STUBBORN
WEEDS
WE NEED
T h i s b o o k f o r m s t h e b o d y o f r e s e a r c h b e h i n d t h e p u b l i c a t i o n ' S t u b b o r n We e d s ' pioneering a shift in modern lifestyles towards self-sustenance.
STUBBORN WEEDS
A weed is known as an unwanted plant in a human-controlled environment.
Growing aggressively. Growing invasively.
Like stubborn weeds a movement of self-sustenance is uprooting modern society.
Growing aggressively. Growing invasively.
GARDENING
IS THE MOST
RADICAL ACT
Gardens have ignited a global movement of self-sufficiency. Redefining our lifestyles to exist in harmony with the environment and local communities.
Growing our own food has become the most radical of acts. Reshaping our political and economic systems from our backyards.
Our current existence is unsustainable
we must learn to regenerate and replenish. This starts with gardens.
DEEP
Historical & current research.
RO OT S
GARDENING REJECTS
Being anti-capitalist is to invest in yourself, each other and the environment
C A P I TA L I S M
Capitalism is an economic and social model whose fundamental values are based on profit, private ownership over the means of production, competition and economic growth. This system encourages society to lead selfish and individualistic lives without questioning otherwise. Rejecting capitalism does not mean being communist or having an unflawed alternative solution, it is simply recognising that the current model is corrupt. Being anti-capitalist, neither means refusing progress or competition and living in poverty whilst declining anything which comes from the society we live in. Instead, it means believing that these values (profit, private ownership, competition and growth) should not form the basis of a socially just society, which is respectful of nature, which enhances communities, and which is liberating for humanity. In our society today, growing food ourselves has become the most radical of acts. Opting out of the corporate food world and developing self-sufficient lifestyles is a powerful form of protest. The damaging effects of ‘convenience culture’ and ‘burnout culture’ are soothed or forgotten in the midst of gardening for our families and our communities. By directly working in harmony with nature, we are changing ourselves and our perspectives on life.
C R AV I N G SELF-SUFFIENCY
The conveniences of modern life have made us somewhat lazy, separating us from the essential skills and knowledge of survival. Post-lockdown we are witnessing a movement towards selfsufficiency and rural lifestyles. People seek out information on bread baking, vegetable pickling, backyard farming, and chicken raising. These new hobbies give us more control over the unknown, putting the power back into our hands and giving us a sense of security at a time when everything else is uncertain. With the increasing frequency of shocks to our way of life, our survival mode is triggered, and we take pleasure in preparing for the unknown. The fantasy of escaping to a rural cottage where noisy technologies are non-existent, and the mundane tasks of everyday domestic life are elevated has now become a reality for many. This particular lifestyle trend has been named ‘cottagecore’, and self-sufficiency is at the forefront. As a society we are exploring the fundamentals of existence and find mindful meaning in our own vitality. Although we might not all be fleeing the city in search of a more holistic and grounded way of life, growing a garden has become a catalyst for redefining our lifestyles, from countryside gardens to urban allotments. A movement of self-sustaining has begun.
Gardening is a catalyst for self-sustaining habits
Mash up by Camille Lemoine.
Photography from Historical Society Archives.
BAC K TO T H E LAN D, AGAI N C o u n t e r c u l t u r e a n d h i p p i e s a r e i n f l u e n c i n g t o d a y ’s m i l l e n n i a l s .
Back-to-the-land regularly
movements
throughout
have
history
and
occurred aim
defined in terms of how much food, clothing,
to
shelter and fulfilment you could bring yourself,
encourage people to grow food from the land
rather than purchase (Wallace, 2019). The
and put a greater emphasis on self-sufficiency,
Hippie subculture derived as part of this wider
autonomy and local community. These agrarian
movement, establishing an ethos of love, peace
movements have ideological links to distributism,
and freedom. Hippies can also be traced back
a 1920s and 1930s attempt to find a ‘Third Way’
to the German movement Der Wandervogal in
between capitalism and socialism. Although
the turn of the 20th century, which promoted
the motives behind these movements varied, all
folk music, paganism and organic healthy food.
groups opposed the post-industrial way of life.
Inspired, a group from the California desert
As we move into a post-pandemic world, we can
named the ‘Nature Boys’ adopted this back-to-
already draw ties from emerging cultures in
nature lifestyle.
today’s society to these historical movements.
The recent shock of COVID-19 to our
After World War II, many fled the city for a more
everyday lives has made people realise how
rural life. By the late 1960s, many of these people
alienated modern society is from the natural
were confronted with a lack of familiarity when
world. Our vulnerable food system exposed amidst
it came to the acts of survival and basic human
food shortages, we have returned to primitive
needs. Including not knowing what a potato plant
activities -such as foraging and tending to the
looked like or being unable to milk a cow. This
land- and find solace in humble, slow past times,
disconnection from nature generated the start of
including bread making and vegetable gardening.
a back-to-the-land movement across America and
Millennials are opting for ‘radical homemaking’
Europe, overlapping with the counterculture of
and ‘intentional living’, approaches to life which
the 1960s.
involves living with purpose whilst remaining
Counterculture
was
fuelled
by
the
home-focused, thrifty, and self-sufficient. A new
negatives of modern life, including pervasive
back-to-the-land movement is brewing and is
consumerism, the failings of government and
led by the generation often accused of laziness.
society, the Vietnam War and a growing public
We are taking back ownership of our lives and
concern over environmental pollution. The desire
embodying
for reconnection with nature was often a desire
homesteading lifestyle.
to reconnect with physical work. Success was
empowerment
by
embracing
a
to simple delights of nature
circumvent
daily
stressors
and home. A lifestyle aesthetic
and
unsafe
errands,
trend that idealises romantic
newly
the question of our ability to
country
truly sustain ourselves comes
born from escapism, with deep
into
roots in slow living and fantasy
questions.
Millennials
life,
Cottagecore
is
especially have a heightened
daydreams (Fashion
desire
and
2020). The healing power of
seek out alternative ways of
the natural world is embraced,
living in order to reinstate
and the comforting power of
connection with the natural
traditional domestic projects
world. For many what started
are used to soothe daily stresses.
off as planting a small vegetable
42% of Gen Z value hobbies or
garden has quickly turned into
pastimes as crucial to their
an entire lifestyle change.
own self-concept according to
for
self-reliance
‘Cottagecore’
New subcultures driven by self-sustaining lifestyles.
C O T TAG E C O R E & G R A N D M AC O R E
As we search for ways to
is
Snoops,
an
Fashion Snoops. Daily activities
imaginative and earnest return
associated with this sub-culture
Photography from Fashion Snoops.
Photography from Fashion Snoops.
include foraging for food in
silhouette also ushers in a
local
environments,
look of coziness and comfort
wild mushroom spotting and
while also adapting to different
pressing flowers. Young people
seasons. Pressed wildflowers,
who are part of this trend also
natural dying methods and
look
for
free, organic silhouettes take
education on how to be more
the stage in this visual trend
conscious
story.
natural
to
eco-influencers consumers.
These
millennials are not unplugged however, and document their day-to-day rituals on TikTok, YouTube and Instagram to their large, loyal following. There is a strong sense of nostalgia through vintage detailed patterns, handcrafted embroideries, details.
A
and
timeless
crochet slouchy
MAG G I E ' S LI F E ST Y LE Looking to my grandparents' lifestyles for inspiration.
With continuous ground-breaking technological advances, it is often difficult to say whether we have made life more simple or complex. Many young people, especially today, look back nostalgically at the lifestyles their grandparents led when they were growing up. For most, this often insisted of home growing vegetables, making clothes and spending more time in nature. My grandparents live in Norfolk, England and continue to lead a fairly self-sufficient lifestyle. They are lucky enough to have a large garden where they grow their own fruits and vegetables, as well as keeping countless ducks and chickens. Although they are two of the hardest working and successful people I know, their home-life is rooted
Photography by Bruce Ponder.
Photography by Bruce Ponder.
in nature and slow-living. I have fond memories of visiting as a child and feeling replenished after spending a week playing in their overgrown vegetable patch and picking wild blackberries. My grandmother in her twenties can be seen returning to the house after picking raspberries (image above), and feeding her birds just last year (in a dressing gown she made from home spun alpaca wool). Gardens
remain
at
the
heart
of
my
grandparents’ home, and self-sustaining habits are second nature to them. Younger generations do not often have the space for a garden, and a relationship with the outside world was seldom thought about pre-pandemic. However, a cultural change has emerged from the upheaval we have experienced, deriving a longing for the habits our grandparents have and continue to live by.
My mum and her sister in their family garden, photography by Bruce Ponder.
GARDENING IN TIMES OF CRISIS
The recent surge of gardeners is a show of resilience in times of crisis. In an effort to increase self-sufficiency and reduce trips to the supermarket, a growing number of people started to add vegetable and herb gardens to their own backyards in the midst of lockdown in June 2020. The Seed Co-operative reported that orders were up to six times higher than a year ago. Meanwhile, the Royal Horticultural Society has seen a fivefold rise in queries for advice on its website during the lockdown (Parveen, 2020). A backyard bird boom has also resulted in various live poultry breeders across the UK sell out of chickens as families are unable to find eggs in-store. This modern gardening movement is reminiscent of the victory gardens of WWI and WWII. Governments across the US, Canada, Australia, UK and Germany encouraged everyone to plant vegetable, herb and fruit gardens wherever they could, as a way to supplement rations and boost morale. Today many of us are rediscovering the mental and physical benefits of gardening, as we begin to heal in the presence of nature.
To p l a n t a g a r d e n i s t o h a v e f a i t h i n t h e f u t u r e .
P h o t o g r a p h y b y T i m Wa l k e r .
Scan of original pamphlet from WWII, owned by Bruce Ponder.
D I G G I N G F O R V I C T O RY The Victory Gardens of the war.
local shops, who would then provide you with the precise amount of food. Alongside this system, a Dig for Victory campaign was launched. Everyone in Britain was to keep an allotment. Lawns and flower beds were turned vegetable patches and even common land such as football pitches and roundabouts were transformed to grow produce. Sections of lawn were publicly ploughed for plots in Hyde Park, London to promote the movement, and allotments growing onions lay within the grounds of the Albert Memorial. Both Buckingham Palace and Windsor Castle had vegetable gardens planted at the instigation of King George VI to assist with food production. The propaganda campaign was hugely successful, with over ten
Photography by Margaret Ponder.
million leaflets distributed and short instructional films were shown in the cinema and on television
Before the Second World War began, the UK
before the main feature. It is estimated that over
imported approximately 55 million tons of food a
1,400,000 people had allotments. For people who
year from other countries (Gibbs and Ross, 2013).
remained at home, this campaign helped many
The German government did everything they
contribute to the war effort, whilst providing a
could to disrupt this trade and used battleships
distraction from hard times. The image above is
and
merchant
my great grandfather proudly standing next to
vessels. As imports of food declined, the British
some runner beans and the leaflet (left) was sent
government decided to introduce rationing. This
to him by the Horticulture Society during the war.
submarines
to
sink
British
involved every householder registering with their
Photography by Camille Lemoine.
T H E M O D E R N V I C T O RY G A R D E N A new surge of gardeners are investing in a more sustainable future.
Like countless others, my family and I took to tending our garden during lockdown. We finally had the time to grow our own courgettes, cucumbers, beetroot, chard, beans and potatoes again. We also keep chickens, ducks and geese who have supplied us with eggs for years. This modern gardening movement is reminiscent of the war time victory gardens. Even urban households with little or no land were able to get creative by using the space they had, on balconies or in pots outdoors. A lack of resources worldwide also meant that gardeners had to get creative, growing things in recycled containers or taking cuttings from their neighbours’ plants (Rao, 2020). Pre-pandemic, there was already a new vegetable
gardening
revival
underway
-in
particular organic vegetable gardening. Concern over environmental and health consequences of chemical gardening and farming is growing, generating a renewed interest in growing our own healthy, organic, sustainable and local food. Gardening represents freedom and patriotism in a new way. Michelle Obama even contributed to this movement, championing organic gardening when she transformed some of the White House lawn to plant an organic vegetable garden. The Victory Gardens of today however, represent victory over hardship within society, damaging environmental practices and unhealthy lifestyle habits.
Photography by Michelle Lemoine.
Gardening rejects burnout culture and projects resilience.
HEALING WITH GARDENS
Gardens and nature have been used for decades as a form of therapy. Humans are genetically built to find nature soothing and gardening reminds us of our connection to nature, helping realise the bigger picture of our problems (Jones, 2020). The physical aspect of gardening has been proven to release feel-good chemicals in the brain such as serotonin and dopamine and soil also contains mood-boosting properties. Green spaces in hospitals and other healthcare facilities are created specifically to improve health outcomes,
and veterans or patients with depression are
his relationship with the garden. Suffering from
now commonly prescribed ‘time in nature’ or
HIV, Jarman found solace in growing plants and
gardening therapy. Gardens that heal may contain
the garden became increasingly important to him
a wide variety of plants. Trees not only provide
as his future became more fragile. Today, healing
shade, but also give people a sense of strength and
with gardens is to reject burnout culture and opt
protection. Different colours, textures and smells
for a more nature-centred lifestyle. Spending time
from different plants will also generate different
outside helps cultivate joy and is an important
feelings. Film director Derek Jarman was famed
component of resilience, increasing our capacity
for his garden at Prospect Cottage in Dungeness.
to face hardship.
His book ‘Modern Nature’ is the diary he kept in the years before he passed away, documenting
WEEDING THE SCOTTISH FOOD SYSTEM The pandemic has made us less afraid
o f
c h a n g e
and more afraid of what will happen if
w e
d o n ’ t
c h a n g e .
If I was able to look into the future of food five years from now
I would hope to look outside my window onto a community garden thriving
with fruit and vegetables.
The streets outside are brought to life with the sound of the morning
market; an explosion of vibrant colours and smells.
People gather around the stalls, conversing easily as they collect delicious local produce that will later be cooked in family homes
and the community kitchen.
Feelings of joy, resilience and pride are present as the new food system revives the
feeling of community spirit.
H NG R Y U
The food and drink sector has grown to become
2020) and food banks are used as a temporary
the largest manufacturing sector in Scotland (NFU
solution to a widespread problem that is now so
Scotland, 2019) and a sense of pride surrounds
deeply ingrained within society. The number
the agriculture industry which is responsible
of people working on land today is also falling,
for shaping much of the landscapes our country
and yet we need more than 1.3 billion farmers
is famed for. However, the Scottish food system
than we already have to create a functional food
is failing to meet the needs of its people and the
system. The good news is that by 2050 there will
environment in a multitude of ways. From an
be roughly a billion more of us of a working age
environmental point of view the chronic use of
(Berners-Lee, 2019). However, although there is no
pesticides, inefficient use of land, destruction
shortage of people, employees in the agricultural
of natural habitats and overfishing are a very
industry are still underpaid and expected to work
few of the negative by-products caused by our
under poor conditions (O’Carroll, 2020), with
current system. Not to mention that Scotland,
many farmers struggling to feed their families
already home to an unpredictable climate, will
whilst earning the minimum wage.
be faced with more extreme weather conditions
Human care and attention are required to
as the climate crisis heightens (Adaptation
grow beautiful food that is grown productively and
Scotland, 2018). Over 40% of food consumed in
environmentally; we cannot rely on technology
the UK has been imported from abroad in recent
advancements alone to solve this problem.
years, including 25% of food types that are also
Governments must put in place programs to get
produced in the UK (based on the production to
a sustainable agricultural system in place. They
supply ratio, DEFRA, 2018), so a truly resilient
must also put more emphasis on encouraging
food system would also need to consider the
young people to get involved and pursue this
climate risk of other countries.
increasingly important career path.
In the UK, a lot of our food will travel great distances on planes before reaching our plates. Our grapes and berries come from California, tuna from the Indian Ocean, baby vegetables from the Africa and asparagus from Peru (Berners-Lee, 2019). Under this corrupt set-up, Scotland will fail to meet the new Climate Change bill with a target of net-zero emissions of all greenhouse gases by 2045. There is no room for air-freighted food in the Anthropocene.
Furthermore, this
system is also the root of major social issues such as food poverty and unequal pay. Food poverty and income inequality in Scotland continues to grow at a steady pace (Scottish Government,
FOR CHANGE
A G R E E N R E C OV E RY A new food system is essential to Scotland's green recovery.
Photography by Tom Johnson.
environmental or animal welfare improvements. The Bill also aims at increasing transparency and fairness within supply chains. However, the Scottish Government propose to keep farm approaches largely the same until 2024 (UK Parliament, 2020). However, there is a bright future for Scotland and the rest of the UK are planning a
Scottish agriculture with valuable opportunities
green recovery post pandemic. Redesigning the
for traditional farms to diversify and new
food system will be a core part of this challenge.
entrepreneurs to pioneer a diverse range of
The government are being called on to ensure
sustainable options. The UK Government has
that all families have access to healthier lifestyles
recently unveiled a £24m funding pot for
and are taught how to value food again.
innovations aimed at transforming the food
During the pandemic, the UK government
system, including a project using captured CO2 to
delegated more power to the major supermarkets,
manufacture animal feed, amid fresh warnings of
who continued to source food inefficiently;
agriculture's links to illegal deforestation (WGSN,
leaving some British farmers to stockpile during
2020).
a time when food shortages were high. Experts across the country have announced that the UK food system should draw on local and community responses to the COVID-19 crisis to create a more diverse, sustainable and fairer supply chain (The Guardian, 2020). The creation of a national food service is an opportunity to reshape supply chains in a way that supports producers and the environment long-term. Again, if Scotland are going to reach their net-zero emissions target by 2024, a circular and more localised food system is essential moving forward. Leaving the EU means the UK is leaving the EU’s Common Agricultural Policy (CAP). The UK’s Agricultural Bill provides the legislative framework for replacement agricultural support schemes. It provides a range of powers to implement new approaches to farm payments and land management. In England, farmers will be paid to produce ‘public goods’ such as
W
hy
can’t
we
pay
for
rent
with
plums?
OUR FUTURE IS LOCAL Re-localising the core of our food system is the only way forward.
COVID-19 has proved how interlinked the world
important place. In the system. Configuring this
is. The food we eat, the healthcare we have access
worldwide aspect into our network is essential to
to and where we live are just a few of the domains
promote diversity and supply ethnic groups with
that may seem distinct but are completely
native foods, whilst also reducing supply risks.
interconnected. Systems thinking is a way of
However, we must build this larger structure
understanding how interdependent structures
around focused and functional local food chains.
interact in a dynamic system. Taking a systems
In order for this to happen, we must define
approach to food will help us tackle complex
food as a commodity and see the value of it in
questions, including: How can food systems
every sense. We must reconnect people with food
help eliminate diet-related disease? How can
and promote a diet filled with fruits, vegetables,
we ensure abundant harvests while sustaining
seeds, nuts and whole grains. We must set up
natural habitats and healthy ecosystems? How
community gardens for residents to build an
can farmers adapt to and help fight climate
appreciation for home-grown seasonal meals.
change?
consumers,
We must approach a new food system as a public
workers and producers be empowered? How can
health and mental health strategy, building social
we reduce vulnerabilities to future shocks?
links around food. We must pay famers what they
How
can
marginalized
Re-localising the food system is the best way
deserve and set up new programmes to encourage
to start rethinking our political and economic
young people to join agriculture. We must rebuild
systems (Berners-Lee, 2019). Making it more
a bond with nature and learn new methods of
democratic, more social, more collaborative and
sustainable farming. WE MUST KEEP PUSHING
more respectful of the health of humans and the
THE MOVEMENT FOR LOCAL.
environment. Local supply chains are shorter, fairer and cleaner, addressing local priorities and building resilient communities. This is not to say that national and global trade doesn’t have an
Mash up by Camille Lemoine.
Photography by Camille Lemoine.
FA R M E R S M A R K E T S Farmer's markets are important assets to the food system and our communities.
The first farmers' market appeared in the UK in
articles,
including
1997 and since then the number has grown to over
programmes also influenced consumer concern
550 nationwide. Multiple factors led to the this
of food preparation and consumption. This
rise in the late 1990s, including the increasing
environmental and health concern only continue
knowledge of consumers, the struggles of British
become increasingly prevalent today. Although
farmers, anti-French sentiment, and concerns
the food market industry has been badly affected
over food safety and quality (Friedman, 2017).
by the pandemic, we must fight to support it
Consumers were worried about the farming
as local food remains core to a healthy and
practices by which food is produced, processed
functioning food system. Markets support local
and the health and safety aspects of certain
agriculture
foods. The emergence of new books and magazine
consumers and their food.
and
cookery
form
and
relationship
gardening
between
Being French, I have vivid memories of going to the local farmers market with my grandmother in Doue, France. The burst of colours, smells and conversation I was surrounded by during these trips created memorable sensory experiences. By the time we had made our way around the stalls, tasting as we went, we were always excited to return home with our local produce to make the most healthy and flavourful meals possible. What particularly stood out to me, was the relationships customers would build with the stall owners. Being able to ask where your food has come from, how it was grown and how the producer is feeling that day is a massive contrast to the removed experience of supermarket shopping. When bought from the local market, our food becomes this valuable product full of stories and real people. French culture in particular highly value their food, devoting large quantities of time and energy to buying produce, cooking and enjoying their mealtimes. As our food system reshapes, as consumers we must remember the importance of food markets and fight to support our local producers where possible. A healthier
Photography by Viviane Sassen.
PLOT TO PLATE
How much does ‘own growing’ contribute to the national diet in the UK? Research from 2019 found that only 23% of the fruit and veg consumed in the UK is grown on the country’s farms, with garden and allotment produce contributing very little on top (Bawden, 2019).
However, there is huge opportunity for the country to grow a wide variety of produce with its current space and conditions.
A ‘Plot to Plate’ approach would encourage households to grow their own food on their own land, community gardens and allotments.
It also supports the idea of re-localising our central food system and offering advice, training and encouragement to societies to take part. A plot to plate approach enhances the environment, nourishes our bodies and empowers both communities and individuals.
I N N O VA T I V E G A R D E N S Small space farming methods could define the future of food.
Growing Mushrooms
Urban farming, also called urban agriculture, is the act of producing food inside city spaces. Although it comes with various challenges, it also offers many benefits including increased food security, decreased waste and community involvement.
Kitchen Gardens
Urban farming is undertaken as a commercial enterprise but engages with capitalism and the wiser food system in a different manner. Urban farming usually only consists of small piece of land by a small group of people, an individual or
Rooftop Gardens
as a non-profit entity. Giving people a chance to pursue a passion for agriculture within a city, the food produced is usually sold at farmers markets or to local restaurants or grocery stores. As people become more educated about their food, where it
Chicken Coops
comes from, and the effect that transporting food can have on climate change, there’s an increasing demand for this sort of locally grown and organic produce. The beauty of urban farms is that they can be found in every part of a city, from school grounds to backyard gardens. Many unique
Container Gardens
approaches have been developed, including vertical
farming,
micro
greens,
container
gardening and mushroom growing. Rooftop vegetable gardens have even been known to keep chicken coops. Urban farming is an incredible
Bee Keeping
example of how gardening can extend to much more than a beautiful landscape. These innovative green spaces are replenishing the environment, increasing food security amongst communities, making efficient use of land and combatting food
Ve r t i c a l G a r d e n s
waste in a multitude of ways.
Photography by Camille Lemoine.
Mash up by Camille Lemoine.
G ROW I NG W I T H GARDENS
A community garden is any piece of land that is gardened by a group of people, using either individual or shared plots on private or public land. Different from allotments which are pieces of land assigned to individuals or families on a rent basis, typically by their local council, a community garden is a collective space that brings social, cultural and environmental benefits to the wider community. If you take the time to understand a community’s garden, you can learn a lot about their culture, their climate and the way they treat nature as well as each another. Although community gardens are not exempt from wider economic and social processes, they provide spaces for important forms of work that address social needs and advance community empowerment. Reclaiming green spaces within urban environments and fighting for environmental justice are examples of this collective activism that take form as community gardens. Building social capital is also extremely valuable, as group cohesion and social support are all factors that go into making community relationship viable. Community gardens are proof that gardening is a truly radical act, using food as a medium for participation and engagement in political and social action.
We c a n l e a r n a l o t f r o m c o m m u n i t y g a r d e n s .
Many authors and journalists have spoken about community gardens as places of learning and education. Increased communication amongst neighbours builds community cohesion amongst cultural divides. Knowledge exchange becomes a motivation over the physical act of food production. Community gardens within schools have also grown in popularity, as children learn to connect to the earth and foster skills for a more self-sufficient lifestyle. I attended a rural school as a child, ‘Baldernock Primary’, situated in the countryside outside of Glasgow where classes
Community gardens are places of learning and education.
S OW I NG K NOW LE D G E
were often taken outside in the form of gardening
Photography by Bruce Ponder.
and nature walks. Fond memories of weeding,
the functionality of our global food system, which
sowing seeds and building sculptures with stones
has proved to be extremely vulnerable during
on sunny days are the grounds to my now strong
abnormal times. Post pandemic, the demand for
relationship with nature. Outside classrooms and
more sustainable food-production is at an all-
‘nature schools’ are now fairly common in the UK
time high, and adaptability is seen as the key to
as people recognise the phycological, physical
building resilience. Community gardens cater for
and spiritual benefits that nature has on humans.
this, putting an emphasis on self-sufficiency and
A number of studies support the idea that
produce exchange. A report by Okat and Zautra
community
foster
(2011) backs this up, identifying that community
environmental resilience within communities
gardens are often developed in times of crisis as a
when faced with a sudden crisis, such as a natural
way to regain control.
gardens
also
help
to
disaster or a human-made catastrophe. The recent pandemic is an example of how reliant we are on
Photography by Mairi Isla.
FOOD FOR
Access to healthy organic food is a human right, yet many people go without. The British Medical Association Scotland reports that, by 2030,
Growing nourishing food.
almost 40% of the population will be obese, with many more suffering from heart disease and other health-related illnesses. Eating healthier isn’t made easy however, as our lifestyles are increasingly shaped to rely on convenience foods and both work and leisure activities develop more of a focus on sedentary activities. The exploitive nature of capitalism and the societal pressures it creates have left individuals feeling trapped into unhealthy lifestyles. Community gardens are changing this one community at a time, by making fresh fruit and vegetables available to all, and by increasing individuals’ mental and physical health through the act of growing food. In addition to exercise and healthy eating, the benefit of feeling more connected to each other and the earth is hugely
therapeutic (Kingsley, Townsend, & Wilson, 2009). The charity ‘Help for Heroes’ help wounded soldiers on their journey to recovery and they offer gardening courses as a way to boost social interaction, aid mental health issues through contact with nature, improve self-esteem and adopt new skills. Using the organic produce in community kitchens and in family homes has also proved how knowledge exchange moves beyond the gardens. Community cohesion can be achieved through the preparation of food and allows participants to gain new cultural knowledge. For example, in a 2018 journal on the motivations and experiences of community gardening in Scotland, an interviewee from Granton Garden in Edinburgh was quoted saying: ‘She’s from Kenya and she can plough the garden better and faster than most men because of her farming roots. She plants seeds we have never seen before. She picks leaves of Kale and Chard and she uses them every day in her food, in her cooking. And you go ‘I never thought of that’ and you try it and gradually you learn more about local and native crops.’
THE SOUL Growing joyful food.
L O V I N G F O O D WA S T E
Waste can be found in nearly every corner of our planet, discarded objects and materials contributing to the global climate crisis. Food waste is no different, contributing to the rise of greenhouse gas emissions and issues surrounding hunger and malnutrition. Today, an estimated one-third of all the food produced in the world goes to waste (WWF). In terms of calories,1320 kcal worth of food is wasted per person per day, which is enough calories to feed everyone in America and China (Berners-Lee, 2019). If the UK alone stopped wasting uneaten bread, the amount of CO2 equivalent saved each year would be equal to more than half a million return flights from London to New York. Waste can occur at all four stages of the food supply chain; producers, processors, retailers, and consumers. In developing countries the majority of food waste occurs during harvest and storage, whilst in richer and more developed places the main problem exists within households. A drastic cultural change is needed, and consumers must learn to value food again. The elimination of household and catering waste in just Europe and the Americas alone would add 10% to the world ’s food supply. These figures cannot be ignored, and we must confront the fact that our eating habits have more influence than we think.
Finding a wealth in food waste.
Photography by Camille Lemoine.
Photography by Camille Lemoine.
H O M E G R O W I N G F I G H T S WA S T E Building a relationship with every part of our food.
The current pandemic has helped spark this change in attitude, as fear of food shortages forced families to make the most of their produce and grow their own food. With convenience culture abruptly put-on hold, modern society were forced to adopt more sustainable mindsets. According to the Guardian, research conducted during lockdown in the UK shows that during the first phase in April, consumers reported a reduction in wasted food compared to pre-pandemic. However, its June update revealed that levels of wasted food rebound, with the average self-reported amount across bread, milk, potatoes and chicken had risen by 4%. Devoting time and energy towards growing our own food means that more value will be put on the finished produce. Instead of buying a tomato for 90p at the supermarket, you have sown the seeds, watered it religiously and watched as the plant turns from green to red. Developing an emotional attachment to our backyard produce means we won’t throw away our leftovers as easily and creative solutions to food waste will be found. Compost will be used in soil, cuttings will grow new plants, old food used to die fabric and even uncommonly eaten parts of fruits and vegetables will be used in adventurous recipes (e.g., strawberry tops and banana peels are actually edible). As well as giving food waste a second life, growing food also reduces the use of packaging materials such as man-made plastics and cardboard.
UG L Y
O
F OD
Photography by Georgia Masters.
A huge amount of food is still wasted globally in the UK on cosmetic grounds. From a retail point, consumers have historically been unwilling to purchase ‘ugly’ or wonky fruit and vegetables simply due to imperfections. This forces supermarkets to put into place regulations for quality and appearance which causes crops to be discarded solely due to the way they look. Reports from 2019 show that 25 per cent of apples, 20 per cent of onions and 13 per cent of potatoes grown in the UK were still wasted due to their appearance (The Independent).
Wrap, a charity that has been working with governments on food waste since 2000 also found a major cause of fruit waste to be due to produce failing aesthetic standards. For example, strawberries are often discarded if they’re the wrong size for supermarkets. The National Farmers’ Union also reported in 2014 that around 20 per cent of gala apples were being wasted prior to leaving the farm gate as they weren’t at least 50 per cent red in colour. Supermarkets chains including Tesco and Sainsbury’s have taken action by including “wonky veg” in their recipe boxes, juices, smoothies and soups. However, it is shocking to realise that society is unable to accept food that is perfectly safe to consume due to it having minor imperfections or varied appearances. A cultural change is needed for society to develop a more sustainable mindset.
GARDENING FOR WILDLIFE
Nothing is more important than air, water, soil, energy and biodiversity. They are the things that keep us alive. This is why it is important to acknowledge the environmental support that gardens can offer. Preventing soil erosion, supporting biodiversity, reducing noise pollution, improving air quality and replenishing the ground with nutrients are some of the most common ways that gardens help nurture the earth. The thin band of soil wrapped around the planet is not just vital for our survival because we need it to produce food. It’s also a natural carbon sink which helps to control our climate by absorbing emissions. Numerous studies show that biodiversity loss is increasing the risk of infectious diseases like COVID-19, and we know the destruction of nature contributes disproportionately to climate change and poverty. Investing in increasing biodiversity has never been more important, therefore making wildlife-friendly gardens equally as important. In order to attract insects and wildlife, gardeners can adopt the use of natural pesticides, grow native plants and trees, attract pollinators, grow flowers to attract butterflies and create an open water source.
Gardens can help us and the world we live in to stay alive.
Photography by Camille Lemoine.
FA L L E N
Influenctial practioners & publications.
BRANCHES
TREND UNION GREEN WAVE Fu t ur ist
It
is
Li
Ed el koort
SS2 1
p red i cti ons .
and find joy in the necessities
be a dominant DIY aesthetic
publication responds to the
such as cooking with family.
present, which feeds into my
current
future
One of my project narratives
work in multiple ways - from
in order to stay relevant and
will focus on this concept,
my image styling to my graphic
contemporary,
exploring
design.
climate
that
her
my
such
essential
a nd
and
especially
unpresidential
when
consumer
in
times
attitudes
the
relationship
This
overarching
between fulfilment and the joy
‘homemade’ approach will also
of cooking our own food.
support her call for action on
are radically changing. It is
She also says that cottage
a sustainability front. Using
therefore important to keep
industries will flourish and
vegetable dyed clothing, food
updated with the ideas of
‘grow into an arts-and-crafts
waste and only the clothes I
important
century’,
creativity
already have are just a few of
forecasters. Famous futurist Li
and improvisation are most
the core elements of my project
Edelkoort has recently spoken
valuable. Small scale gardening
that align with these ideas.
about
cultural
and home growing produce is
changes, and what she calls
definitely part of this future
ideas have confirmed that my
the ‘Age of the Amateur’ where
movement.
will
publication belongs to both
people
also become more localised
the present and future and is
opportunity to rebuild systems
and
from scratch.
farmers
practitioners
emerging
are
given
the
and
rare
where
Industries events
Edelkoort’s
such
as
contributing to an impending
will
be
movement
important
for
centred lifestyles. Continuing
we have become almost unable
jobs and communities. Again,
the development of my project, I
to slow down, or to produce
this
must make sure I push the most
things in our backyards or with
publication’s
our own hands. However, her
narrative
more hopeful future predicts
and community empowerment
that we will learn to come to
through home-grown food. She
terms with fewer, simper things
also mentions that there will
Edelkoort comments that
street
Overall,
markets
increasingly strongly of
supports
my
underlying self-sustaining
of
community
powerful messages forward.
As part of Li Edelkoort’s new
compelling and will help us
SS21
be, combatting despair with
predictions,
she
has
dedicated part of her SS21 Trend
optimism
Union book to a ‘Green Wave’.
joy seen as another form of
She says: ‘With the ecological
activism.’
and
happiness:
green also comes an aesthetic
She also comments on
green, since brown is symbolic
food being a driving factor to
for the earth it is only natural
the change of fashion. She calls
that green will start to grow
food the ‘largest megatrend’ on
from that current. The need for
our planet today, taking over
green is so powerful that it will
and inspiring other interests.
turn around fashion and design
This dominant influence will
without any doubt, sprouting
change shapes of furniture,
from
political,
textures for materials, the needs
survivalist
for architecture, and generate
sources it is impossible to
more outdoor adventures- all
ignore. But maybe the most
underpinned by the textures,
important thing about green
flavours and colours of the food
is its capacity to bring joy.
we eat.
different
humanistic
and
Photography from Trend Union.
Its energy and charisma are
THE AGE OF NO RETIREMENT Li n k ing
Car yn
Frankl in's
work
wi th
contem p ora ry
p hotogra p hy.
Photography by Marie Valgones.
Caryn Franklin is a British
is to challenge age stereotypes
This includes my community
fashion
identity
and create a large counter-
in
visiting
cultural movement: The Age
living across the UK and close
professor of diverse selfhood.
of No Retirement. This project
friends who have relevance
Her
on
in particular speaks to my
to particular narratives. The
important
publication, as when developing
images on this page are from
visit
my images I am determined
photographer Marie Valgones,
which focuses on core issues
to create a true representation
whose work I believe could help
including inclusivity, human
of
look
me integrated the idea of aging
rights
like. Gardening and food is
and fighting stereotypes using
One particular project I have
something
be
food. Instead of food rotting
found relevant to my project
accessible to all, and my images
or becoming redundant, the
is ‘The Age of No Retirement’.
will not contradict this message.
crystalised segments of dried
This particular project is on-
When
model
food become prize possessions
going and Franklin is working
team I am also going to choose
very similar to the younger
with
and
people who I know believe and
pieces.
Jonathan Collie. Their vision
lead a self-sustaining lifestyle.
and
commentator website
and
‘Franklin
Fashion’
is
an
platform
to
regularly
and
Georgina
sustainability.
Lee
what
communities that
generating
should
a
my
home
town,
family
JAMES PEROLLS Fa s h io n
p h o tographer
Photography by James Perolls.
and
col ou ri st.
James Perolls is a self-taught fashion photographer whose work often tells stories about female characters. What draws me to Perolls’ work is his use of colour in post-production, as well as the youthful energy he portrays in his imageryoften set-in nature and gardens. Enhancing
unusual
combinations,
his
colour work
is
incredibly distinctive and often other the
worldly.
Interestingly,
photographer
blind
and
sees
is his
colour work
differently than the viewer. I plan to study other creatives and colourists such as Monet who find inspiration in the garden. Being aware of these practitioners and relocating it back to the garden will allow me to produce my own natureinspired contemporary colour stories.
TOM JOHNSON and
d ocumneta ry
photogra p her.
Photography by Tom Johnson.
Fa s h io n
Tom Johnson is London based fashion
photographer.
His
work is about people. Working in
documentary,
fashion
and portraiture – and often fusing all three – his images are clearly informed by an innate sensitivity towards and respect for his subject. He is skilled in staging his photos using the natural environment around
him,
incorporating
elements such as flowers in an un-stereotypical way. From studying his work, I have learnt that ordinary environments or objects can be innovated within an image, retransformed to the viewer. I also hope to recreate the
same
strong
sense
of
narrative within my work and be able to communicate a story though still shots.
DORA MAAR Fi n e
ar t
and
fa shion
photogra p her.
Photography by Dorra Maar.
Dora Maar is a well-known
own theme of gardening with
French photographer often just
a similar approach, blending
remembered as Picasso’s love
fantasy and fiction within the
interest. However, her images
styling.
are all of complex, disturbing
using cut out shapes to distort
and beautiful. Her surrealist
the
photomontages challenged the
and specifically the Dadaism
idea of the ‘modern women’.
movement continue to inspire
After studying her images, I
my photography as I develop
am considering exploring my
my own style.
This
could
silhouette.
include
Surrealism
VIVIANE SASSEN Fi n e
ar t
and
fa shion
Viviane Sassen is a Dutch artist living in Amsterdam. She is a photographer who works in both the fashion and fine art world. She is known for her use of geometric shapes, often abstractions
of
bodies.
Her
work blurs the lines between fashion photography and fine art, using varying mediums to create her imagery. She works in film format and often reworks her printed images by hand using ink and other materials. She often uses food and
other
unusual
objects
within the styling of her images. Her editorial ‘of Mud and Lotus’ explores mud as fundamental for the growth of the lotus and uses organic materials such as eggs, milk, flowers and natural dyes within the imagery.
photogra p her.
Photography by Viviane Sassen.
MORE THAN OUR BELLIES B y
Viv ian e
S a ssen
&
Phil ip
Lim .
Designer Phillip Lim and photographer Viviane
Inspiringly, this book brings together art, design
Sassen have worked together since 2014, united
and food. The duo hope that readers will be
by a shared desire to celebrate the beauty in non-
inspired to cook more, and that they will make
Western cultures. One of their collaborations
each recipe their own, as there is no ‘right way’ to
includes a cookbook titled More Than Our
cook. To me however, the images of local markets
Bellies, which contains 12 recipes – each with
in Morocco create an urge to buy from local
deeply personal meaning to the designer – and
vendors, and to take pleasure in really beautiful,
photographs by Sassen that have adopted a
and organic food. When creating my own
painterly approach. The book is about friendship,
publication, I ensure that my message is as clear
sharing food with loved ones and sometimes
and as visually impacting as this book. It has also
with strangers. The recipes are ones that Phillip
made me consider other narratives or approaches
himself learnt from his mother, whom he has
to my publication (e.g. cookbook form, ingredient
fond memories of cooking him hot, filling and
encyclopaedia, home growing instructions).
delicious meals three times a day. He says in an interview ‘They nourished us and in doing so,
Photography by Viviane Sassen.
they nurtured us.’
COMPETITOR PUBLICATIONS E x plo r ing
c ontempora ry
maga zi nes
on
the
s u bj ect
of
ga rd ens.
The Plant magazine is the main
their love for plants. Bringing
but does not feel cutting edge.
contemporary
together various photographers,
To me, their strength lies with
currently serving the market
illustrators,
designers,
interviews and photography. I
with gardening content. The
musicians, writers and visual
want my magazine to be more
publication offers plant lovers
artists, both established and
innovative in terms of design
a new look at greenery by
emerging, from all over the
and experimental photography.
featuring the works of many
world. The graphic design of
creative
this magazine is minimalistic
people
publication
who
share
Bloom describes themselves as ‘a magazine for gardeners, plant admirers, nature lovers, curious explorers and outdoor adventurers.’ This magazine offers viewers a lot of how-to content, from practical gardening projects to DIY projects. There is much less of a focus on fine art and contemporary fashion in comparison to The Plant, as they adopt a more practical approach. Although the graphic design and imagery did not grab me within this publication, I do think that engaging the reader by offering advice or encouraging them to take part in the content is a good element to incorporate into my own work.
Pleasure Garden magazine takes inspiration from the pleasure gardens of 18th century in London. The content steps away from the practicalities of the garden instead placing it within a wider cultural context. They describe their magazine as ‘The pleasure garden was always a place to escape to - a fantasy in a garden, filled with art, music, fashion, society and sex. It is this mix that we transport to the printed pages of Pleasure Garden.’ This contemporary magazine was influential in terms of linking wider cultural topics into my narratives and in ensuring that every part of my publication is culturally relevant.
K E Y L I T E R AT U R E A N D F I L M S Lo ok ing
int o
infl uentia l
book s
a nd
f i l m s
featu ri ng
industry and the food system’s
literature have contributed to
impact on climate change, I
my research. Some key books
also used the books ‘No Planet
that I highlighted in my cultural
B’ by Mike Berners-Lee and ‘The
diary have remained extremely
Uninhabitable Earth’ by David
important,
Derek
Wallace-Wells. ‘Scotland’s Local
Jarman’s ‘Modern Garden’ and
Food Revolution’ by Mike Small
Lucy Jones’ ‘Losing Eden. When
also provided me with more
looking into localising the food
Scotland - focused research.
including
Photography from Art Fund.
Various books and sources of
ga rd ens.
Photography still from 'The Secret Garden'.
I have watched a variety of
helps her stepbrother recover
present from their own gardens
films, television programmes
from trauma and depression.
and give advice and share
and YouTube documentaries
Not only is the story line a
their
on the subject of food and
simple yet extremely powerful
people to get the most out of
gardening. However, I am only
reflection of what a garden
their gardens. This programme
detailing a few key pieces
is capable of, but the visuals
is extremely popular and is
from this research in order to
within this film are beautiful.
watched by all age groups,
refine my theme and thoughts.
The use of natural lighting
including millennials and Gen
The Secret Garden, 1938, is an
and the particular scene that
Z. This shows that people from
important film to note. When
shows the garden blooming in
every generation are willing
the
Mary
springtime are both elements
and keen to learn more about
suddenly
I want to take forward into my
gardening and self-sustaining.
die, she is sent to live with
own photography.
Not only does this support my
her uncle, Archibald Craven,
Looking
contemporary
publications relevance, but it
on his remote country estate
culture, it is also important to
also taught me that viewers
deep in the Yorkshire moors.
look at the famous television
respond well to tutorial-like
While exploring, she discovers
programme ‘Gardening World’
content and advice when it
a
garden.
hosted by Monty Don on BBC.
comes to this subject.
This same garden is what also
Gardeners from across the UK
main
Lennox’s
hidden
character parents
magical
to
knowledge
to
enable
Photography by Camille Lemoine.
THE KINFOLK GARDEN Lo ok ing
at
Kinfol k
maga z ine's
m os t
recent
book .
Another key book to mention
creativity, community and care
of the book is also cohesive
is Kinfolk magazine’s ‘Kinfolk
in relation to particular nature-
with the magazine itself, which
Garden’
centric
Interviews
is already a big inspiration
professionals
to the graphic design of my
only this year after I had
within the horticultural world
publication. The photography
started my research and is
has broadened my knowledge
is clean yet provokes emotion. I
dedicated
that
on the type of people who
want to carry this forward into
alongside
occupy the field today and
my own work and take tips from
nature. The book invites readers
has
to
how they have photographed
inside thirty spaces that blur
embed some of the creative
the process of certain crafts as
the lines between indoors and
skills featured into my own
well as the natural world itself.
out, from jungle-like rooftops
work (e.g., innovative flower
to sprawling backyards. It also
arrangements
covers central themes including
flowers). The visual aesthetic
book.
publication
live
This
was
to
released
lifestyles
harmoniously
large
with
lifestyles. various
also
inspired
and
me
drying
NEW
Publication concept and design development.
STEMS
GRAPHIC DESIGN INFLUENCE Ta k i n g i n s p i r a t i o n f r o m v a r i o u s m i n i m a l i s t i c d e s i g n s t y l e s .
Photography from Kinfolk.
I have taken inspiration from Kinfolk magazine alongside the graphic design of Tim Walker’s photography book, by Susanna Brown. Kinfolk magazine is designed to have a minimalist feel and takes every part of the page into consideration when designing - from the page number to the image references. Walker's books are similar in the way they adopt white space and present cutting edge designs with a small number of items on the page. These books also take a more fluid approach to typography, mimicking shapes found in the displayed imagery. As my publication will be predominantly photography based, I want to adopt this approach and create relationships between the typography and images. This will be achieved through organic shaped typography that reflects the tone of the image, producing more of a home-made feel.
PERSONAL HANDWRITING Reflecting on the development of my personal design handwriting.
This spread illustrates how my personal handwriting in terms of graphic design is developing. This page (left) illustrates a more minimalist approach to design whereas my work from second year (right) integrates more shape and colour.
This year I have
found that through working in both of these styles I have developed my own approach to design that combines the two. By establishing my own set of guidelines much like Kinfolk, I am able to infuse organic shapes and colour into a more minimalist context. I believe that this results in a contemporary aesthetic that supports the theme of my publication.
EMPHASISING 'HOME-MADE' Developing natural and textural approaches to design.
In
order
achieve
a
‘home-
made’ feel, I want to print and bind
my
publication
using
eco-printed cloth. This means using the natural dyes of plants to create organic shapes and hues on fabric and paper. I also want to use this technique on the endpapers and main body of my book. Using slight variants
of
textured
paper
will also make my book more tactile. As this research book is digitally made however, I have scanned in eco-paper of my own and manipulated them on photoshop to use within my graphics. This page (right) is the poster I created for this publication. Inspired by the collage
elements
of
David
Carson’s work but infusing it Photography from JuJu books.
with a overall Kinfolk look.
NOU RI S H
MOCK-UP PUBLICATION Combining my own work with secondary research imagery. .
Research design
Curating a colour palette inspired by my research.
and
contemporary
use of the colour green. Futurist
trend
analysts
Li Edelkoort has widely spoken
this
curated
about the need for green in
selection of colours. Derived
the future, predicting it to
from vegetables dyes, home-
be the most powerful colour
grown produce and the earth,
-
this range of organic hues feels
political,
grounding yet uplifting. This
survivalist sources.’ Not only
palette speaks to the interest
is green symbolic for the earth
in offbeat colours that invite us
and new sprouts of life, but it
to embrace imperfections and
symbolises joy. Although my
find growth in uncertainty and
publication delves into heavy
the unexpected. It also points
topics, a feeling of motivational
towards a colour shift moving
and
towards warmer tones. Most
remain at the forefront of my
importantly, is the dominant
message.
resulted
CONTEMPORARY COLOUR
into in
‘sprouting
joyful
from
different
humanistic
activism
and
should
Photography by Viviane Sassen.
M A D E AT H O M E
C RE AT I NG A C ON T E M P ORARY
HOME-MADE AESTHETIC
Photography by Viviane Sassen.
Using ordinary objects and waste to create innovative fashion garments.
STYLING USING FOUND OBJECTS
Photography by Vieno Motors.
Vieno Motors is an Instagram
people’s perspectives on waste
page of a group of Danish artists
is also extremely relevant to
who make wearable pieces of
my publication’s theme. I plan
artworks out of various waste
on using only clothing and
materials
They
materials I already have for all
Norway
my styling, including unique
and get members of the public
resources such as food waste
to engage in their practice,
and
making the subject matters
It is important that I do not
within
buy any new items or waste
hold
and
plants.
workshops
their
extremely
in
final
diverse.
images There
is
any
gardening
materials
equipment.
during
this
little information on this group
project, as it will contradict my
of creatives other than their
overarching message. Giving
social
but
myself these limitations will
they are important for me to
push me to be more innovative
mention as my own styling will
and hopefully create a more
take a similar DIY approach.
authentic
The fact that they are using
narratives.
media
materials
platform,
already
readily
available to them and changing
portrayal
of
my
Photographers Viviane Sassen
relevant equipment at home.
a collaboration with painter
and
two
However, they also take their
George Rouv for an exhibition
major names in contemporary
work further by applying new
of work where they explored
photography,
whilst
mediums on top of their images,
the human form. Both of these
researching their work I have
which I could still replicate
approaches made me consider
come to consider new mediums
at home. For example, Sassen
using food waste and other
and the idea of reworking
will often abstract her work by
organic paint-like resources to
imagery.
these
painting or using coloured ink.
rework my imagery and further
creatives work in film format
Through strategic placement
emphasise
and develop their images in a
and unique use of colour, her
aesthetic. This approach would
darkroom. Although I do enjoy
images become a fusion of fine
also give me a more tactile way
this form of photography and
art and fashion photography.
of working, which could add
was originally keen to include
Weir similarly transforms her
texture and a DIY feel to my
it within my final publication,
imagery, but by using bodily
digital publication.
the darkroom in Edinburgh is
fluids (cum, blood, sweat, pee)
closed for the foreseeable future
to create various shapes and
and I do not have access to the
textures. She first did this in
Harley
Weir
Both
are
and
of
my
‘homemade’
Photography by Viviane Sassen.
Photography by Harley Weir.
RE WORK I NG AN D N E W M E DI U M S Using a mix of mediums to transform the fashion image.
Photography by Viviane Sassen.
LUCAS BLALOCK & PHOTOSHOP Researching the fine artist using photoshop in unconventional ways.
Lucas Blalock is a fine artist
is interested in revealing the
to bluntly edit his photos. He
and photographer who lives
process behind photographic
preserves the clumsy quality
and works in New York City.
images. Blalock shoots using a
of his alterations to achieve
He is an important practitioner
large-format camera on film and
an emotional response from
to note due to the way he edits
then scans his images in order
the viewer, and to further
his images. Inspired by the
to digitally alter them. He uses
emphasise
poet and playwright Bertolt
the simplest tool on photoshop.
between
Brecht’s insistence on a theatre
e.g., clone stamp, paint brush,
image.
that reveals its labour, Blalock
eraser and masking in order
the objects
relationships within
an
Photography by Lucas Blalock.
I find this particular editing
of
resources.
style highly influential, as I
interesting to merge the hand-
am very drawn to the rawness
made approach of Sassen with
and humour portrayed within
the digital approach of Blalock.
his imagery. When creating
Overall,
my final publication, I would
approach to post-production
like to experiment with various
will prove essential if we go
editing styles similar to the
back into lockdown next year.
likes of Blalock and Sassen. Not
However, I only want to use
only does this approach result
this
in a home-made look, but it
doses throughout my work,
will also allow me to be highly
to enhance and push certain
creative using a small number
narratives forward.
this
editing
It
would
be
experimental
style
in
small
RE WORK I NG U S I NG FO OD Manipulating my own images at home using food-based materials.
These pages illustrate my own experimentation with image manipulation. As I have not been working in film format, and do not have access to a darkroom due to the current climate, I have worked directly onto printed images. Using only food as a medium, focusing primarily on emphasising certain textures and colours within an image. I have used a variety of food sources from beetroot juice, vinegar, yogurt, milk, salt, old tea bags and cinnamon spice. Experimentation could be taken further by reprinting onto manipulated paper or mixing acrylic paint with food mediums. More experimentation is needed to take place over the December period in order for me to push this further. I believe that the images using tea bags (left) create similar textures to soil or even mould. This technique could be used in small doses within some of my images next year relating to specific narratives relating to soil and the physical act of gardening.
M A K I N G E C O - PA P E R A T H O M E Adapting paper using the natural dye of plants and vegetables.
Here I have used the natural dye found in plants
I plan on using fabric dyed vegetable paper
and vegetables to create a series of eco-papers.
and eco paper within my final publication-on
Using old beetroot, turmeric and various plants
the covers and interlude pages. Another way I
from outside, I have boiled the papers in white
could push this technique further next year, is
vinegar for several hours before leaving to dry
by printing images directly onto eco-paper or
overnight. I am satisfied with the results as it
boiling the printed images themselves.
has created an abstract array of patterns where distorted shapes of leaves are still visible. Scanning these pages in and manipulating them on photoshop has also allowed me to integrate them into the graphic design of this online book. However, although these work as online pieces I would still prefer the viewer to be able to touch the texture of these papers in book form.
M A K E AT H O M E
P U B LIC AT ION C ONC E P T
T O H E L P TA C K L E F O O D WA S T E
Z E R O - WA S T E R E C I E P E PA G E S Giving the food used within my styling a second life.
the technique behind the meal’s preparation to be the main focus. Instead, I want to create recipes and meals from the food I use within my styling. E.g., use the yolks from the blown egg outfit and the pastry from the marketing stall outfit to become the base of a quiche. Inspired by the zero-waste cook Max Lamanna, I want this section of my publication to inspire the readers to cook with food waste and to acknowledge that clothes -no matter what they are made from- are not a throwaway resource. I would also like to photograph the models enjoying the food that they previously were wearing or using during the shoot. In a greenwashing society, I also believe that this section will act as proof to readers that I After researching Viviane Sassen and Philip Lim’s recipe book, I want to explore the potential of including recipes in my own book, to further communicate my manifesto. As I am not an experienced cook, I do not want the recipe or
am following through with my manifesto message within every aspect of my work. Visually I have taken inspiration from recipe books (particularly Anna Jones) and still life food photography. The next page shows a mash up and still life imagery of how this section could look.
S A M P L E M A S H U P R E C I E P E PA G E
STILL LIFE TEST SHOOT Experimenting with still life set-ups using food from my kitchen.
FRESH
Narrative development & test shoots.
SHOOTS
MODEL TEAM Mash up of secondary images and actual models I will be using next year.
My
imagery
represent
must
communities
truly and
the sort of people who lead and believe in a more selfsustaining lifestyle. This means I will be pulling from my own neighbourhood
in
Torrance,
Glasgow as well as family friends and family members themselves. I will also reach out to strangers I have found on Instagram or through word of mouth that I believe fit particular
narratives.
There
will be a range of ages and cultural backgrounds present, from French to Japanese. I will also need to find models who are comfortable with holding animals
such
as
chickens,
ducks and geese. My narratives have also experimented with other forms of models due to the current restrictions, such as using sculptors or abstracting the body within the styling (this means I could use one person for various looks).
L O C AT I O N
C H O O S I N G S U I TA B L E G R E E N S PA C E S
TEST SHOOTS
1
TORRANCE, GLASGOW
TREEHOUSE
GARDEN &
JAN E Y ' S
2
MELROSE, SCOTTISH BORDERS
GARDEN
ABBORTSFORD
THE
3
ABERDEEN, SCTOLAND
ALLOTMENT
E S TAT E
SHARED
4
TORRANCE, GLASGOW
GOOSE RUNS
GARDEN &
F A M I LY
5
RE - C RE AT I NG I N TORRANC E , G LA S G OW
HERB GARDEN
THE SECRET
R E - C R E AT I N G
When scouting for locations for test shoots, I contacted The Secret Herb Garden in Edinburgh.
However,
they
charge £75 + VAT and they no longer have the soft furnishings as pictured. I plan on creating my own green space inspired by this locations’ previous set up, but using my own furniture and throws immersed in my garden’s
flower
vegetable patch.
beds
and
N A R R AT I V E
MASH UPS AND TEST SHOOTS
DEVELOPMENT
BIRD BOOM
NARRAT I V E DE V E LOPM E N T 1 / 8
Many people across the UK went chicken mad when hit with egg shortages during lockdown. Live poultry farms were unable to meet the demands for birds and hen charities also put out a warning of chicken thefts. Bird owners were locking up their hens, duck and geese at night for extra protection. Fear that inexperienced families only interested in lay chickens would cruelly abandon stolen birds who didn’t lay eggs. We have gone
POULTRY MAD.
During postproduction I experimented with various editing styles. On reflection I have decided that more natural shots (next page) are stronger in terms of reflecting my theme. I do however believe that by treating individual image as their own is also important to remember for certain shoots. For example, the first image on the title page of this narrative development section is a good representation of using a mash up approach within my imagery, whilst also maintaining my ‘home-made’ and natural aesthetic.
M E RG I NG E DI T I NG ST Y LE S Experimenting with natural and abstract approaches to post-production.
BI
R D
B M
SCRAPPINGS
NARRAT I V E DE V E LOPM E N T 2 / 8
This test shoot challenges our perception of food waste. We are less likely to waste food if we have grown it ourselves. Further than this, we are also more likely to find innovative ways
of
giving
our
scraps
a second life once we have built a relationship with our produce.
Inspired
by
this
idea, these images hope to encourage others to build a new relationship with food waste. As no matter where our food comes from, there is a wealth of opportunity yet to be discovered in this throw-away resource. I was determined to show the beauty and diversity of food waste. Discarded crab shells were adopted from a local fish monger
in
Melrose,
empty
monkey nut shells were rescued whilst
my
flatmate
made
granola, the suede, cabbage and potatoes were eaten after use and the slices of bread were retrieved from a friend after they had unfortunately gone off (bread is amongst the most wasted food in the UK). All food was composted or eaten after use if possible.
Fashion and old food may seem like an unlikely pair
but this is a very small show of the endless ways we can reuse
our waste.
We must rebuild a realtionship with our food.
This can start with growing our own fruits and vegetables
teaching us that our scraps must not be forgotten.
TEST SHOOT REFLECTION Pushing the styling further by manipulating fabric using food waste.
‘Scrappings’
was also strong, as my mother
the
was successful overall. I believe
is
always
waste and making the most
that
varying
finding creative solutions to
out of our food. I could also
textures worked well with the
food waste and helps create a
look
textures of the food waste. I
diverse and contemporary feel
this waste dying technique
also think that the location
to the imagery. However, I do
within their own work and
was appropriate and offered
believe that the styling could
propose a collaboration. This
a variety of frames. When the
be taken even further through
mash
final shoot takes place in this
vegetable dying fabric myself
some vegetable dyed fabrics,
garden, it will be springtime
and
combined with pieces of food
and the weather will be more
design pieces to integrate with
reliable (it was raining heavily
additional pieces of clothing.
in between shots during this
This
test shoot). The model choice
even further and emphasise
the
test
clothing’s
shoot
someone
who
creating
will
is
garments
take
each
or
look
theme
waste.
into
up
of
transforming
designers
(right)
using
illustrates
FOSTERING
NARRAT I V E DE V E LOPM E N T 3 / 8
F E AT H E R S
Gardening for wildlife is just as important as gardening for home-grown food. In fact, without an abundance of biodiversity there would be no healthy soil for us to grow on. This narrative explores the subject of garden pests, and how they are actually the most important members of our gardens. One overlooked member of the garden is the bird. Many birds are important in plant reproduction through their services as pollinators or seed dispersers. Hanging feeders and bird baths are used to attract small garden birds such as robins and blue tits but are rarely used to attract larger birds such as crows and pigeons.
Although some birds are susceptible to eating crops, the majority are harmless and will cause little damage. Crows are sometimes blamed for garden damage caused by other animals, when they actually eat a lot of insects many gardeners and farmers consider pests.
These animals also transport and store seeds, thus contributing to forest renewal.
This narrative lies within my styling, using feathers and plants to convey the beauty and emphasise the important presence of garden wildlife. A collection of common bird feathers found in my garden including jay, pigeon and crow were used. Domestic goose feathers have also been used but could be replaced by feathers from wild garden birds if I take this narrative forward.
B A C K YA R D
NARRAT I V E DE V E LOPM E N T 4 / 8
HENS
Chickens, ducks and geese were a huge part of my childhood. My family have always kept a large number of birds and they quickly became a core element of our garden. My mother’s side of the family have also always done this, and their garden is home to over 30 birds. Although we keep birds as pets, we also use their eggs daily. An increasing amount of people are becoming interested in keeping backyard chicken coops as a way to break into the world of urban farming. As backyard chicken farming increases in popularity, the design of chicken coops is even becoming and
more
expensive.
extravagant Within
this
narrative I want to illustrate the importance of birds to any garden. Not only to they provide a food staple, but their lively and uplifting presence is what makes my garden so inviting. This narrative is a development from the ‘Bird Boom’ narrative, looking
to
the
atmosphere
that birds can create within a garden. A working garden does not have to be made up of solely flowers and vegetables. From a visual point of view, I also believe the textures and colours of varying eggs and feathers are extremely beautiful and would make pieces.
some
unique
styling
Pushing the styling further by creating entire outfits from eggs and feathers.
TEST SHOOT REFLECTION
Reflecting on my test shoot, it has confirmed that using blown eggs to create styling pieces is very striking within the imagery and creates a warm undertone. However, the model choice was not right, as I don’t think she is very convincing or looks comfortable in her pieces. I will need to make sure I use a model who is comfortable around birds and understands the lifestyle I am portraying. Also, as my previous narrative ‘Bird Boom’ comments on a similar topic, I want to combine these two narratives in my final publication. This also gives me the opportunity to take the styling further and create entire garments from feathers and blown eggs. I will also use outside fabric backdrops like in my first narrative, as well as my family garden. The mash up (left) includes a previous shoot I did using found goose feathers from my garden as my styling resource. I also want to build an accompanying second look using solely brown blown eggs (above).
WILDLIFE
NARRAT I V E DE V E LOPM E N T 5 / 8
H AV E N
In a test shoot (image above) inspired by a gardens ability to boost biodiversity I created my own ‘wildlife haven’ through the styling. However, I was not happy with these images as the resulting tone of the images differed from previous test shoots. After reflection, I have come to the decision to not use a ‘wildlife haven’ inspired narrative within my publication as it not as focussed as my other concepts. However, this test shoot was still useful as it gave me ideas on how to push styling concepts further forward. This included spray painting dead wild mushrooms, feathers and branches. The use flowers themselves could also be incorporated in a non-stereotypical way, potentially in the same manner as this mash up (previous page).
GA R D E N D E I T Y
NARRAT I V E DE V E LOPM E N T 6 / 8
Photography from Teran Community.
S C A R E C R O W I N N O VA T I O N Tr a n s f o r m i n g t h e t r a d i t i o n a l s c a r e c r o w i n t o a g a r d e n d e i t y .
During my research I have come to know the garden as a powerful force of nature. As somewhere we are able to regain control of our lifestyles and our individual minds. There is soul and power in a garden that is often hidden, it can reflect ourselves and our feelings. Gardening is like praying and taking action for many. Gardens are also places of reincarnation, of both life and death. When you really think about it, a garden is the most magical and powerful place you can be. I wanted to capture the deity of the garden within one of my narratives and visualise the intangible spirit of a green space. As every garden is personal, no deity or ‘goddess’ will look the same. I wanted to create a garden deity in my own family garden, as it is a place of many fond memories. This includes growing my fist potatoes, building dens, running amongst long grass with our goslings and sharing family meals outside. My garden deity should represent an abundance of joy, colour and life - symbolising the green space that was a fundamental part of my upbringing.
When generating ideas of how I could visualise my concept of a garden deity, the scarecrow came to mind. Scarecrows have been in existence for more than 3,000 years. A scarecrow or hay-man is a decoy or mannequin in the shape of a human which is usually dressed in old clothes and placed in open fields to discourage birds such as crows or sparrows from disturbing and feeding on recently cast seed and growing crops. I am not religious, but the scarecrow has always struck me as an oddly powerful figure, as something gardeners and farmers look to for the protection of their crops. Produce is how these people make a living in order to survive and yet many have great faith in these stagnant creatures to protect their land. Scarecrows are still abundantly used today as “decoys” to protect gardens from Photography from Teran Community.
the smallest vegetable patch to open fields of produce. However, they are also used to decorate the landscapes during autumn. The online platform ‘Teran’ run by editor and photographer Alannah Eileen held a scarecrow workshop earlier this year, inviting its followers to make a scarecrow still life out of everything and anything they had in their homes during lockdown. Every home-made scarecrow was extremely
unique,
which
emphasised
how
individual each of our lifestyles are. I want to keep this in mind when creating my own garden deity or scarecrow, symbolising my garden and the memories I have attached to it.
Photography from Tua Lewis.
Tau Lewis is a sculptor based in Toronto, Canada who adopts methods such as hand sewing, carving, and assemblage to build
intricate
sculptural
portraits and quilts. A selftaught artist, her work is rooted in healing personal, collective, and
historical
traumas
through her hands-on creative process. She constructs her pieces out of found, gathered, and recycled materials from Toronto, New York, and outside of her family’s home in Negril, Jamaica. The transformative journey of repurposing is a recuperative act that results in mass influence whilst also commenting memories.
on This
personal particular
piece is named ‘Delight’ made this year, in 2020. This sculptor was hand sewn, made from multiple recycled and hand dyed fabrics, recycled leather, cotton and recycled polyester batting, acrylic paint, PVA glue, seashells, stones, beads, pipe and wooden chair.
T UA LE W I S AN D ' DE LIG H T ' Looking to contemporary sculptor for styling inspiration.
ade . M
fro
low m f
ers
iftwood, found o ke n h o s e s , d r p , br
ea c
oc
sh
re
s.
tu
l el
lp
k a
nd ph
ea
san
u sc
t f
o f my ga rde h up s a M n d ei ty
eath ers
, fl o
w
er s,
gr
as s an
d
L O C A L S TA L L S
NARRAT I V E DE V E LOPM E N T 7 / 8
O
S
U L
O
O
F
D
INITIAL STYLING IDEAS Using limited resources to start generating styling concepts.
AB ST RAC T I NG LO C AL MARK E T S Using the texture and colour of food as the primary inspiration.
Food markets are the future and will be the way in
and ice cream to create a merged look. This fusion
which communities can form and build networks.
is part of the beauty of a food market; the clash
This narrative explores the ideas I previously
of flavours, textures and colours are all part of
discussed in my research. I want to communicate
the experience. My fourth mash up (next page,
the vibrancy and multi-sensory experience of
right) is an abstraction of the pastry stall and
a food market and inject my own memories of
labour-intensive nature of baking. I wanted to
French markets from my childhood. After playing
emphasise the use of touch and tactile process as
about with various textures such as table clothes,
we find ourselves in a crisis that has tainted the
flowers, tarpaulin and foods within these previous
idea of human touch. My additional two mashups
images, I wasn’t happy with the results. I do not
are representations of fish stalls (upcycling
feel as though it communicates the multi-sensory
old muscle shells) and fresh onions wrapped in
and immersive experience of a food market.
brown paper and rope.
Looking to Li Edelkoort’s ideas of food as
I will create my own home-made studios for
the biggest influence both visually and through
these shoots, making my own backdrops through
narrative in future design, I have decided to
use of paint and paper manipulation. I will set
rework my styling by indulging in the colour
these up outside in order to use natural light. It
and textures of food. Through abstracting the
will also be important for me to use a diverse age
different elements of various stalls you find at
range of models within this shoot, as the market
a food market (fish stall, bread stall, vegetable
experience is enjoyed amongst families and
stall etc), I have created four main looks that
communities.
communicate my narrative successfully. This mash up (left) has taken the idea of watermelons
GROWI NG
NARRAT I V E DE V E LOPM E N T 8 / 8
COMMUNITY
G A R D E N R E L AT I O N S H I P S Portraying the partnerships and personalities within a community garden.
This narrative focuses on the
a mix of vegetable dyed clothing
and plant pots will be used as
unlikely relationships you can
and shapes constructed from
props.
form in community gardens.
cardboard (which will then
These images should have a
be covered in vegetable dyed
look that was considered was
humorous tone to them and
fabric)
to paint mud onto the body of
illustrate the interactions that
silhouettes.
for
a model, whilst another model
take place within these spaces.
these shapes will derive from
holds a watering can above
James
the
vegetables
their head, mimicking the act of
this
themselves. An example of this
watering plants. This particular
narrative, as he is able to clearly
can be seen in the mash up (top
scene plays with the process
communicate a story within
right) on the middle figure, who
and physical act of gardening.
his group images - each model
is wearing a circular headpiece
It also illustrates how two
adopting a particular role.
of green grass. Vegetables and
people can work in harmony
fruit, alongside gardening tools
whilst gardening.
Perolls’
particularly
photography
influenced
The styling will consist of
to
abstract
shapes
selected
Inspiration of
An
additional
styling
The following page shows a
more and more disconnected
more refined mash-up where
from their food origins and
I will be using my smaller
the
cousins (who look similar to
encourage people of all ages
the models used) who often
to unite and will often be used
garden together. With outfits
within
constructed
teach and encourage teamwork
from
gathered
natural
world.
primary
Gardens
schools
gardening fencing and green
development.
grass
particular
narrative will explore garden
narrative focuses on the idea
relationships in various ways,
of
finding joy and escapism in
hair.
younger
This
children
taking
part in gardening. In a world of
over-stimulation,
generations
are
younger becoming
growing food.
Overall,
to this
BIBLIOGRAPHY RE S E ARC H C ON T E N T RE F E RE NC E S
Bawden, T (2019). ‘How the UK could become self sufficient in fruit and veg.’ i-news. Available at: https://inews.co.uk/news/environment/how-the-uk-could-become-selfsufficient-in-fruit-and-veg-294 060 Berners-Lee, M (2019). ’There Is No Planet B : A Handbook for the Make or Break Years.’ Cambridge University Press. Dobson, M and Edmondson, J (2019). ‘Ugly vegetables are a major cause of food waste’. Independent. Available at: https://www.independent.co.uk/life-style/food-anddrink/ugly-vegetable-food-waste-fruit-vegetable-a8825311.html Egli, V and Oliver, M (2016). ‘ The development of a model of community garden benefits to wellbeing.’ Science Direct. Available at: https://www.sciencedirect.com/ science/article/pii/S2211335516300249 Fashion Snoops (2020). ‘Subculture: Cottagecore.’ Fashion Snoops. Available at: https:// www.fashionsnoops.com/Culture/culture/ Friedman, A (2017). ‘From roadside trading to hipster supermarkets, how we buy food reflects the state of the economy.’ Quartz. Available at: https://qz.com/895122/thehistory-of-markets-reveals-a-lot-about-the-state-of-the-economy-and-society/ Gibbs, M and Ross, T (2013). ‘How ‘Dig for Victory ’ campaign helped win the War.’ The Telegraph. Available at: https://www.telegraph.co.uk/news/earth/environment/9996180/ How-Dig-for-Victory-campaign-helped-win-the-War.html Jones, L (2020). ‘Losing Eden, Why our Minds need the Wild.’ Allen Lane, Penguin Books. Kane, A (2019). ‘Harley Weir & George Rouy on the intimate details of their art collab.’ Dazed D igital. Available at: https://www.dazeddigital.com/art-photography/ artic le/46496/1/harley-weir-george-rouy-on-the-intimate-details-of-their-art-collab King, R and Wellesley, L (2020). ‘UK food and nutrition security in a global COVID-19 context: an early stock take.’ Resource Trade. Earth. Available at: https://resourcet rade. earth/publications/covid-19-uk-food-nutrition-security Lang T, Millstone, E and Marsden T (2020). ‘ This is how coronavirus is affecting our already fragile food system.’ The Inde pendent. Available at: https://www.independent. co.uk/life-style/food-and-drink/features/food-coronavirus-wake-food-system-ukgovernment-a9480811.html O’Carroll, L (2020). ‘Just not true' we're too lazy for farm work, say frustrated UK applicants.’ The Guardian. Available at: https://www.theguardian.com/money/2020/ apr/20/just-not-true-were-too-lazy-for-farm-work-say-frustrated-uk-applicants
Okvat HA, Zautra AJ (2011). ‘Community gardening: a parsimonious path to individual, community, and environmental resilience’. ResearchGate. Available at: https://pubmed.ncbi.nlm.nih.gov/21222153/ Parveen, N (2020). ‘Gardens bloom under lockdown with record demand for seeds.’ The Guardian. Available at: https://www.theguardian.com/environment/2020/may/08/ gardens-bloom-under-lockdown-with-record-demand-for-seeds Rao, T (2020). ‘Food Supply Anxiety Brings Back Victory Gardens’. The New York Times. Available at: https://www.nytimes.com/2020/03/25/dining/victory-gardenscoronavirus.html Scottish Farming (2019) ‘Farming Facts, Scottish Farming’. NFU Scotland. Available at: https://www.nfus.org.uk/farming-facts.aspx Scottish Government (2019) ‘Climate Ready Scotland: climate change adaptation programme 2019-2024.’ Scottish Government. Available at: https://www.gov.scot/ publications/climate-ready-scotland-second-scottish-climate-change-adaptationprogramme-2019-2024/pages/11/ Small, M (2013) ‘Scotland’s Local Food Revolution.’ Argyll Publishing. Wallace, F (2019). ‘Is the Back-To-The-Land Movement Experiencing a Resurgence.’ Topical. Available at: https://www.headstuff.org/topical/homesteading-landmovements/ Zarate, M. (2019). ‘How community gardens preserve culture and grow hope.’ TEDxUOregon. Available at: https://www.ted.com/talks/marissa_zarate_how_ community_gardens_preserve_culture_and_grow_hope