolf.

After the show, Steve Strange contacted me and bought the dress and veil along with a couple of other pieces. One was a medieval-style taffeta jacket he later wore on the cover of the Visage single Fade to Grey. One of Steve's friends Vivienne Jagger bought the opera coat with striped polka dot lining and a huge stand up collar.

THE BLITZ, DAVID BOWIE AND ASHES TO ASHES

The icing on the cake however was the night David Bowie came to The Blitz searching for extras for his new single which would be named Ashes to Ashes. In a wonderful twist of fate, Steve was resplendent in the wedding outfit that night and was chosen straight away. He was also asked to select people he felt could be right. I believe designer Stephen Linard had been asked but due to pressing circumstances was unable to partake. I was invited as was Darla Jane Gilroy over to the table where David Bowie and his P.A. Coco were sitting and offered a glass of champagne. Darla and I were both dressed in a similar ecclesiastic style and were also asked to take part for what at that time was a decent sum of money for penniless, decadent students. We were told Coco would call us the following day with the details. I awoke with a jolt, seriously wondering if this had all been a dream. I chose to believe not and sat at the door of the "palatial" bedsit for hours waiting for the communal upstairs phone to ring so that I could sprint up in time to catch it. When the call finally came, I was instructed to be outside The Hilton the next day at some ungodly hour, fully dressed and made up the same way I had been at The Blitz, and to get the coach to a secret location.

  That wedding dress from Judith's graduate collection with the veil made by Stephen Jones

 

Judith performed in David Bowie's iconic Ashes to Ashes video along with three of her Blitz friends, including Steve Strange who wore her wedding dress and veil in some of the scenes. Judith is on the far right in the first screen cap.

When we arrived at the beach near Hastings, the crew was set up and David Bowie greeted us dressed in the Lindsay Kemp outfit he would wear that day. He coached us for a few minutes on the words we were to mime and then the day was spent in sinking sand and mud. We had "done well" we were told at the end of the day and asked to come to the studios in Wandsworth to shoot another scene. May I add that at the studios David Bowie had lunch with us mere mortals in the canteen. Yummy. The scene we were to do at the studio involved an explosion and I was at the back. In fact if you look at the video you can see my crucifix swing in. We were told to duck out and run after we had mimed our piece or we could be hurt. This was difficult in a hobble dress, so I hoisted it up as high as I could and got ready to run. Quite a sight for the superstar sat behind me. It took about three takes and we were done and told we could stay to watch the rest of the filming and that we should tell no one about the details of the video. It was all very hush hush.

The night it aired on Top of the Pops I was working at Hell (another Steve and Rusty club - more about that next week). As I had to get there early I would take the tube alone, a daunting affair. However, this particular Thursday I was wearing the outfit I had worn in the video, totally unintentionally. I was recognised by some people who had seen Top of the Pops and ridiculed by others, as usual. But it was worth it. To this day that video still interests and intrigues lots of folk. It was at the time the most expensive video ever made and the song went to Number 1, perhaps we should have bartered for more money. The mileage I got out of that collection had only just begun and I was an established New Romantic.

Adieu for now from this Old Romantic who will never be a nun.

Judith, who was known as Judi back then, had pieces from her graduated collection featured in Viz magazine where it was described as '"Balenciaga hears the Sound of Music'"

Special thanks from Judith to David Johnson for "reviving the mucky 30-year-old slides and bringing them back to life." The photographer who shot them was Niall McInerney.

Header photo of Judith by Denise Grayson.

Come back next Tuesday for Act. 2 - with more delightful (and some bitchy) surprises!

 I am thrilled to introduce my good friend Judith Frankland, a fashion designer with a larger-than-life yet down-to-earth personality, who is the most stylish person I know, and know of. Our Blitz Kid All Grown Up was originally going to do a weekly style post, then it occurred to both of us that her mental bank of fascinating, 'you did what?' and 'did that really happen?' stories from her days in London, Milan, Paris and Los Angeles needed to be shared; Judith's history is as rich as her look and so the two should marry. There is no such thing as a brief conversation with Judith - at least in my experience! - and that's a good thing, as you'll see. 

The Swelle Life is Judith's official blogging home, a perfect match as TSL is all about colour, delicious detail, fun, longwinded posts, self-deprecation, and good people. And great interiors. Check out her living room!

Oh, and if you find yourself coveting any of Judith's designs, feel free to ask for details.

Over to you, Judith...

   Judith in her wonderful living room. When we shot, she felt the decor may not be 'enough'! Skirt and tie by Judith Frankland; jacket, shirt, and shoes are charity shop finds. Photo: Denise Grayson

Style guru, self appointed expert, critic, preacher? No way! I'm an upstart and a woman like many who loves - and in my case 'lives' - fashion and the world that lurks around it, a world I have stepped in and out of all my life living in London, Vancouver, Milan, Los Angeles and my beloved Paris. I have an excitable, excruciatingly inquisitive mind; I never stop thinking, plotting and some would say talking!

I am not a lover of the term "On trend"; I like to say "On form". Micro mini to maxi. If it feels right on the day I'll wear it - no sheep mentality for me. The only thing I follow is the weather - a hard job in Olde England. I, like zillions of others, love to wear clothes, dress up and be noticed, and I shall be incorporating a weekly look alongside my banter. I mix bargain buys, charity shop finds and my own creations. I'll be begging a hairstylist friend once in a while to do me a 'do as I'm not good with tongs unless provoked.

When Denise offered me this weekly spot on The Swelle Life I was so flattered and jumped at the chance to let off some creative steam and share my experiences, past and present. And we'll have a good old romp through my ever-expanding wardrobe, so come join me every Tuesdsay as I throw myself back into the lion's den to launch a new collection later this year.

Judith in one of her fantastic creations, a two-tiered skirt in a bubble of 'school boy' fabric over plaid ruffles in pink and purple.  Photos: Denise Grayson

A Brief History

My life so far has been full of surprises and more than my share of drama, which I seem to attract! My roots - well, the ones on my head are grey now - but the ones from my past were very colourful, from punk to New Romantic and a lot more along the way. Now you may think "Aha - trends!" but at the time they were fresh. I was in the right place at the right time at the right age. These were groundbreaking times, full of self expression and the desire to have a unique look. Often peoples' perception of punk is different from mine. In the early days, the look was bright, not just black, ripped and safety pinned. One of my outfits was an orange lurex two-piece, purple tights, odd dayglo socks, pink kitten heels. Bows all over my head, a plastic mac with small kids' toys attached (ok, with safety pins). That was one way I would troll up on Bromley high street on my way to college. I loathed college, and it wasnt keen on me either, at least the boring head honchos weren't. We would buy boiler suits and dye them bright colours, all very DIY and inexpensive. As my mood darkened mainly due to my dislike of that dreaded place, I started to embrace the all-black and tartan style and a bit of a bad attitude that was to become the punk stereotype.

 Judith in the mid-80s with friend and artist Tim Southall. Photo: Richard Sawdon Smith

The Blitz

Then the Blitz and Steve Strange came hurtling into my life where weekly we paraded around proud as peacocks. It was out and out glamour as we danced to the brilliant DJ Rusty Egan. Steve and Rusty started this night in the small wine bar in Holborn that held around 250 people. Lucky fashion plates, it changed the course of my life and gave chances to many others. I had met Steve through my degree show which was later labelled New Romantic and he bought several pieces from this collection.

Every week in the (less than) palatial South Kensington bedsit I shared with my friend, designer Richard Ostell, we would spend hours coming up with what to wear. Poor Richard had the labourious task of using a can of Elnette and a lot of elbow grease to create a bouffant for me without a hair extension in sight; in fact I'm not sure they existed then. We were optimistic, fame hungry, party animals with a fondness for cocktails and the fine things in life, but booted back to reality when the bank statement came as the majority of us were students. Apart from that it was a fantastic time!

At the Blitz you would rub shoulders with luminaries from the world of art, music, fashion, journalism and photography: Gilbert and George, Brian Clarke, model Marie Helvin, even John Lydon AKA Johnny Rotten, and many others. But not Mick Jagger. Steve Strange famously denied him entry one night - his look didn't pass! And then of course there were the stars of the near future strutting their stuff: Sade, Spandau Ballet, George (later to become Boy), and Midge Ure to name a few.

I had my "15 minutes" when I was handpicked to appear in David Bowie's Ashes to Ashes video. I followed this with a video for Visage's Mind of a Toy single, designing and making the costumes - more on both in a future post. The site Shapers of the 80s gives a very accurate look into this era with some great pictures. A few colourful if somewhat chaotic fashion shows were next and then off I was on my travels.

 

Milan and Onward

After a few moves I settled into running clubs in Milan and one-nighters throughout Italy. We brought from London the fabulous Gerlinde Costiff and hubby Michael with the "girls" and DJs from their legendary club, Kinky Gerlinky. Leigh Bowery hosted a night sporting two pairs of shoes at once and a toilet seat around his neck for starters. Showcases followed for Seal, Right Said Fred, Dee-Lite, Ru Paul, Lahoma van Zandt and super DJ Larry Tee from New York. Fashion shows, parties for MTV, the list is long. It was a crazy, fast time.

After some years in Milan I flew the nest to LA where I started a clothing label selling in various shops around the city. Next it was Paris where I happily started to export to Japan. A busy, satisfying life with lots of work and all rather glam in the way only Paris can be.

These days I'm treating my mind and body with respect, and as a friend brilliantly put it after his abstinence over the holidays, "My liver loves me." I'm channelling all my energy and my retirement from the wilder side of life into creativity. I have many frocks to make, places to see, people to meet, and things to learn - writing well being one of them. Be gentle with me, please! I'm full of surprises and hope you can be lured back even just to look at the pictures!

Join us next Tuesday for Balenciaga Hears the Sound of Music - how a journalist described Judith's graduate collection. She'll share photos of her fantastic creations and tell the story of that fateful night when David Bowie came into the Blitz and chose her, three friends and the fabulous black lace wedding dress from her collection to appear in the Ashes to Ashes video. A great story all around - and as promised, there will be surprises!

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!

Happy New Year! London's Best Fireworks Display Yet

 

Last night's fireworks display on the Thames is being called London's best ever. Spectacular, sustained intensity that was awesome to watch even on TV. It was a family New Years Eve with my parents who are visiting from Canada, except that neither of them made it to midnight! It's alright, we had our champagne with dinner. We even ate champagne! Thanks to Mr. Swelle who made pasta with a champagne cream sauce. It calls for caviar which we've done before though not using the expensive kind (and is so decadent you need to clear the next two days so you can sit there in elastic waisted pants until you find the motivation to move) but this time we went with smoked salmon as we had some we needed to use and it was delicious with it.

Happy New Year everyone! May it bring lots of happiness wherever you are.

(If you're an email subscriber click the title so you can watch the video!)

 

 

Lu Flux SS 2011: Over the Hills and Far Away...

 

Lu Flux collections are like illustrations of stories. Enchanting, magical and always colourful stories. Each season is essentially Lu's wearable version of a fairytale. A breath of fresh air amongst the high street clones and safe style, there's really nothing out there quite like Lu Flux. Her latest collection Over the Hills and Far Away is presented in collaboration with illustrator Neil O'Driscoll who clearly gets the spirit of Lu's work and brings it vividly to life in both print and film, above.

I was lucky enough to get one of the limited edition illustrated lookbooks at London Fashion Week, it's a keeper: 

The photographic lookbook is special, too. Lu designs a set for each collection to create the illusion that her model, or character, is inside a story, and therefore so are we. How can you not be smitten?

At London Fashion Week in September I saw the pieces in person for the first time and fell in love. A new shoe collaboration, Lu Flux for Green Shoes was also introduced but I was so fixated on the clothes I didn't even realise! Also for the first time, patchwork prints were created as a seamless alternative to the actual patchwork pieces, they were used to make a dress t-shirts and leggings (above, top right and bottom second last on the right).

 Front and back of a new patchwork dress, Lu Flux's signature style. Lu had just stepped out so that's her lovely assistant Natasha showing me the pieces.

 
Those overalls are pure joy! Natasha is wearing the amazing Plume Skirt from the Eco Life of Riley collection

I LOVE this top.

Ok. I need to ask Lu about this print and am doing so right now. The men's jacket which women could wear - see behind on the rack - was just awesome.

 

Each collection features a few exceptionally spectacular pieces that take days to make, like the loopy skirt (above) and dress:

Speaking of spectacular pieces, I was stunned when I saw this on display at Fashion Week in February, from the Dame and Knight AW 2010 collection (can you believe my battery has just died and I couldn't get detail shots? I could have cried):

The skirt reminds me of the Princess and the Pea. See? Fairytales you can wear!

Fancy a gorgeous piece of Lu Flux? We've got one amazing Plume Skirt left in size medium, and one each of the BowTie T-shirt and vest in Swelle Boutique in the sale, it's an absolute steal:

Celebrating Five Years of N.E.E.T.!

 

Five years ago, N.E.E.T. Magazine was launched and became the first online, free publication dedicated to showcasing the most exciting things happening in the DIY movement - independent, handmade, eco-friendly and vintage fashion and design. Today the quarterly magazine has thousands of enthusiastic readers and is known as a "grassroots style bible for the digital age."

To celebrate five years of success, editor Stephanie J presents the first printed N.E.E.T book. With the theme of ‘FIVE’, the book features five sections with five inspiring N.E.E.T. people, designers, bloggers, photographers and homes, with interviews by five writers, in a N.E.E.T. retrospective.

In the spirit of 'FIVE' you can choose from five cover designs by illustrators Gemma Correll, Kris Atomic, Anke Weckmann, Peggy Wolf and Jordan Grace Owen:

  

The book is available in hardcover and softcover and can be purchased at Blurb. Get a discount until December 31st using one of these codes:

USD $10 coupon: CHEER
GBP £6 coupon: CHEER1
EUR €8 coupon: CHEER2
CAD $11 coupon: CHEER3
AUD $12 coupon: CHEER4

Want a peak inside?

And in case you missed it, the 5th Anniversary edition of N.E.E.T. magazine is now out:

 

 

Congratulations and a BIG thank you for bringing us the wonderful N.E.E.T. Magazine, Stephanie!

(FYI - Stephanie did the redesign of Swelle Boutique, you can see her design portfolio here)

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.

 
 

Wedgwood's Beautiful Baubles and Blues Pt. 2 (and Teacups!)

So I'm back with more Wedgwood baubles and the teacups I was talking about in my last post. Thanks to Alexandra for letting us know in the comments that the baubles are not only still available in the U.S., they are on sale! And they have even more designs! Now why does the U.S. site have more options than the UK site? It's a British company! Stop being stingy at home, Wedgwood, they've got more than they need yet we're deprived. Oh, the injustice.

I'm kidding of course (almost). I so want that teacup and saucer so I can display it on my mantle year round. And how about that three-tier cake? Oh, wait - back up. I just checked and they're gone, as they should be!

As for the teacups, I was at first lusting after Wedgwood's Cuckoo collection, those are three with the large floral patterns in the first collage which come in pastel blue, pink, green and peach. Then I saw the cup and saucer set from their Harlequin collection with the gold stripe deco handle and I instantly cheated on the Cuckoos. And the pink and gold daisy mug, wow. If I had those two I think I would have to put all of my food in a blender so I could drink out of the cups as much as possible. (Ew. On second thought I would just look at them a lot. I eat a lot of pizza.)

The dotty cup and saucer in 1950s minty turquoise - the absolute best colour in the world in my mind - is from Royal Albert. I have one of their sets coming for Christmas, I had to order my own gift as it was low stock and I would have missed out. Does that mean I can use it as soon as it arrives? It's a gorgeous lilac floral set of just one cup and saucer and I can't wait to have it, but that was before I saw the deco cup and lost my mind. Even the box is a dream.

I mentioned in the last post that I was going to do a little story on how I've brought blues into the house. (And by that I mean colours and not PMS. Though to be fair both qualify.) Then I realised that it's not the best time for photos as I've got Christmas decorations up, but I will do it. Especially now that we've got an antique tallboy sideboard painted in a saturated cerulean blue which I found today through sheer luck at our local market. For £80. And they delivered it free. That never happens to me, I'm not that girl! It made our kitchen and I can't stop staring at it. After the holidays I'll do my show and tell. I'm going to stare at it now! (It smells a bit funny but that's ok.)

Wedgwood's Beautiful Baubles and Blues

Let me preface this with something I hope I don't have to say too often: Don't get too excited. These are all sold out. But they are just so pretty and as this blog is a collection of beautiful things, well, I just want them on it. I'm like putty when it comes to powdery pastels and icy blues (our Christmas tree is white with arctic blue baubles) and Wedgwood is synonymous with slate blue pottery, hence 'Wedgwood blue', as well as Royal service and the Peter Rabbit dishes from our collective childhood. Wedgwood was established by innovative ceramacist Josiah Wedgwood in 1759. Can you imagine the pride in knowing that 250 years later your legacy would live on and flourish in the spirit in which it was conceived and nurtured? Except that I don't think he was doing designer collaborations back then.

I have three of their little dishes that I bought at the Tynemouth market for I think £1 each. At that price you can blow your nose on them, but that's not really good use now is it? Below are two of them along with a handpainted gold leaf Japanese dish from 1877 which is the thing that the younger children of friends feel compelled to run up to and slam with their fist. It's a miracle it's still intact. It only cost £2.50 but that's not the point. Pocket change for an antique and people still barter if you can believe it. I witnessed one woman trying to get a bargain on a figurine that was 50p. I'll pay 35p for that but no way I'm paying 50! Those vendors stand out there all day and may only make a few quid for their trouble. You might as well just steal it when she's not looking, that would be more dignified!

 

Okay, at this point I was going to show the Wedgwood teacups I'm in love with - collecting tea cups is a phase I've been going through for about five years now and I don't think it's a coincidence that it began when I moved to England - or go on about how I've brought blue into our house as it's the colour I'm most happy living with. I'm going to take photos of all the blue, in whatever form and do a show and tell. Seeing as it's an ungodly hour I'm going to save both for follow ups. Part two coming tomorrow...

But here's a preview in the meantime, I didn't stop until I found the exact blue I wanted for the walls:

To Lee, With Love, Nick

 

"Celebrating the breathtaking imagination and groundbreaking designs of Lee Alexander McQueen", Nick Knight created this film tribute to the late designer. Bjork provides an exclusive soundtrack that builds quite intensely, and forged with Knight's dramatic and stunningly beautifully imagery, illicits a powerful emotional response. Perfect timing for the release as I suspect any earlier it would have been too much to take on. 

Watch here.

Showstudio: Mary Katrantzou Making a Blooming Skirt Live!

 

Click to view the livestream

As I write this, Mary Katrantzou is putting the final touches on her lampshade skirt made of hundreds of flowers. Mary is the latest to create a piece live in the SHOWstudio.com LiveStudio, fo their Florist exhibition. She was just discussing the model's look with the makeup artist for the big reveal. The structure for the garment was created yesterday by welder Rob Hall.

What I love about these intimate work sessions, beyond the insight into the designer or artist's creative process is the glimpse it gives us into their personality. You can easily see who is lovely (Mary is), who carries the weight of the world on their shoulders, who likes throwing up on things. (Yes, Millie Brown aka Puking Millie does that. I didn't tune in. I did look at the result, and if I'd seen something really beautiful in her um, 'expression', it would have caused me to contemplate what I know about the process behind creating beauty and there might have been something profound in that analysis, a revelation. However, to me it just looked like someone barfed coloured paint. Which was actually coloured milk. I'll fully admit that I can't get past her method to consider it thoughtfully, and I'm not sure I'm obligated, which to me means don't judge it, then. I just looked again and it actually caused me to gag, seeing her bent over the canvas with the milk spilling Pollock-ly? from her mouth. I tried. To each her own.)

So, flowery skirts! Watch before it's gone, she's been at it since this morning.

Above is the early construction of the Lampshade skirt, and it immediately reminded me of the work of Lola Brooks, my favourite artist jeweller:

Stephen Jones' Glamour on a Budget: The Reveal

 

Yesterday during Showstudio's latest LivesStudio session, Stephen Jones created a floral centrepiece and a beautiful hat trimmed with fresh flowers as his contribution to their latest exhibition, Florist. When Stephen reappeared after changing outfits - I love that he had a setting up outfit and one for working - he greeted us with 'Welcome to Glamour on a Budget' and I thought he was kidding, but apparently that was the title of this project. Which makes perfect sense considering the centrepiece was made of yogurt pots, wire hangers and toilet paper rolls! It's like the coolest nursery school craft time ever. And you'd think I'd have a photo of the final piece but the feed cut out, then they broke for a bit and there's nothing on the site. Just trust me it didn't look like it was made from the contents of your recycle bin!

The piece will be available for sale in the Showstudio Shop, so I'm a bit confused as to how that is pulled off with fresh flowers! An edited version of the session is currently being prepared.

The next Livestudio happens Monday, 6 December 10:00 GMT and it's with Mary Katrantzou!

The model was wearing an incredible John Galliano trench:

And Stephen loved her shoes:

 

Photos are screencaps of the livestream, the trench and final shot is from Showstudio

Stephen Jones Livestream at Showstudio Now!

 

Click to watch Stephen live!

Showstudio has just begun their livestream of Stephen Jones (12:00 GMT) who is creating a unique piece for the SHOWstudio Shop's latest exhibition Florist - what a treat! This is part of their series of live-streamed performances in which eminent industry figures will be joining the LiveStudio, crafting floral-themed works in tandem with the exhibition and celebrating SHOWstudio.com's ten year anniversary.

Showcasing the entire process in a live stream for today only, Jones' floral artefact will then be exhibited and available for sale.

As I write this Stephen is changing his outfit after having laid out his materials. They include a crystal vase that was a wedding gift to his mother in 1947, glass top hat, art deco mat, his baby bowl, something he bought with Janet Jackson, a book of flowers he found in Italy that he 'brought for Nick', that one being Nick Knight obviously. His friend Princess Julia is playing the music to keep viewers entertained while he wait.

Oh, he's back! And he's wearing a three-piece black suit with a Santa hat that has flashing lights on the furry trim, and an equally festive white and red dotty shirt. He's fun, eh? 

You can't miss this, he's an amazing story teller and just wonderful to listen to and watch, and he's full of all kinds of flower arranging tips and then some. See him here

 

Showstudio Interview: In Fashion, Stephen Jones

 

You will well know my love of Showstudio and Alex Fury's recent interview with Stephen Jones (do I need to introduce him as the most accomplished and influential milliner of the past three decades?) is one example of why. How many interviews get your heart racing on aethetics alone? Not to say that the words and thoughts of this man of many hats aren't an absolute delight - he gives probably the most enjoyable interviews of anyone I admire and this is one of them - but they do look great. The directors resist becoming seduced by their own cleverness and losing focus on the point of the inteview - extracting wonderful stories from their subject who in this case is the lovely Stephen Jones, who recounts significant moments from his life in fashion.

He also discusses the context around his hats as they pertain to fashion's most influential designers with whom he has longstanding working relationships (but says nothing of the fact that he looks a bit like my uncle Roger).

Karl Lagerfeld (when he was at Chloe): "He was the only designer in Paris who was using hats. He was the one person who saw how a hat on a runway makes a very special notation or focus."

Jean Paul Gaultier: Months after being asked to model in one of his Paris shows (and not being able to due to a motorbike accident), Gaultier and Jones watched a film of the show together. Gaultier then asked him to design the hats for his menswear collection. This became Stephen Jones' first season in Paris and caused him to fall out of favour with the British Fashion Council, who he told to 'bugger off'!

John Galliano: "John works in a very character driven way. He will create this extraordinary story of somebody and it will be a person, a simple muse, in his head and he will create a storyline around her. The hats will fit into parts of the storyline, they'll be almost a punctuation within the storyline of the clothes."

Rei Kawakubo: When I get a brief from her it will normally be by fax, which I love, and it will be a few words written down. Maybe she'll do a little sketch, maybe she'll just say 'I don't know', and that will be the brief. She doesn't want me to undestand what she wants." (This story is particularly noteworthy if you're interested in Rei's creative process.)

Marc Jacobs: "We'll have a conversation. I remember the third season I worked with him he said 'There are two ladies going shopping in Italy. Florence or Rome? Rome. Will they have lunch? Yes. Are they going to Ferragamo or Gucci? No no no, they're going shopping for fine leather gloves.' I said 'Ok, I'll design a hat to go with that.'"

You can watch the interview here.

 

 

The New Swelle Boutique has Arrived!

At long last, the new Swelle Boutique is here! As mentioned previously, the first version was a temporary look and format to get my first collections launched. The new site allows for more content and ease of navigation, and it's slicker but still embodies that dreamy Swelle aesthetic - of course it does! I can't do anything else!

More pretty pieces are on their way including dresses for holiday parties from Rowanjoy and Wholly Cow and gorgeous feather and chain earrings and neckpieces by Noémiah.

A Swelle label is in the works as well for spring with a few preview pieces coming in the next few weeks. I love dresses, coats and jackets so expect a lot of those!

Georgia Hardinge SS11: La Belle et la Bete

 

I came upon the sculptural and delicately textured creations of Georgia Hardinge at London Fashion Week's exhibition at Somerset House and somehow resisted the urge to rub my face in a sleeve of soft rufffles made of layers upon layers of chiffon ribbon. The London designer's debut catwalk collection ‘La Belle et la Bete’ is in reference to the muse for the collection, Jean Cocteau. Georgia takes inspiration from the surrealism and mystique of his narrative style, combining ideas from French Baroque and romanticism through to early punk. Yes, there's a lot happening here, and it's all harmonious, exquisite and wearable.

 

 

 

 

Lookbook photos courtesy Georgia Hardinge, others by Denise Grayson

Cooperative Designs SS 2011: Bollywood Babylon

  

Please bear with me - I'm still catching up on London Fashion Week posts!

Upon entering the Cooperative Designs SS 2011 presentation at the Groucho Club, I felt as if I'd walked into a scene from Henry and June - if Maria de Madeiros and Uma Thurman had been wearing knitwear in Indian desert hues with leather and stud accessories in their 1920s Paris salons. A barefoot model in a striking graphic monochrome dress was playing a lively ragtime tune on the piano in the art deco-ish room which added to the charm of the scene. And it was a scene.

There's always one face that stands out amongst the models and most keep their observations to themselves (it's so banal to notice the models), but there was one major exception here: an utterly enchanting woman in her 60s or maybe even 70s who was the talk of the room and would have stolen the show had it not been so rich and robust in colour, texture and style:

 

Hang on, I'm not done yet...she's too awesome:

 
Two of the girls were talking with their heads together and it reminded me of, again, Henry and June:

 

 

 

 

 

The official transportation of Bollywood Babylon?

  Photos by Denise Grayson @ The Swelle Life 

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

Orla Kiely SS 2011: Stiff Models, Adorable Dresses and Cake Lollies

Orla Kiely presentations at London Fashion Week are always a treat, quite literally. Not only are the clothes pure eye candy, but this time the print mistress had a sweet-faced 'cigarette' girl serving popcorn in pink retro (of course) cups and the most delicious things I've ever tasted - cake lollies. I wasn't the only one who thought so. A young girl I was standing next to in Orla's tiny cinema was eating one and asked me "Have you had one of these? They're sooo good! I'm on my third one!" That decided it, I didn't need to feel shame for wanting to go back for seconds. Besides, I had already endured being laughed at by two guys who were watching me go to town on one of those popcorn cups. I hadn't eaten anything all day (this somehow happened last season, too) and after some champagne I was desperate. So I stood there with a cup and I ate it all the way to the bottom. It's not like my face was buried in it and popcorn was flying everywhere in a ravenous frenzy (well, only for a moment), but still I must have looked like a freak - hardly anyone even touches the food which is nuts! - but you can't take pictures while holding popcorn so I had no choice. It was use it or lose it!

Moving on....Orla Kiely opted for cardboard cutouts of models wearing the collection to the real deal. That's one way to keep the whining about sore feet in high wooden heels to a minimum. But it worked. Her venue at Somerset House is the Portico Rooms, and she transforms the main room into Orla Kiely headquarters. This time she constructed a cinema, complete with theatre seats, to show her collection and the spirit of it through a film by Gia Coppola - yes, she's related. It took us back to 1960s London, leaving the ochres, oranges, browns and moss greens of the 70s behind (a palette I typically loathe yet I love Orla Kiely without exception), in favour of a rose and mint-green tinted world. There were cupcakes and pretty teacups, ponytails and hair ribbons. It all served to strengthen my resolve that I am indeed a girly-girl. No apologies!

 

Orla Kiely

 

Photos by Denise Grayson @ The Swelle Life

LFW: Felder Felder 'Born to be Wild'

 

'Born to be Wild' was the name of Felder Felder's SS 2011 collection, inspired by 'an imaginary muse, a rebellious downtown girl fascinated by the free spirit era of Easy Rider, The Trip and the Lizard King, Jim Morrison."

Whatever Annette and Dani Felder do, it's cool. Leather and studs have been a big part of their signature look and they figured here as well. The leather, black and electric hues of blue and pink, were slashed up exquisitely like twisted slats on jackets and pants - the texture echoed on printed dresses - while the studs came in the form of metallic flecks to add soft, pretty texture to leather and chiffon. A collaboration with ic! Berlin on sunglasses also featured Felder Felder's unique studding.

By this point it's apparent that no wardrobe is complete without a piece of Felder Felder - I still can't get their leather and chiffon jacket from AW 2010/11 out of my head!

Felder Felder showed back to back with Hannah Marshall and drew a frenzied crowd that included Paloma Faith in some crazy gold and black headgear (see below, left), Erin O'Connor, and Kanye West's ex-front row companion, Amber Rose. Curious photos will follow...

 

 

 

 

 

 

 

 

 

 

 

Photos by Denise Grayson @ The Swelle Life

LFW: Hannah Marshall's Sublime SS 2011

 

I posted the beauty shots from backstage at Hannah Marshall the other day and mentioned that the eye makeup followed the sequence of the clothes which transitioned from black to lightest grey, which you can see below. I only saw the sheer, black outfits backstage so when I went out to watch the show I was super delighted to see the exquisite sculptural details on the grey pieces, some of light chiffon in lush layers like the underside of a mushroom, others more rigid and of a heavy cotton, it appears. A rectangular piece on the back of one otherwise backless dress reminded me of angel wings. The clothes were simple and feminine with emphasis on texture, through the mix of fabrics which also included suede in the form of a harness in the opening look, and the glorious 3-D pleated details. No accessories necessary. I loved this collection and will follow Hannah Marshall closely from here on. She's proven that the hype around her is justified.

 

 

 

 

Photos by Denise Grayson @ The Swelle Life

LFW: Jena.Theo's Bandoliers

I just returned from three inspiring and tiring days at London Fashion Week which were filled with little delights and surprises (more on that later). My first show was Jena.Theo, their second collection since wowing Donatella Versace and winning Fashion Fringe 2009. As you can probably gather from my photos, what I love most about Jena.Theo's shows are the views from behind. That sounds pervy so let me explain. Jenny Holmes and Dimitris Theocharidis like to play with volume by layering soft fabrics in their quest to create multi-functional designs that can be re-arranged to create different outfits. While there is more than enough to capture our attention in front, it's the action in the back that has me captivated - probably because we're not usually treated to detail in such abundance. And it makes for an eyefull of a profile, too. You wouldn't dare cover these clothes with a coat.

The India-inspired 'Bandoliers' collection is filled with all kinds of special details such as handcrafted Indian trim, structured silk turbans, Victorian corsetry - a nod to 19th century British colonialism, splashes of handpainted colour on pastel-hued denim, raw painted gold leaf stiletto platform shoes and 'bandolier' belts and trims. I'm pretty sure the models weren't packin', though.

 

 

 

 

  Photos by Denise Grayson @ The Swelle Life

What's Your Shoe Story?

 

To get everyone revved up for The Shoe Galleries, a shoe fanatic's fantasy come true courtesy of Selfridges, they want your shoe story. And for your contribution you may just win a years supply of shoes! You won't be competing with me; unfortunately my only shoe stories involve whining, blisters, cuts, friends asking 'Do you own any shoes you can actually walk in?' and limping in bare feet on city streets with a grimace on my face and naughty words spewing from my mouth, because all of my favourite shoes have it in for me. Despite their disloyalty, I still love them. Maybe my daughter will have better luck with them one day.

The Shoe Galleries is due to be the single biggest shoe destination in the world, showcasing 150 designers with 55,000 pairs of shoes in stock at any one time and 4,000 pairs on display. That should increase my chances of at least one pair loving me back?

Part of the inspiration for The Shoe Galleries was the idea that everyone has a shoe story, whether it stems from your favourite pair, a hidden gem or your first expensive pair that cost a month's rent. Tell yours to Selfridges and not only will you get to shout about your favourite shoes to the whole world, but you could be in with a chance of winning a gorgeous new pair (one winner every week!). Plus one lucky winner will scoop a year's supply of shoes from Selfridges!

Daphne Guinness has already submitted hers and it sheds light on why she was wearing those Alexander McQueen 'reptilian' shoes in the first place - which were several sizes too big - and surprisingly she swears they were very light and comfortable! We won't get the chance to call her bluff so let's just take her word for it, shall we?

You can enter by submitting your shoe story here

The Shoe Galleries open on the 23rd September

 

Above is just one view of this shoe paradise, and Selfridges' Director of Accessories Sebastian Manes describes what The Shoe Galleries will look like when complete:

"Imagine you are in a gallery. From the entrance you see a succession of doorways, and at the end a huge window flooding the space with daylight. Your journey begins at the front, with shoes from the best of the high street. Slowly you begin to travel through different galleries until you reach the end - the couture designer gallery, flanked by Chanel and Louboutin, and a vision of Eden - the new suspended garden at Selfridges. Shoe heaven!"

And don't forget to grab some Pierre Hermé macarons on the way out!

The Gorgeous Gardens of Cragside Pt. 2 (Plus a Really Cool House)

Carrying on from yesterday's post (see below) here are more flowers from our visit to Cragside's formal garden and photos of the house itself which I find hard to believe was built in 1863 but my husband doesn't.

 

 

 

Being afraid of heights I got a bit freaked out walking on the foot bridge which you can see in the middle below, but it was the only way to the house from where we were. It's not terribly high so I looked like quite a wuss.

This is our house. That's what I would be saying if I was Lord Armstrong, if he was still alive. It's built into a rocky hillside above a 4 km² forest garden. And you thought you had a lot to prune. Having seen it we can't fathom the maintenance. We took the scenic route out of there and drove for about 10 minutes, trying not to scrape the sides of the car against the rocks, before we were finally out. It is a truly stunning and awesome landscape.

The house boasts a sandstone rock garden that is said to be Europe's largest.