Issue 13 - Mar 2016 by Creative Update

Mar 2016

Star Wars The Force Behind The Force Stephen Webster The King of Bling Victor Wong Shades of Genius Eva Natasa Point Zero Design

CREATIVE UPDATE

CONTENTS

Latest news 04 Star Wars 08 The Force Behind The Force Christina Piddington 16 The Piddington Pod Stephen Webster 20 The King of Bling Natasha Caruana 24 The Woman Who Shoots Adulterous Men Emma Colbert 28 Life in Pastels Rich Evans 30 Social Media: Reaching for the Sky Eva Natasa 32 Point Zero Design Chris Holley 36 The Italian Job Zoe Childs 38 Diving Deeper Elliott Kerrigan 42 Transformational Television Louise Francis & Laura Knight 44 Creating Opportunities Victor Wong 46 Shades of Genius Inez Torre 52 Q&A with the UX Designer Libby Page 54 How to Compile a Trend Report

Top Star Wars — The Force Behind The Force p.08 Middle Christina Piddington — The Piddington Pod p.16 Bottom Eva Natasa — Point Zero Design p.32

WELCOME

UCA Alumni Team Angela Chadwick

Head of Communications & PR Carys Waters

Communications Officer Tim Pilgrim

Communications Officer Get in touch

alumni@uca.ac.uk Designed by UCA alumni She Was Only

shewasonly.co.uk

Welcome to Issue 13

Printed by Belmont Cover image by Victor Wong

and photographed by Kiva Huang

Greetings, and welcome to the ever-lucky thirteenth edition of Creative Update. In this issue we go undercover into the murky world of online adultery, meet the designer turning celebrity heads with his unique brand of sunglasses, and get goldstruck chatting with the King of Bling himself, Stephen Webster. The past few months have proved an exciting time for our alumni, and it’s been harder than ever picking just a small selection of stories to include. We’ve been to a galaxy far, far away to find out what life was like behind the scenes of Star Wars: The Force Awakens, the foothills of Mount Etna to discover the international murals programme rejuvenating a town that once played a starring role in The Godfather II, and the Indonesian paradise of Bali to learn just what’s possible when a furniture designer is faced with an empty house. We’re always excited to hear of the amazing projects our readers find themselves working on, so if you’ve got an exciting tale you’d like us to tell in these hallowed pages, please do get in touch. The UCA Alumni Team alumni@uca.ac.uk

NEWS

UCA has risen 12 places in The Times and Sunday Times Good University Guide 2016, to be placed 11th in the table of Modern Universities.

UCA named 11th best modern university

This year’s rise of 12 places follows two years of strong league table climbs, which have seen UCA named as the top creative arts university in the Complete University Guide, one of the top 20 places in the world to study fashion by the Business of Fashion, and enter the Guardian’s top ten list of architecture schools. Vice-Chancellor Professor Simon OfieldKerr said: “We are ambitious for the future and are on a journey to be recognised as one of the most important specialist creative arts universities. “We have created impressive environments on each of our four campuses where students and staff produce extraordinary work, and the introduction of Performing Arts into our portfolio is going to be exciting.” In just two years UCA has risen 34 places in the Complete University Guide where it is now ranked 52nd overall, and 37 places in The Times and Sunday Times Good University Guide where it is now placed 62nd out of 123 UK universities. UCA is also one of the few universities to buck the national trend by improving student satisfaction levels, increasing overall satisfaction levels by four percentage points in 2015 to achieve a score of 81%.

NEWS

New suite of postgraduate fashion courses launched

UCA has launched a suite of new postgraduate fashion courses for September 2016 entry.

MA Printed Textiles for Fashion & Interiors will be offered at UCA Rochester, whilst MA Fashion Marketing & Communication, MA Fashion Business & Management and MBA Fashion Business join the portfolio of the School of Fashion at UCA Epsom, which was recently recognised as one of the world’s top 20 fashion schools by The Business of Fashion. “We are excited to launch a new portfolio of fashion MAs and an MBA,” said Thomass Atkinson, Head of the School of Fashion. “The new courses will educate future fashion business entrepreneurs and practitioners at MA level who will push the boundaries of their chosen practice. The MAs are located to complement the culture already established in fashion business at UCA Epsom and in textile, crafts and making at UCA Rochester.” MA Fashion Marketing & Communication will equip students to manage and generate brand appropriate campaigns whilst building a comprehensive knowledge of key marketing principles. Developing an ability to understand and derive strategies from future trend data, the students will be engaging with global fashion brands to plan and produce unique major projects.

Particularly global in its focus, the MA Fashion Business & Management course is designed for those looking to excel in business within fashion management positions. Building on the success of the BA (Hons) Fashion Management & Marketing course at UCA Epsom, the postgraduate qualification gives students the opportunity to develop the creative and strategic skills required to thrive in the fashion industry. UCA Epsom was home to the first MBA specifically tailored to the creative industries, and the new MBA Fashion Business course has been designed for fashion managers with experience looking to build their innovative practice and find new solutions to global issues within fashion business. The new MA Printed Textiles for Fashion & Interiors will develop students’ creative vision within professional practice with a practice based and design led experience. Students will have freedom to explore and combine traditional, handcrafted design and production techniques with the latest innovations in digital technology. The Rochester-based MA course provides an opportunity to specialise in fashion and interiors, enabling students to work in a range of industries. To find out more about postgraduate courses or to apply, please visit uca.ac.uk

NEWS

Repair Café

diverts nearly 400kg from landfill

UCA’s Centre for Sustainable Design has diverted nearly 400kg from landfill through its Repair Café based in Farnham, a collaborative project with local initiative Transition Town Farnham.

Encouraging locals to ‘share the repair’ by bringing along damaged items in need of restoration, the Farnham Repair Café meets monthly and has supported over 100 repairs within its first year of operation. The Repair Café has seen over 400 attendees during its 12 sessions. Electrical and textile-related products have been the most repaired items, but the team of repairers – made up of local volunteers and staff from UCA and Transition Town Farnham – have also worked on bicycles, furniture, baby strollers, and vacuum cleaners. “My very first repair was a hardly used electric lawnmower,” said Steve Privett, local Farnham resident and volunteer at the Repair Café. “Other volunteers gathered around and helped to disassemble the machine to find a snapped drive belt. “An internet search and a phone call located a suitable replacement and the mower sprung back to life bringing a big smile to our faces. I thought to myself, ‘it’s always good to save a life, even when it’s a lawnmower’s!’” In addition to repairing items, the Repair Café also has a ‘creative zone’, giving attendees the chance to explore new ideas around customising and the up-cycling of old products. The Saturday morning sessions

also look to provide owners with a greater understanding of how their product works, with an insight into why repairing is a better solution than recycling or binning an item. “A successful repair should increase the useful lifetime of a product, therefore diverting waste from landfill,” said Professor Martin Charter from UCA’s Centre for Sustainable Design. “The Repair Café has been really well-received and it operates as a place to socialise and network, adding to Farnham’s identity as a crafts town.” The international Repair Café movement launched in the Netherlands in 2009 and there are 18 Repair Cafés in the UK. The Farnham Repair Café is supported by a steering board and funded through donations and ad-hoc grants. For more information, please visit the Farnham Repair Café Facebook page: facebook.com/FarnhamRepairCafe

NEWS

Magnificent Seven ride to British Animation Awards Seven animators were this year nominated for awards at the renowned bi-annual British Animation Awards.

Graduates Henry Dunbar and Katie Lenton both received nominations in the Best Undergraduate Student Film category, as well as the Public Choice Award, where they were joined by fellow alumni Bexie Bush, Chris Shepard, Kristian Andrews, 2015 BAFTA nominee Marcus Armitage, and past Oscarwinner Daniel Greaves. Now in its 20th year, the British Animation Awards celebrates talent from across the UK animation industry. “It feels really good,” said 2014 graduate Henry Dunbar, 23, from Oxford, whose film Pollock was nominated in two categories. “My film’s inspired by Jackson Pollock rather than being directly about him. I thought it would be really stressful if all of

your ideas were immediately visible. I spent ages trying to work out what to put in the thought bubbles but everything I tried was so cliché. Then my friend suggested vegetables and found it so funny that they were actually roaring with laughter. I thought it was so unfunny that it was kind of brilliant!” Animation course leader Lesley Adams said: “It’s immensely gratifying to see so many of our graduates nominated for the British Animation Awards. The time and dedication required to make these films shouldn’t be underestimated, and we’re incredibly proud of all of our nominees.” The Public Choice Award, which includes 35 films and is sponsors by postproduction firm Glassworks, asked members of the public to choose their favourite animations. All of the films up for an award were shown at a number of programmes throughout the UK.

FEATURES

THE FORCE BEHIND THE FORCE

The Force Behind The Force Not so long ago, in a galaxy not too far away, a disparate band of alumni found themselves working on what would turn out to be one of the biggest films of all time – Star Wars: The Force Awakens. From the desolate deserts of the Arabian Peninsula to the model-making studios of Pinewood, they helped shape and build a behemoth that received five Oscar nominations and recouped almost $2bn at the box office. Now onto their latest projects, Creative Update caught up with the graduates to find out what it’s like to be part of the force behind The Force.

Left The saga’s newest star, Daisy Ridley, in one of the many desert scenes ©Lucasfilm 2015

FEATURES

The Sound Assistant Star Wars was different. As the second boom said to me: ‘You know, this is the biggest of the big, you can’t get much bigger.’ It was a hard shoot – probably the hardest I’ll do. The heat reached 50°C plus sometimes and the sand would blow in your eyes and just cover you. The manual labour of changing set-ups quickly was exhausting and the days were long, working from sun-up to sun-down. When the sun started to set and the heat began to drop you’d see these beautiful sand dune sunsets. It just began to feel like you were living Star Wars – almost hearing that John Williams score over the golden landscape. On set I was the sound assistant, helping set up the God mic so JJ Abrams and Tommy Gormley, the first AD, could speak to the crew, as well as running cables, giving out headsets to members of the production and visiting VIPs, wrangling cables, battery checking and whatnot. I got the job as my sister has been living out in Abu Dhabi for a few years now and was always telling me about films being shot there. I asked at the wrap party of Werner Herzog’s Queen of the Desert, which I was doing back in March 2014, and the production coordinator told me that Star Wars was going to be filmed out there. One talk led to another and so on until I got to emailing someone at the Star Wars production office. A month later I got a call from the mixer – Stuart Wilson – asking if I was free. It was an amazing feeling to see JJ, to see how he worked and everything that went into Star Wars behind the scenes, and to see the lead actors before the hype. It’s great to be able to watch those desert shots and say: ‘I was there, I remember that being filmed.’

J. Alexandra Roberts, 25 BA (Hons) Film Production, Farnham, 2012

Above right The T-70 X-Wing model by Alex Hutchings and Neil Ellis. Photography by John Wilson. Used with thanks to Disney and Lucasfilm.

THE FORCE BEHIND THE FORCE

The Model Maker

Alex Hutchings, 32 BA (Hons) Model Making, Rochester, 2005

I worked alongside the concept model maker to produce working models of the film’s sets and vehicles. We had a small workshop where we produced the models using the infamous Star Wars tradition of ‘kit bashing’ – a technique of building stuff from already available parts. A lot of our work will hopefully be seen in The Making of The Force Awakens that will be released later this year. The opportunity came about from a conversation I had with an old friend from KIAD who was working on a project called All You Need is Kill, which was later renamed Edge of Tomorrow. I was asked to cover for an art department assistant who was away on holiday, which led me to meeting a supervising art director called Neil Lamont, who would later go on to run the Star Wars Episode VII art department. Star Wars is so special to so many people that Lucasfilm wanted to make sure nothing was spoiled, so security was exceptionally tight throughout. The talent on the production though was fantastic and everyone just bounced off one another. From a young age I used to sit and draw images of spaceships and monsters, and build models from the films, so one of the most memorable parts of working on the production was getting to meet some of the concept artists I looked up to when I was younger – notably, Doug Chang and Ryan Church. To meet them was a big moment and they both were very humble.

FEATURES

The Art Department Coordinator

Polly Seath, 32 BA (Hons) Furniture Design, Rochester, 2005

It was a privilege to be there right at the beginning – I think there were eight or nine of us setting up at Pinewood – few enough for the whole crew to have lunch together on a Friday. It was so exciting being sat in those early meetings, and the hype just continued to get bigger and better from there on. I was the art department coordinator on the film, which involved being a PA to the supervising art director and the production designers, attending meetings, and working alongside the digital asset team and art department assistants to ensure the smooth running of the department. I was also responsible for labour and material budget creation and management, sourcing and ordering materials, and overseeing the schedules and payroll of the art department. The art department is a great place to be to see the film evolve from concepting, to technical drawings and models, through to seeing the actual sets being built and dressed. There are meetings every week to see where each department is at in the design process, so even though I was mostly office-bound I did get to see a lot of this development. I have to confess I hadn’t really watched any of the original films again as an adult, so I had to do a lot of swatting up. But that seems like a long time ago now – after living Star Wars for nearly two years of my life I’m now such a geek. And proud of it! There is no feeling quite like walking onto a film set, and the sets on this production blew my mind, they were incredible. Sitting at the chessboard on the Millennium Falcon is definitely one to tell the grandkids.

THE FORCE BEHIND THE FORCE

Frederick Lloyd, 24 BA (Hons) Film Production, Farnham, 2012

The Score Composer

Above Kylo Ren faces down the heroes ©Lucasfilm 2015 Left The stormtroopers received a makeover for the latest movie ©Lucasfilm 2015

Hearing a score you’ve worked on playing over a trailer with a Star Wars title at the end is incredibly special. I’m a huge JJ Abrams fan so to be involved in something of his is a dream for me. I would never have had this amazing opportunity if it wasn’t for my time at Farnham, so I’m forever grateful to the UCA Film Production team for supporting what we wanted to do with my graduation film Pantheon. Having been taught the structures and intricacies of film at all its stages of production helped me immensely in seeing and understanding the relationship between image and music – it was what got my foot in the door initially. After directing and scoring Pantheon, part of the score was picked up for the Zero Dark Thirty trailer, and it went from there. I’m now working on plenty more music, both score and trailer based with hopefully a release in the pipeline pretty soon. I’m also in the process of trying to get a couple of short films made too that I’ll direct and score, so plenty to keep me busy. Star Wars is probably the most iconic and well-loved film franchise there is, but more than that, it’s a legacy and such a huge historic monument of film. To just be a small part of that is an amazing feeling.

FEATURES

The Producerâ&#x20AC;&#x2122;s Assistant

Ben Pearce, 25 BA (Hons) Film Production, Farnham, 2012

After being recommended by a colleague from a film I worked on the year before, Johnny Deppâ&#x20AC;&#x2122;s Mortdecai, I worked as the assistant to one of the producers, Bryan Burk, working closely with him for a year, on both Star Wars and Mission Impossible. This included everything from scheduling and attending creative and logistic meetings for both productions, to helping with the organisation. It felt very special to be involved in part of film history, being surrounded by a world that everyone grew up watching and loving on screen. Not only was it the sense of size and scale that was so inspiring, but to be surrounded by characters and sets that were already so iconic made it feel often very surreal.

THE FORCE BEHIND THE FORCE

The VFX Compositor

Scott Dawkins, 28 BA (Hons) Computer Animation Arts, Rochester, 2008

I’m 28 now, but I feel closer to the 14-yearold version of myself, getting to work on my favourite projects. My role was as a compositor – I combined visual elements from separate sources and departments into single images, often to create the illusion that all those elements are part of the same scene. It’s basically moving Photoshop. I’m one of many VFX artists at Industrial Light & Magic (ILM), which is part of LucasFilm, and we get allocated to projects based on our skills and crew numbers. Once I’d finished working on the new Bond film, Spectre, I was crewed over to Star Wars to help see the project through. In terms of my day to day work, Star Wars didn’t differ much from my other films. There is still a high standard to achieve and an attention to detail that ILM stands for. That being said, there was an energy about this project, a definite excitement when you talked to people. Every single task had a lot of love involved. For a lot of people who work here, their reason and inspiration to get into VFX started with Star Wars. It was electric whilst we were in the office, because we could talk about it – making it is brilliant. It’s when you step outside the office and read or see things online about fan theories and what people think might happen that it’s trickier. You know everything, and obviously, you must keep it that way. Once the film was out though, it was brilliant to listen to people as they left the cinema, and to see kids running around in their BB-8 T-shirts. I even got to see one of my shots become an internet meme. That brought a very big smile to my face.

Left R2D2 and C3PO make a return ©Lucasfilm 2015 Top left Many of the original film’s heros are back, including Leia and Han Solo ©Lucasfilm 2015

SPOTLIGHT

When artist Christina Piddington was diagnosed with rheumatoid arthritis, she left behind her life in the South Pacific and returned to the UK determined to build a different kind of idyllic existence.

The Piddington Pod

Christina Piddington BA (Hons) Metalwork, Farnham, 2015

Above right Christina’s completed copper pod © Millie Spooner 2015

Forced to give up her life rehabilitating teenagers in Western Samoa, Christina Piddington has spent six months building herself a new sanctuary. Her 4.5 square metre eco-pod was created as a final major degree project and led to a spot on the popular Channel 4 show George Clarke’s Amazing Spaces, which aired in October 2015. “I’d been watching the show shortly after drawing up plans for the pod, and the idea to contact them just came to me,” Christina explained. “They filmed me whilst I was working and getting my degree, so it was a complete rollercoaster, but a fantastic experience.” The build impressed one of the presenters of the show, experienced craftsman William Hardie, who unveiled the project in the episode alongside Christina.

HILDE KROHN HUSE

“It’s absolutely fantastic,” said William. “It’s a really nice combination of architecture and art. The patchwork of material means that every single part of this is made by hand so it has a really tactile quality. “Each panel has its own texture – Christina has worked with them as if they’re individual pieces of art. The thing I love about that is, though there’s all that detail, they work together as a bigger picture. It’s wonderful to see somebody that has met all the challenges, been incredibly ambitious and seen it through, ending up with something sophisticated and beautiful.” Growing up in an army family, Christina became used to a nomadic lifestyle but longed to create something that was hers. Attending seven different schools by the time she was 13 inspired her to design a home that she can pick up and take with her each time she moves.

She said: “I think my upbringing underpins a lot of my rheumatoid arthritis and dyspraxia – the fear and anxiety wore me out. Having my pod means I can be at one with nature again. It’s a little bolt-hole away from everything for me to find peace.” Christina’s inspiration for the build came to her on the road, when she spotted an old vintage air-stream trailer. Fascinated by its bullet like shape and riveted construction, she discovered that it was made of aluminum. Next came the light-bulb moment: “That’s metal! I could do that!” Constructed from reclaimed copper and designed to completely dissemble to suit her roving lifestyle, the Piddington Pod is an ecofriendly hexagonal structure with natural hues of copper panels and striking stained glass windows, all made in UCA’s craft studios.

“I’ve always loved stained glass windows, especially when the sun shines through them and you get those little puddles of colour created on the floor,” said Christina. “I wanted to have something that brought colour in from the sun and I’ve got a thing about gothic art and lace, so I’ve used colour lace for the windows. “I’m passionate about wildlife too, so I wanted to stand for that with this pod. Everything I’ve used is sustainable or upcycled. It’s not connected to the grid, so I’ve got a log burning stove and I’m looking into solar panels to keep the environmental impact down.” Taking on a project of this size for an undergraduate project is unusual, and Christina’s journey as a mature student with disabilities hasn’t been without its challenges. “I had to structure my life around being in the studios and resting a lot of the time,” she explained. “I pushed myself too far at moments and got ill, because you get too carried away. It’s because it was so wonderful

FEATURES

to work on, but then everything hurts and you’re knackered. “I had help all the way. Due to my arthritis I was entitled to support from a UCA technician who helped with the build.” UCA’s Artist in Residence, metalworker and fellow alumni Hannah Davies, was Christina’s support for the project. Describing her experience working with Christina on the pod as ‘nothing less than a privilege,’ Hannah was approached by Christina before the project began to find out if she’d work alongside her. “I said yes. Of course I would!” said Hannah. “The scale and ambition of this pushed me well out of my comfort zone and it expanded my skillset tenfold. It was a real journey and Christina was fantastic to work with.” With over 200 tiles hand-cut from around 100 copper tanks, it took Christina and Hannah an estimated 600 hours to complete the pod. The pair enlisted the help of first year students to help texture the tiles, which

CHRISTINA PIDDINGTON

Left Hannah working copper in the studio Above Much of the work was filmed by Channel 4 Top Inside the Piddington Pod © Millie Spooner 2015

were folded and seamed by hand, and a team of experts to assist with various parts of the project – particularly when calculating the complex curvature of the roofing. After completing the Piddington Pod, Christina was keen to continue her creative studies and is now studying for a Master’s degree in Textiles at UCA. “I’m studying part-time so that I can work as a therapist alongside the MA,” said Christina. “I’m looking at other ways to channel energy into creativity. When we’re ill, we get depressed and feel powerless and hopeless. “You get fed up and think ‘I’m a creaky achy middle-aged person with knobbly joints, always in pain,’ but I’ve turned it into something positive. My health is a lot better and I think the project has helped me. There’s nothing like excitement to help you begin again!” Discover more about the Piddington Pod christinapiddington.co.uk

FEATURES

His dramatic gothic-influenced jewellery designs have earned Stephen Webster MBE a celebrity following that spans red carpets across the globe, with fans including Madonna, Christina Aguilera, Jay-Z and Russell Brand.

The King of Bling Q&A with Stephen Webster

Stephen Webster Jewellery Design (Pre-apprentice), Rochester, 1976

ROY KIMANI

As creative director of his own eponymous label, Stephen has overseen rapid growth and the brand now has 200 outlets, with flagship stores in London, Beverly Hills, Moscow, St Petersburg and Kiev. On the publication of his autobiography, the former Medway College of Design student talks to Creative Update about getting started in the industry, building a brand, and collaborating with fellow UCA graduate Tracey Emin. What are your most vivid memories from your time at the Medway College of Design?

Iâ&#x20AC;&#x2122;ve just published my first book Goldstruck: A Life Shaped By Jewellery and goldstruck is the perfect term for how I felt when I first entered the jewellery workshops at Medway College of Design. I was sixteen and knew that in there somewhere my future lay. How did you break into the world of jewellery design?

After graduating I became an apprentice at an old goldsmithing company in London's jewellery district. The first ten years of my jewellery life I spent learning to be the best craftsman I could be. The next ten years I spent being a craftsman, only with more experience, developing my style and my

FEATURES

passion for colourful gems â&#x20AC;&#x201C; gems with names so exotic and so complex that I couldn't spell them then and I can't spell them now, but I can definitely make a ring out of them. What were the biggest challenges you faced in establishing your business?

If you enjoy doing something there is always a light at the end of the tunnel, no matter how challenging the road. I have loved and hated jewellery, and as Chrissie Hynde sang, it's a fine line between the two. No matter how extreme the emotion it has always been a bond that I have never been prepared to break. That's probably the best advice I can give to anyone entering the game. If you feel the bond then stick to it. How do you balance the demands of running a business with your creative work?

Many years ago I knew that I was only interested in creative jewellery. Much of the industry is not particularly interested in creativity. For this reason, to establish a brand such as ours has been a struggle but against the odds we have achieved a lot without much compromise at all. The way people view jewellery now is in part due to designers such as ourselves who continued to push the boundaries of a very conservative business.

STEPHEN WEBSTER

What career achievements are you most proud of?

Receiving my MBE for services and training in the jewellery industry at the palace with my wife and daughters. How do you see the Stephen Webster brand evolving over the coming years?

We are changing our approach to retail which is becoming much more of personal experience than a simple shop. And we’ve enjoyed a lot of success both editorially and commercially with our collaboration with Tracey Emin. We are now considering further collaborations in the future. What advice do you have for graduates just starting out in the business?

Top ‘Fly By Night’ is a crystal haze ring set in 18k rose gold with pink opal and white diamonds Above Stephen’s new autobiography, Goldstruck Left Stephen’s ‘Magnipheasant Bracelet’ being made

Be patient and get some good training from an expert. This may seem a little traditionalist but this is a slow, traditional business with very few overnight stars. However, if you make it, it is also one of the greatest industries. We work with the finest materials, create things that make people happy, and if you are lucky, you get to see the world too. To see more of Stephen’s work, visit StephenWebster.com

FEATURES

Natasha Caruana BA (Hons) Photography, Farnham, 2005

The woman who shoots adulterous men “Sitting across the table, they don’t know I’m an artist making work about infidelity,” photographer Natasha Caruana tells me as we settle in the refectory of UCA Farnham, where she now works as a senior lecturer. “Effectively I’m cheating on them, but they’re cheating on their wives and families.”

NATASHA CARUANA

All images Natasha wanted to capture gestures, not identities

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I’m meeting with Natasha to talk about Married Man, a photo series which has received widespread coverage since its inception in 2008, when, having read an article on the subject in a ‘trashy magazine,’ she decided to go undercover into the world of online adultery. “In that magazine there was a woman who was having affairs with married men. That’s what she wanted. That’s how she chose to have her relationships. And at the bottom there was a box saying, ‘you can be a mistress too!’ “There had been a website set up for married men to meet mistresses, and at the time, in 2008, that was actually quite new. It wasn’t really a dating site – it was specifically for married men. I thought, ‘that’s amazing, now you can go and have an affair at the tap of a button.’” After enrolling as a wannabe-mistress, Natasha began tentatively dipping her toe into the world of online adultery, meeting with men that she found on the site, openly capturing the encounters on her ‘unthreatening’ disposable camera. “People often think the photos that I shot were secret, but they weren’t secret. I said I was an artist and that I’m too busy to have a boyfriend, flying off all the time to have exhibitions – although I did use a fake name and a fake phone number. “The men just saw this toy plastic camera, so I could say things like ‘oh, look at your recorder,’ Snap! I’d take a photo. Or take a photo of a cup of tea. I never took more than two. And if it didn’t feel comfortable, I wouldn’t take any.” Flicking through Natasha’s photos, which have since been exhibited as far afield as America, China and Australia, it becomes quickly apparent that the world of online affairs isn’t one of whirlwind glamour and luxury, but as Natasha tells me, is much more about earnest chats in Wetherspoons. “The reason that this ever became a project was because those first few men that I met completely blew out of the water anything that I’d imagined about affairs. They used me like a marriage counsellor.

NATASHA CARUANA

“They talked to me about how they felt lonely, and about their wives. And not in a ‘woe-me’ kind of way. Not in a, ‘I’m going to get you into bed, so I’m going to tell you this pity story about my life,’ kind of way. Reading between the lines, that was why they were going to have an affair. That was their intention. It was so banal, so every day. “It raised such interesting questions from the position of the man – the man that’s told that he has to be macho. He can’t talk to his work colleagues about his difficulty at home, because he’s got to be a certain figure in the workplace. But when he’s at home, his friends are mutual friends, so he can’t talk to them about it either. And even the ones that did it to become this jokey macho persona, with me they were able to talk about their feelings.” In total, Natasha ended up meeting with 54 men on 80 separate dates over an 18 month period, eventually running an ‘exhausting’ schedule of as many as three dates a day. The point of the series was never to expose the adulterous men, she tells me, or to pass comment on what they were doing, but rather to explore infidelity in the modern world. “The important thing about the work is that it’s not about the individual stories. It’s not about uncovering or revealing anybody. It’s about what infidelity looks like today, and how technology is changing relationships. “I did make the conscious decision not to make any of the men identifiable. I was always aware I didn’t really want their faces – I wanted gestures. An image of where the pint glass is finished and you get this moment of the man’s hands pushed together in anticipation. What happens now? Do we get another drink? Do we go somewhere else? Photography has this amazing power of being able to capture that.” Married Man is out now in hardback and will be shown at the International Center of Photography in New York over the summer. All Natasha snapped the men on a disposable camera © Natasha Caruana

FEATURES

Life in Pastels

EMMA COLBERT

Emma Colbert BA (Hons) Illustration, Maidstone, 2007

Maidstone graduate Emma Colbert is one of the UK’s leading animal portrait artists, working on portrait commissions and her own series of wildlife pastel paintings. This piece, The Family Tree, was commissioned as a unique family portrait with each deer representing a family member. The eldest stag symbolises the client’s late father, whilst the stag to its left is the client himself. The young deer denote his three teenage children. It’s one of Emma’s biggest paintings to date and recently won the Reader’s Choice Award at the Artists & Illustrators magazine Artist of the Year awards. The beauty of working in pastel, says Emma, is there’s no waiting for layers to dry or mixing colours whilst you work, and each pastel stick becomes its own shape as it wears down, creating sharp edges for use on the smaller details. Wanting to spend more time with nature, Emma will be leaving on a European tour later this year in her campervan. She hopes it’ll be an opportunity to be at one with nature, rising at dawn to photograph the mammals she’ll then paint in a studio set up in the back.

Left The Family Tree by Emma Colbert

To see more of Emma’s work, please visit EmmaColbertArt.com or Facebook.com/EmmaColbertArt

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Social Media: Reaching for the Sky

Rich Evans BA (Hons) Journalism, Farnham, 2005

Cast your mind back to the heady days of 2005. There were no iPhones to Instagram your breakfast. No condensing wry observations into 140 characters or pinning your interests. MySpace was king, and plucky usurper ‘The’ Facebook was barely making a dent in its armour. In social media terms, it was positively medieval. Into this environment graduated Sky News’ current Head of Social Media, Rich Evans, a journalist who’s had the rare opportunity to grow his career in step with an industry, and in doing so become something of an authority on the blurring lines between news and social media. Jumping forward to the present day, social media is now ‘bread and butter’ to the news industry says Rich, 31, with big organisations such as Sky dedicating whole teams of journalists to producing specially-tailored content for the army of users for whom it’s the primary source of current affairs. “Millions and millions of people in the UK log on to social media every day,” says Rich, “so we want to make sure we’re creating content that’s right. We don’t just put the same content out on Facebook, YouTube and Twitter. We like to work with each one separately.

RICH EVANS

Above Sky worked with Twitter on their new Moments feature

Rich’s top tips for building an audience on social media • Experiment - Nobody ever innovated by doing the same things over and over again, so try something new. • Know your audience - Find out what content your audience enjoys, needs or can benefit from and give it to them. • Study your data - You won’t improve if you don’t know how well you’re doing and where you’re underperforming. • Know your brand/identity Find out what style or content you want to be known for and deliver on it. You’ll get a bigger following if your audience can connect with you. • Stay shareable - The most effective way to grow on social media is for people to share your content, helping you to reach new audiences.

“So for instance, at the moment MPs are debating whether Donald Trump should be banned from the UK – that’s a story that might resonate with users on social media more than on television. I’ve therefore been given an extra producer and editor to create a bespoke Facebook video – we’re going to send a reporter out in Scotland to speak to locals around his golf course to find out if they like him or loathe him.” Being able to tailor content to an audience doesn’t only extend as far as the choice of platform, with services such as Facebook allowing different versions of the same content to be served up to different demographics. Whilst newspapers have long done this with their front covers – think The Sun in England, and The Scottish Sun in Scotland – the level of control on social media is of a magnitude newspapers could only dream of. “A good example of this is when New Zealand won the Rugby World Cup,” explains Rich. “We could target the story to New Zealand saying, ‘The Kiwis have done it!’ accompanied by a picture of a celebrating All Black. Then target the same article to Australia saying, ‘Australia narrowly lose out’ – something more sympathetic, with a sobbing Australian player. It engages both communities. Each story we put out, we can say, is this for everyone? Or do we want to target a specific group?” It’s this understanding of their audience and the ability to serve up the content people want that has seen Sky News jump from the seventh most popular news outlet on Facebook to third, under Rich’s stewardship. Such is their success, they now partner with Facebook and Twitter on not just new ways of reporting news, but also new ways of creating it. “Last year we held a joint event with Facebook at their London headquarters called #AskTheLeaders – it was a big deal for us, and for them. It was around the time of the election and we took 50 young people and asked them to put questions directly to David Cameron, Ed Milliband, Nick Clegg and Natalie Bennett, and then streamed it live from our Facebook page.” It’s working at this unpredictable cutting edge, in jobs that didn’t even exist when he graduated, that makes modern journalism so exciting, says Rich. Far from harming the news industry – an industry that has struggled since the rise of the web in the late 90s – social media has worked to reinvigorate it. “I often joke with my boss that this is the most exciting time ever to be in journalism,” says Rich. “Things are now changing all the time, and it’s the area of social media journalism that’s changing the most.” Follow Rich’s team on Twitter @SkyNews

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Point Zero Design After working in a Milan Studio designing plastic products for clients such as 3M, Unilever and Scotch, Indonesian-born Eva Natasa grew restless. Despite having a passion for design, she wanted to be creating something more sustainable than the products surrounding her. The bold move to quit her job and move to the Indonesian paradise of Bali saw Eva go back to basics, creating a completely new design philosophy, which has given her the platform to set up her own design practice. “In Bali, I started looking for locally designed furniture to fill my new home, but I found that most of the pieces weren’t ergonomic, sustainable or even effective,” said Eva. “So I decided to design my own and started the process from point zero.”

Eva Natasa BA (Hons) Interior Design, Rochester, 2004

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And despite planning on only creating the furniture for her own home, the feedback she received from guests encouraged her to build her own business and launch the range of pieces as a consumer collection. It was here that the Eva Natasa brand was born. Created by Indonesian craftsmen with only the best local materials, the collection has a minimalist look which Eva describes as simple, thoughtful and elegant, with a dash of playfulness. Eva’s meticulous eye for detail and human-centred approach sets her apart as a designer. A passionate character, she gives her all to what she does and always follows her intuition, having learnt her conceptual and pragmatic way of working whilst studying at what is now UCA Rochester.

Left and right All of Eva’s designs were created from ‘point zero’

‘Point zero’ meant living in a completely empty house with white walls and plain floors, using moving boxes as furniture for nearly a year. The experience of living with such limited furniture forced the designer to observe her lifestyle in relation to furniture and question how each item was used. “I would think to myself ‘can one live without furniture?’ or ‘if I could only have one piece of furniture, what would it be?’ and ‘what’s the best size for a table?’ – questions I hadn’t really given a lot of thought to before.” Armed with these thoughts and discoveries, Eva began discovering local materials and exploring Indonesia’s production processes. Many manufacturers she came across were using unsustainable methods and poor quality wood, but eventually she found one that would work closely with her to bring her design ideas to life.

EVA NATASA

“I always think about what I can create to help make people’s lives more comfortable,” said Eva. “In our studio, we always put the user at the centre of our process. We believe the purpose of objects is never to be disruptive but to blend in with the environment. It is placed to add value and comfort to the lifestyle of those who choose it.” Eva’s methodology is known as ‘slow design’, which promotes wellbeing for individuals and the natural environment. “It sounds easy, but it’s not,” said Eva, who has rejected projects in the past because she doesn’t think there’s enough time to develop them according to her ethos. Her studio team prototypes each product three or four times so they can test all its ergonomic and constructive aspects.

“Ecology and sustainability are always our priority. We use teak wood for its durability and good dimensional sustainability, and the wood’s natural oils mean that the furniture is resistant to termites and pests. It also means that the products can be finished without varnish.” The designer has found her niche, and whilst she hopes to expand into arenas such as kitchen and tableware design, she is currently focusing on life in Bali. “I will continue my quest to show people that things can be done differently – we’re a brand that cares and we’re not focused on wanting our customers to buy the next best thing, or the newest thing.” Discover more of Eva’s designs and refreshing take on furniture design at enatasa.com

The Italian Job

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Chris Holley BA (Hons) Fine Art, Farnham, 2009

CHRIS HOLLEY

Nestled among the hairpin bends of Messina, not far from Mount Etna, lies a sleepy Sicilian town making a name for itself as an international visual arts destination. Graniti is a town of 1500 where The Godfather theme tune can often be heard floating down the narrow streets in celebration of its use as a backdrop in the second film of the series. Keen to bring in new visitors, it’s spent the past couple of years inviting artists from around the world to take part in an international residency initiative to fill the town with colourful murals. “My mural was number eight,” said Fine Art alumna Chris Holley, who completed the residency last summer. “Whilst the town itself is a thousand years old, they’re trying to regenerate it. The organisers’ goal is to make this charming little town a significant destination.” Chris first came upon the residency online, and after submitting a mural idea based on the concept of dance – a running theme in her work – she was invited by the initiative’s organisers to spend three weeks in the town. “Before I left I had a certain concept in my mind,” said Chris, “but when I got there it kind of went out of the window. “My initial inspiration was Matisse’s painting, The Dance, one of the groundbreaking works of the 20th century. But the final mural was inspired by the Graniti people themselves.” A Catholic town, Graniti is a close-knit community of warm, lively townsfolk who enjoy strong ties with family and friends. Chris wanted to portray the hard-working people she saw every day letting their hair down and joining hands in an energetic dance. “As the mural took shape, I knew I was on to something and had got the message right when locals passing by exclaimed ‘Tarantella!’ The Tarantella is the celebration dance of the region in which all generations take part – and it seemed that my mural evoked memories of this party dance for them.”

Before Chris could begin work however, she needed to find the perfect wall – one with plenty of ‘movement’ – and get permission from its owner to begin the mural, before having her final proposal agreed by the town’s mayor. “The owners were very positive and the presentation to the mayor was amazing,” said Chris, who worked in PR for 15 years before deciding to pursue a career as a full time artist. “It was in a large courthouse with about 15 of us sitting around, and a public gallery. I’d expected a little intimate one to one with the mayor, and suddenly we were ushered into this courtroom which looked like Berlusconi might walk in at any moment!” Chris completed the mural over ten ‘very physical’ days, working outdoors in 24°C, and climbing and shifting scaffolding around to access all parts of the wall. The final result, now on view to locals and visitors to Graniti, received a glowing reception from appreciative locals, flattered that artists had visited their town and left signature murals. “I recommend residencies to artists,” said Chris. “They force you out of the confines and safety of the studio and your comfort zone and into a new and unfamiliar situation. You enter and operate in a whole different dynamic. Very good for us – and stimulating!” To see more of Chris’ work, please visit holley-projects.co.uk For further information on the Graniti International Mural please visit granitimurales.org

Left Chris’ Matisse inspired mural

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ZOE CHILDS

Zoe Childs BA (Hons) Fashion Textiles: Print, Rochester, 2015

Diving Deeper Nine Months On

As one of the most iconic collections from last summer’s Graduate Fashion Week, Zoe Child’s six piece collection, Acquiring Anchor, wowed on the catwalk. Now nine months on, Creative Update caught up with her to hear how she’s since dived deep into the world of textiles.

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“The success of my collection at Graduate Fashion Week gave me the confidence to invite some of the manufacturers I’d bought fabric from to the New Designers exhibition, including Hainsworth. With an unrivalled heritage manufacturing wool in the same mill since 1783, Hainsworth is a true British icon. It is known for creating and supplying the scarlet uniform at the Battle of Waterloo, and still manufactures a similar cloth for the Royal Guard today. After seeing what I’d achieved with a Hainsworth fabric called Melton, I received a vague email from a member of the company’s team saying, ‘I would love to talk over an idea that we have had with you.’ Since then, I’ve been working in the Hainsworth Mill in Yorkshire and project managing the Zoe Childs for Hainsworth print collection for clothing. My task has been to identify a process to print onto Melton and find an ink that would not affect the handle and drape of this cloth. I am so grateful for all I was taught in the first year at Rochester, as these were

ZOE CHILDS

exactly the techniques Hainsworth were so keen to utilise. As it’s such a traditional company that prides itself on creating everything by hand in-house, it was important to them that my designs were hand-drawn and hand screen-printed. In this role, I’ve been researching and meeting suppliers of ink and finishing processes. Hainsworth’s quality standards are extremely high, so I’ve been very involved in testing the print for its resistance to abrasion, colour fastness to water, acid and alkali, and most importantly its ability to withstand dry cleaning. Fortunately, Hainsworth has a certified lab in the mill, and it’s one of my favourite places. The science nerd in me has certainly enjoyed that part of the learning process! Out of the mill, Hainsworth has taken the wool coat from my graduate collection

to a couple of exhibitions. This has included a fashion show called East Meets West, which was part of Leeds Light Night, where we gained some excellent feedback. In October, the coat sat on Hainsworth’s stand at the Textile Forum, and we took it to the London Textile Fair in January to see how the initial printed fabrics I’ve been working on would be received. We still have a lot to achieve before we can sell the fabric to customers, but I feel so very lucky to have been given this opportunity so early in my design career. It’s been a steep learning curve and not without its challenges, but I realise that if I wish for my dreams to come true, only I can make it happen. Watch this space!” See more of Zoe’s work at zoechilds.com

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The story behind the UK’s first transgender sitcom, Boy Meets Girl

Transformational Television

Elliott Kerrigan BA (Hons) Film & Video Production, Farnham, 2002

As told to Creative Update

After the bookstore I’d been working in closed down, I found myself looking online for any kind of job – something to just occupy my time really. I visited the BBC Writers Room website one evening, just before I went to bed, and saw the Trans Comedy Awards competition, which I thought I’d love to enter. I was worried about whether I was suitable though, as I knew nothing about transgender issues, nor did I know anyone one who was transgender. I went to bed, thinking it over, and by the time I woke I had the first page of a sitcom in my head. People will know that scripts change all the time – words get put in, words get cut out, but that first page hasn’t changed. Not one word. During the whole process I only ever really did two pieces of research. One was watching a movie called Transamerica. The other was reading a book that wasn’t even trans-related at all – the biography of Lady Colin Campbell. Some people have been really annoyed by my lack of research, but I didn’t have to do a lot. The truth is, once I could hear the main character Judy’s voice, I just became a typist typing up what she was saying. She carried me the whole way through. It sounds weird, but that’s what happened. When the script was done, I entered it into the competition and forgot about it. I don’t dwell on things like that. Then a short while later I got an email telling me that I was in the top ten. I thought ‘that’s great,’ and I moved on.

ELLIOTT KERRIGAN

Then I got a phone call saying I was in the top five. Again, I thought ‘that’s great.’ But then I got a phone call saying that me and another writer, Tom Glover, were joint winners. I worked on the next draft with Sophie Clarke Jervoise from production company Tiger Aspect, which was then read in front of a small audience at the BBC in London. Both of the winning scripts were performed. Even then, I thought that was the end of the project. After all, that was the competition’s prize – to have your script read for an audience. Then, that November, we heard that the BBC was going to commission a pilot for the Salford Sitcom Showcase. We made the pilot in four days and that was screened. I’ll never forget it. I wasn’t even going to go, because there were four sitcoms in the competition, and I’d seen the others’ cast lists and they were full of stars – I thought we didn’t have a chance. I wasn’t going to go because it would be too sad. But the day before, I decided I should say a proper goodbye to the project. And the most incredible thing happened. The audience came in and there were laughs from the very first line. They laughed all the way through. To be honest, I thought they were just being polite until the BBC commissioned a full series.

Now I watch the show on a Thursday night with my family, then I go for a walk with the dog. I haven’t seen a single review and I’m not on social media, so I haven’t seen a single tweet. It’s all been a bit of a dream. I’ve had people email me telling me what the show means to them, and that’s been the most amazing thing. One person said it had given them hope, which was incredible to hear. That was one of the moments I’ll never forget. That was the cherry and the cake. It was very special.” Elliott is now working on a new drama for Radio 4, Midnight at Christmas, which will be released later in 2016.

Above Elliott talking about Boy Meets Girl on BBC Breakfast © Rebecca Root 2015 Left Elliott’s stars Rebecca Root & Harry Hepple © Tiger Aspect 2015

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Creating Opportunities As founders and directors of public art consultancy FrancisKnight, Kent Institute of Art and Design (KIAD) alumni Laura Knight and Louise Francis have created a business commissioning new talent to work on large-scale public projects. It’s a move that’s seen them work with artists such as John Newling, Douglas Jennings and Katayoun Dowlatshahi, as well as secure a number of awards. “Our role is to develop a brief that will bring an interesting artistic dimension to a development or public space,” explains Laura, who studied at Maidstone alongside Tracey Emin and Turner Prize winner Simon Starling. “We encourage developers to embed artwork exploring an artist’s practice in lighting, glasswork, paving or seating, either temporarily or on a permanent basis. “We often put out open calls for our projects and are looking to work with artists who have an interesting portfolio and a strong track record of delivering to briefs. Often, the people we work with will have a unique take on the brief, perhaps proposing an interesting angle for research, or a whole new approach to the project.

Louise Francis BTEC Display Design, Rochester, 1989

Laura Knight Foundation, Maidstone, 1987

LAURA KNIGHT & LOUISE FRANCIS

“Once we get to the shortlist stage, artists will be paid a fee to develop their ideas and really show the client the contribution they can bring to a development, building or regeneration scheme. We love being surprised by the evolution of ideas into refined concepts that will really bring something to the communities in which they are developed and eventually placed.” Louise adds: “Both Laura and I freelanced for a time as fine artists, so we know how tough it can be to secure the more prestigious commissions. Our advice to those just starting out is to not be afraid to take yourself seriously. Your practice is your business, and to make a living from it you will need to hone your presentation skills and be professional.” Laura and Louise first met when they job shared as arts officers for Medway Council. Both had freelanced as artists beforehand and they decided to take the plunge and set up their own consultancy in 2004. Laura explains: “At that time there was ongoing investment in the arts and in the regeneration of Kent. We were fortunate in securing a number of significant projects very early on.” One of these was Chatham Vines, an ArtOffice and Medway Council public art project. The project saw international artist John Newling install and nurture a vineyard of 32 pinot noir vines grown hydroponically in St John’s Church, Chatham. “It was a dramatic spectacle,” says Louise. “And what made it really special was that the grapes were harvested and turned into wine, some of which was used at the Sunday Eucharist service at Rochester Cathedral.”

Another key achievement was the commissioning of the artwork for the new £26 million Rochester Station, which opened in December 2015. The brief was to create a new identity for the station with artwork that connects the traditional to the modern. “We commissioned artist Dr Katayoun Dowlatshahi for this piece,” says Louise. “She was inspired by the significant history and architecture of Rochester as the starting point for her designs. The final artwork for the glass walls of the main station building offers glimpses of one of Rochester’s greatest assets. Interior images of the cathedral were photographed by the artist and edited to emphasise the drama of the building and experience of the space through colour, light and architectural form. “We’re proud of the artwork and the way it’s integrated into the development. There is a huge amount of regeneration taking place on Rochester Riverside – I think it’s a warm welcome to passengers using the new station.” Both Laura and Louise have fond memories of their time at KIAD. “There was such a buzz at Maidstone,” says Laura, who completed her Foundation there in 1987. “It felt as though you had permission to try absolutely anything. It shaped me as a creative professional.” Louise, who completed her studies at Rochester in 1989, cites tutors Jenny Tanner and Frank Kerley as being major influences. “We had mock up shop windows to work on in the studios, but Jenny and Frank would insist on us making all the props ourselves. It helped change my aspirations because the course made me realise just how much I enjoyed making work.” Visit francisknight.co.uk for further information

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When Victor Wong chose to design highfashion eyewear, he was determined to break free from the archetype. Now, just one year on, models and celebrities are already gravitating towards his brand.

Shades of genius

Victor Wong MA Product Design, Farnham, 2015

“When designing, I imagine streaks of light and shadow,” says the 27-year-old Chinese designer. “Sunglasses block out these rays of light and reflect them to show the beauty of my dreamland.” Victor established his self-named brand in March 2015 and has already wowed on the London Fashion Week catwalk, featured on the primetime BBC Three TV show Don’t Tell The Bride, and captured the attention of a number of individuals in the public eye, including models Nadia Forde and Amy Willerton, and Made in Chelsea star Sophie Hermann. Born and raised in Xupu, in the Hunan province of China, Victor graduated from MA Product Design in 2015, and has since moved to London. With a fervent interest in different cultures, the well-travelled designer absorbed various philosophies as he travelled, providing inspiration for his art.

ARNOLD SCHWARTZMAN

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VICTOR WONG

Images courtesy of Kiva Huang and Des Richards. All designs by Victor Wong.

Spending a large amount of time designing and drawing as he grew up, Victor has always been surrounded by a supportive family and prefers to work and create in a liberal, open environment. It’s this that drew him to one of the fashion capitals of the world. “Cultures converge in London and so many different kinds of art can be found here,” says Victor. “I can really feel openmindedness in the people, which makes them very accepting of my avant-garde style. In turn, British culture has heavily influenced my designs.” The designer is also heavily influenced by the handicrafts of western Hunan, where small tribes specialise in making accessories such as necklaces and headpieces. The intricacy of these works encourages him to design with fine detail. Referencing this traditional handicraft alongside the use of 3D printing, discovered during his time at UCA, Victor combines the modesty of the east with the boldness of the west. He creates futuristic yet primal designs, maintaining simplicity throughout. “I only use very simple colours, because I want the simplicity of the sunglasses to showcase the beauty of the world around us,” he says. Mixing with celebrities, musicians and actors has enabled Victor to build a reputation as one to watch in a short space of time, but the road to realising his dream hasn’t always been smooth. “The start-up process was grueling,” says Victor. “Setting up a brand in my name has always been an ambition but agreeing the design, the manufacturing process, coordinating fashion shoots and establishing the Victor Wong brand through PR and social media has taken a lot of time and effort. “Thankfully connections and friends made whilst studying at UCA made the logistics of establishing my brand less daunting.” Taking the attitude of an experienced professional, the designer has his feet firmly on the ground with a mature understanding of his role in the cut-throat industry. “The fashion industry is one of pleasant and yet paradoxical surprises,” he says.

“A piece of clothing and certain accessories can help to change a person’s emotion – this makes no sense whatsoever, as wearing those garments or pieces doesn’t actually affect the internal biochemistry of the body, only the outward physical appearance. Yet it is still able to achieve that change. This is what I love about fashion – it’s able to change lives.” Determined to change lives one pair of sunglasses at a time, Victor believes his creations are a fashion essential that boost the wearer’s confidence. His ambition is to collaborate with some of his idols. “I’d love to work with Vivienne Westwood, Alexander Wang and actually, Lady Gaga. I love her for the boldness she displays in styling herself. My designs are considerably different to what you can get on the market,

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and having an idol that embodies originality really helps me stay true to myself, providing inspiration when I’m designing new products.” Though at an early stage in his career, Victor is extremely happy with his initial success and is determined to continue expanding his range of eyewear. “I’m really proud that I’m able to be as creative as I want, and create physical products that I can both hold in my hand and see others wear – it’s a dream come true. It’s a lot of work but it’s worth all the blood, sweat and tears because how often can you actually realise your dreams?” Victor’s sunglasses are available to buy at victorwong.co.uk

VICTOR WONG

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Having completed an Arts & Media degree in her native Portugal, Inez Torre moved on to successfully complete her Masters in Design & Communication at UCA’s Epsom campus. After landing post-university roles with such luminary names as The Guardian and CNN, Inez now works on the BBC’s hugely popular iPlayer service as a senior UX designer. What is a UX designer?

Q&A with UX Designer Inez Torre

Well, UX stands for User Experience. A UX designer studies and assesses the way users feel about a system or interaction, checking how easy it is to use, its value, utility, and efficiency. This will then influence the design process and the final product. How did you come to work with the BBC?

I joined CNN in 2012 as the senior designer for its international edition, and whilst there I had the opportunity to work on the complete redesign and launch of their new responsive website. It was a big project that lasted roughly two years and once it was launched in 2015 I wanted to find a new challenge, as I felt my work there was done. Not long after, I was contacted by the BBC regarding a senior position within iPlayer and it seemed the perfect project to work on and the perfect time to change, so I accepted it. Tell us about your average day

Inez Torre, MA Design & Communication, Epsom, 2009

It’s always difficult to say what an average day is for me because it depends on which projects within iPlayer I’m working on. My days normally start with checking my emails and meetings for the day before leaving for work. That way I don’t waste time going through them later. As soon as I arrive in the office, I join the daily stand-up meetings with the product and development teams for the projects I’m leading. These are followed by a quick catch-up with my UX team to go over the current work-stream and updates. The rest of the day will generally be split between meetings with different BBC products and stakeholders, and working with the team on the week’s deliverables and goals.

INEZ TORRE

Left Inez’s redesigns for The Guardian

What are the biggest challenges when working on a product such as iPlayer?

The BBC is a huge corporation and iPlayer is one of many products. Within the BBC, we all follow each product’s style guide and the GEL guidelines (Global Experience Language). This helps all products feel part of the same family even when looking distinct. It’s a big challenge to find common ground when making decisions on new UX patterns that affect every other product. What is the most important aspect of UX design?

It really is in the name – the user. It’s obvious, I know, but the key thing UX designers must remember is that they are not the user. Once that barrier is overcome, it’s easier to approach any solution with an open mind and not with preconceived ideas. What do you enjoy most about your job?

Firstly, the iPlayer team is fantastic! I really enjoy working in such a great atmosphere. Secondly, it’s a product that holds big

potential, not only on the UX side but also the visual design as well. The challenges of working on a product like that are very exciting! If there was one piece of advice you could give a new graduate, what would it be?

It’s handy to be a generalist. Because my BA had a bit of everything, from 3D modelling and coding to sculpture and painting, it meant that, even with the Graphic Design specialisation during my MA, I was able to have basic knowledge of the most varied mediums. I’ve always found that in graphic design it’s incredibly handy to have that knowledge because it means that you can build on it when the job requires it. And if you’d like to take the freelance route, flexibility is key. See more of Inez’s work at ineztorre.com

SPOTLIGHT

How to Compile a Trend Report As a fashion assistant at The Edit, the online magazine for high-end fashion destination NetA-Porter, Fashion Promotion graduate Libby Page helps to coordinate the publication’s trend forecast. Designed to inform readers of the next big movements in fashion, the report acts as a succinct round-up of the fashion season. Libby gives us a behind-the-scenes insight into what it takes to put together a trend report. “Our trend reports help to establish The Edit as an authority in the fashion industry. They aim to educate our readers on the key pieces to buy for next season and the trends that will work in their wardrobe. Our trend report is a mixture of references to the runway, ‘hero’ items (things we love at The Edit), and a small capsule wardrobe of new season products that our readers can purchase right now. Everything we feature is available to buy on Net-A-Porter or will be in the months after the report is published. Overall you might see around 350 new season products in just one report. Putting together the forecast always starts with the catwalk. During the shows, The Edit team will look for patterns that are starting to emerge and key pieces we think our readers will love. It’s always exciting to see what our major brands are doing, like Saint Laurent

by Hedi Slimane, Chloe and Gucci, which has been the talk of the office since designer Alessandro Michele was appointed as creative director. The next step is research, research, research. My degree put me in good stead for this, so when I started at The Edit, I already knew the best websites to look at and how to break the trends down into individual pieces. This is when I’ll take a look at what other designers are doing along with cultural movements, such as new films and music, or which talented actors that we might be featuring on covers. I’ll then go through what’s going to be featured on Net-A-Porter next season, organising each ready-to-wear piece and accessory into a certain trend and picking out the best pieces. I always refer to Net-A-Porter’s overall trend report too, which is put together by our Global Head of Buying Sarah Rutson. It’s important to see if our ideas are in line with each other – usually they are! Once I’ve put together my key ideas, I run it by our style director and editor. It’s their job to make sure the report has a good mixture of products that are available to shop straight away and teasers of what is due to be launching.

Libby Page BA (Hons) Fashion Promotion, Rochester, 2013

Above The latest trend report was for Fall/Winter 2015. The major players featured were Saint Laurent by Hedi Slimane, Calvin Klein, Lanvin and Gucci.

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