CSM Time 1 - Time for Change by Central Saint Martins

CSM Time FO CHANGE #1—11/08

D L O

For King’s Cross news see p4

Advertis e m e n t

17 November — 16 December 08 — Lethaby Gallery Central Saint Martins Southampton Row London WC1B 4AP —

WELCOME TO CSM TIME Time for change, time for achievement, time for innovation, time for celebration … It could run and run. CSM TIME is the termly newsletter by and for Central Saint Martins staff and students. What’s in CSM TIME ? Stories that celebrate the incredible variety and quality of all the stuff we do. We want to hear your news and views. We’d love you to contribute to CSM TIME. Please get in touch so we can share our successes and celebrate our achievements together. Email your stories to our team at editor@csm.arts.ac.uk

CSM Time is produced by Marketing and Communication editor@csm.arts.ac.uk Design by Paulus M. Dreibholz (Alumnus / Associate Lecturer) and Yohanna My Nguyen (Student on the MACD course) Cover photo: Central Saint Martins Southampton Row building by Marc Atkins

+ King’s Cross news (4) (6) + Movers & shakers (9) + Performance – DCL + Art – Byam Shaw (10) + Profile – Phil Baines (12) (13) + Innovation (14) + Private collection + Project – Fashion(16) + Research (18) (20) + Artscom (21) + Eyes on industry + What’s on (22) + Workshop (23) (24) + Best of the books (26) + Private view CSM Time for change issue 1 11 / 08

KING’S CROSS NEWS

CSM TIME — IS S U E I / N ove mbe r 2008

acts r cont changed x e Contracts exchanged We have now exchanged final contracts with Argent to purchase CSM’s new home at King’s Cross. We have also sold our Southampton Row site to a developer who will take possession when we move out in September 2011. Due to the current economic climate we have withdrawn the Charing Cross Road site from sale for now, but will return it to the market when the economy improves. Architects Stanton Williams, who we have been working with on the base building design, have recently been appointed to the next phase of the project – the fit-out of the building. Between now and February we’ll be asking staff and students to help the architects with the layouts of rooms, machinery

and positions of walls and doors. With over 60 meetings planned it’s going to be a busy few months, but by the end of the academic year we should have final designs for a building we can be proud of. We’re currently identifying priority areas and contacting staff who we need to help us. If you’re invited, please come along to make sure that your views are taken into account. Resources may be available to release you if you have a timetable clash. — For all the news, and to contribute your views on King’s Cross please visit www.csm.arts.ac.uk/kingscross. If you have any questions, just let the King’s Cross Project Office know. —

Artists impression of Granary Square, King’s Cross, courtesy of Anderson-Terzic

EYE IN THE SKY

DEBUT EVENT AT KINGS PLACE

We can now be kept continuously informed of the progress and general goings-on at King’s Cross through the new college webcam.

We’ll be getting to know our King’s Cross neighbours in February when we hold an exhibition by Swiss curator and art critic Hans Ulrich Obrist at Kings Place, London’s newest venue for music, exhibitions and the arts.

The camera overlooks the new site and gives spectacular views of the London skyline. Jenny Chittenden, College Infrastructure Co-ordinator, set up this fun and useful tool. — To read more about Jenny’s sightings and to view the progress visit the new King’s Cross blog at www.csm.arts.ac.uk/kingscross —

Co-Director Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, Hans Ulrich Obrist is author of the forthcoming Formulas for Now book. — See What’s on for details. —

MOVERSFashion & SHAKERS — A TALENT SPOTTER’S GUIDE 6

CSM TIME — IS S U E I / N ove mbe r 2008

Introducing the top 10 CSM graduates from 100 New Fashion Designers Hywel Davies’ new book is reviewed on p25

CAROLA EULER

PATRIK SODERSTAM

www.patriksoderstam.com Patrik Soderstam describes himself as a clothes maker and ‘multi talent’. He graduated from Central Saint Martins in 2003 after studying at the Stockholm Cutting Academy where he specialised in the construction of menswear. ‘I try and take it to another level or another dimension,’ he explains. ‘The recipe of my aesthetics is the play with extreme proportions, futuristic detailing, trash and sex and a whole lot of otherness.’

www.carolaeuler.com Describing her design philosophy as ‘making real clothes that men actually do want to wear by using a naive approach to luxury dressing’, German Carola Euler graduated from MA Fashion in 2005. Her spring / summer ’07 collection ‘Without a Ride’ debuted in September 2006 during London Fashion Week.

JEAN PIERRE BRAGANZA

www.jeanpierrebraganza.com Jean Pierre Braganza was born in the UK but grew up in Canada where he studied fine art. Moving back to London he studied fashion at Central Saint Martins before working for Robert Cary Williams and Roland Mouret. He presented his first collection in Milan in 2003 with a philosophy and approach based on his obsession with the human form and his expertly cut patterns. ‘I fuse illusory pattern making with sartorial fundamentalism while manipulating historical ideas and embracing futurism’.

JONATHAN SAUNDERS

www.jonathan-saunders.com ‘My designs are based on the combination of process and technique,’ says the Scottish print designer who graduated from Glasgow School of Art in 1999 before graduating from Central Saint Martins in 2002 with an MA in Printed Textiles. Saunders now shows his collection in New York and is creative director of Pollini.

RICHARD NICOLL

www.richardnicoll.com ‘I’m interested in people as unique characters rather than physical commodities’. Richard Nicoll graduated with an MA in 2002. Dolce & Gabbana bought his final-year collection. Since then the British-born, Australian-bred designer has worked for Louis Vuitton. He currently presents his collections at London Fashion Week. His signature style involves combining menswear fabrics with corsetry and couture detailing to create strong, sculpted garments.

DANIELLE SCUTT

www.daniellescutt.com Danielle Scutt graduated in 2005 and describes her clothes as ‘fashion for now’. At college she received the Chloe Award for best designer and she also picked up the Lancôme Award for Modern Femininity. Debuting at London Fashion Week the following year, Scutt continues to communicate her powerful and provocative portrayal of women in fashion.

CSM TIME — IS S U E I / N ove mbe r 2008

AIMEE MCWILLIAMS

OSMAN YOUSEFZADA

www.osmanyousefzada.com A Cambridge graduate and former city banker Osman Yousefzada worked in finance before re-training at Central Saint Martins. He graduated in 2003 and went on to show his collections at London Fashion Week. ‘My work revolves around ideas of ethnicity and costume. These ideas fuse to create new shapes and silhouettes.’

www.aimeemcwilliams.com ‘Eccentric but with a classical perspective’ defines McWilliams’ modern signature aesthetic. An accomplished designer, illustrator and stylist, she represents the progressive attitude of the new British designers. Aimee McWilliams graduated in 2003. Her collection called ‘Sub Couture’ won the L’Oréal Total Look award, and Aimee launched her own label the following year.

Henrik Vibskov Todd Lynn

www.toddlynn.com Canadian Todd Lynn graduated from Ryerson University in Toronto in 1991 and then worked for several Canadian fashion designers as a technical adviser. He went on to study at Central Saint Martins and graduated in 2000, becoming righthand man to London-based designer Roland Mouret before launching his own label in 2006. ‘It’s all about making the person feel like a star and putting them at the centre of attention the moment they walk into a room,’ he says of his work.

www.henrikvibskov.com After studying in Copenhagen Vibskov enrolled at Central Saint Martins. He graduated in 2001, launched his menswear collection, and now shows at Men’s Fashion Week in Paris. He is known for his innovative, colourful and eclectic menswear. ‘It’s a very laid-back feeling,’ he explains. ‘3D colours with a sharp and technical line.’

Next time in Movers & shakers – ‘Performance’ All images from Hywel Davies’ new book ‘100 New Fashion Designers’, courtesy of Laurence King Publishers

PERFORMANCE DRAMA CENTre LONDON ‘He isn’t a noble figure to begin with. He isn’t a so-called hero – he has flaws ’ GRADUATE BRADLEY JAMES IS ARTHUR IN BBC’S MERLIN Recent DC Graduate, Bradley James (graduated July 2007), currently stars as King Arthur in the long running BBC1 series ‘Merlin’. In forthcoming episodes, he will be joined by Santiago Cabrera, (graduated 2003), in the role of Lancelot. The series brings together a host of top British actors, including Richard Wilson as Gaius and Anthony Head as King Uther Pendragon, as well as exciting new faces. The young man James portrays is spoilt, boorish and overprotected – just three of the reasons why the 24-year-old Devon-born actor was so keen to take on the role. ‘One of the appeals is that Arthur isn’t perfect. He isn’t a noble figure to begin with. He isn’t a so-called hero, and he isn’t good for the sake of it. He has flaws,’ explains James. ‘He’s a teenager encroaching on adulthood. He’s grown up without a mother and he’s never had an outlet for his emotions so he’s keeping a lot within himself.’ A sports fanatic, James admits he’s had the time of his life working on Merlin. ‘The workload has been very intense. The sword work was the thing I enjoyed the most. They were the most fun sequences. I think that’s why they hired me. I look like I can run fast and swing a sword around with conviction,’ he smiles. ‘It was a steep learning curve. On the first day I found myself holding a sword with Will Mellor charging at me like a maniac. It was like being thrown in at the deep end,’ says James.

‘I learned on the job from the brilliant stunt director Andreas Petrides. He was fantastic. He made the whole thing easy.’ James picked up more than his share of injuries during filming. ‘I managed to pick up a bruise most days. I still have a couple of scratches on my arm courtesy of Will Mellor. It makes you feel like you’re a big warrior hero suffering for your art,’ he jokes.

Drama Centre star stories Joanna Hogg, who teaches Directing for the Screen at the Drama Centre has recently opened her first feature film called Unrelated. The film, produced by Drama Centre production tutor, Barbara Stone, was shot in Italy in 2006 and involved a number of Drama Centre directing students in the production process. The film has been hailed by the press as an innovative challenge to some ingrained assumptions of the British film industry and has received both critical and public acclaim. Following our successful production of Black Snow by Bulgakov, presented last July at the Cochrane, Drama Centre was invited to take part in a festival celebrating Bulgakov’s work in Kiev in the Ukraine. The director and some members of the cast have been in Kiev presenting extended extracts from the production. A group of current Drama Centre students, led by BA Directing student, Isabel Quinzanos from Mexico, presented a highly successful production of an imaginative recreation of the Hansel & Gretel story written by recent DC graduate Ben Askew (July 2007).

They received generous financial support from Arts London in order to perform on the Edinburgh Festival Fringe. Beth Cooke, (graduated 2007), is currently appearing in the key role of Irina in Chekhov’s Three Sisters at the Royal Exchange Theatre in Manchester Drama Centre graduate, Michael Fassbender (graduated 1998), received considerable acclaim at the Cannes film festival for his portrayal of the Irish hunger striker Bobby Sands in the film Hunger, released in the UK in October. Drama Centre graduate John Simm leads the Channel 4 historical drama The Devil’s Whore, playing the puritan anti-monarchist Edward Sexby in this series set in the English Civil War. Colin Firth stars in Helen Hunt’s directorial debut Then She Found Me. — Image courtesy of BBC/Optomen

ART BYAM SHAW

CSM TIME — IS S U E I / N ove mbe r 2008

Graduate And Chef Valentine Warner Debuts On BBC2

Making his debut on TV, Byam Shaw BA Fine Art graduate and chef Valentine Warner combines two great passions – food and nature. He hunts, fishes and cooks his way across Britain to create delicious dishes from the very best seasonal food. Drawing on a childhood in the wilds of Dorset and his experience in some of London’s top kitchens, Warner demonstrates with infectious enthusiasm what people should be eating in What To Eat Now – Autumn. This distinctive new series is shot using natural history filming techniques to bring contexts vividly to life. At a time when supermarkets offer virtually everything all year round, Warner explains how the natural rhythms of the culinary world work. He sets out to cook whatever he hunts, lands or picks, but you don’t have to be a hunter-gatherer to sample his dishes. While all the ingredients are readily available in the shops, seeing them in their natural environment will convince you autumn is the perfect time to enjoy them.

He sets out to cook whatever he hunts, lands or picks Image courtesy of BBC/Optomen

Animating archway AIR (Archway Investigations and Responses) is a new project at Byam Shaw School of Art investigating and responding to the visible and invisible qualities and predicaments of Archway. AIR introduces artists into the everyday of a place and provides time for them to make new work within that place. It explores how artists actually work with a site and how collaborative creative relationships with the individuals and processes of that place can be nurtured. The studio works with from Transport for London, is for ambitious, surprising artists from across the School, both staff and students, and and delightful temporary artworks that explore, reveal and artists from beyond, through fellowships and by invitation. animate Archway with light. After its first full year there are now fifteen projects live or in development. After her Cocheme Fellowship at Byam Shaw, Ruth Ewan made Fang Sang this autumn. This extraordinary work reveals a glimpse of the largely unseen creativity of an Archway resident. Ruth spent many hours with Fang over a number of months and made a booklet/CD of spoken word interviews and song and two short films. The work was shown at the ICA as part of Nought to Sixty and the booklets have been distributed throughout Archway via cafes, pubs, chippies, even the hardware store. An open mic night at the Archway library in November concluded the project and also initiated a new set of creative conversations and relationships in Archway. New commissions by Bob & Roberta Smith, David Batchelor, Jane Watt and Hilary Powell have just been announced as the first stage of Alight. This new initiative, a partnership with London Borough of Islington with development funding

Fang Sang Sing Song at the Archway Library Images courtesy of Ruth Ewan

With the continued generous support of the Cocheme Charitable Trust three new artist fellows have now begun at Byam Shaw – Aaron Williamson, Judy Price and Mary George have all started making new work out and about in Archway. Also new this autumn is AIRtalk, a bi-weekly exchange surrounding the processes, approaches and dilemmas to working beyond the studio. A different artist is invited to begin each exchange with a discussion of their recent interventions in Archway. Students from across CSM are invited to participate and to bring their own projects to the table. AIR is funded by HEIF, Arts Council England, Koebler Turst, Henry Moore Foundation and Transport for London. — www.archwayinvestigationsandresponses.org —

Profile

CSM TIME — IS S U E I / N ove mbe r 2008

PHIL BAINEs A VERY BRITISH EXPERIMENTATION Phil Baines was born in 1958 in Kendal, Cumbria, and studied for the Roman Catholic priesthood at Ushaw College, Durham. He abandoned his studies at the start of his fourth year, and in 1981 enrolled on a foundation course at Cumbria College of Art & Design. The following year he moved to London, to study graphic design at St Martin’s School of Art (1982–85), where he met contemporaries such as Andrew Altmann and David Ellis (later to form Why Not Associates) and his future wife, Jackie Warner.

Don’t miss the Phil Baines Q&A in autumn’s issue of Eye, the international review of graphic design

Baines’s work of this period was heavily biased toward experimental typography that took inspiration from medieval manuscripts and the writings of Marshall McLuhan and George Steiner – he has often noted that his influences came from written rather than visual sources. Letterpress exerted a particular attraction due to its do-it-yourself aspect: the entire process could be handled from concept to production without outside involvement. After two further years of study at the Royal College of Art, Baines graduated during a pre-recession boom period for graphic design. His work was featured heavily in Typography Now: The Next Wave (edited by Rick Poynor and Edward Booth-Clibborn), and he contributed two typefaces to Fuse, and guest-edited its fourth issue. In 1991 he returned to St Martin’s (by then merged with the nearby Central School), as part-time senior lecturer in typography, and has remained there since, becoming a professor in 2006. Central Saint Martins has been a recurring client of his design work, many of his ideas-in-progress being tested on the College’s promotional material and, in the case of the still-incomplete Toulon typeface, its signage. The bulk of Baines’s work, however, has been for arts organisations and galleries, an oeuvre best exemplified by his books for Matt’s Gallery in London, which show his continuing obsession with experimentation that is grown from structures or patterns within the content rather than artificially grafted on to it. The DIY ethic extends to his chapel-like studio, which he built to his own design in his back garden and reproduces on his stationery. From 1995 he began taking on ex-students as assistant designers. One of these was Catherine Dixon, whose PhD studies on type classification he was then supervising, and the two colleagues now steer Central Saint Martins’ approach to typography teaching at degree level, and curate the College’s Central Lettering Record, a ‘photographic teaching archive’ inherited from Nicolas Biddulph and Nicolete Gray (see Eye no. 54 vol. 14). Though Baines’s name may be more widely known than hers, research undertaken with Dixon often underpins his designs.

Glorious poster designed by Phil Baines. See images of the Glorious private view on p26

Baines is a long-time contributor to Eye (see ‘A Design to Sign Roads by’, Eye no. 34 vol. 9), and he has written three books: Type & Typography (with Andrew Haslam, 2002); Signs: Lettering in the Environment (with Catherine Dixon, 2003); and Penguin by Design: A Cover Story 1935-2005 (2005). — Read more at www.eyemagazine.com — Phil Baines is a professor at CSM on the BA Graphic Design course

Innovation

Innovation Central can help BUSINESS start-ups! How do you turn an innovative and exciting idea into a viable business? Here at Innovation Central we award 12 bursaries a year of up to £ 3500 to small innovative start-up businesses based in Camden or Islington. So far the bursaries have helped make many new and exciting business ideas a reality, leading to many success stories. Day One Productions is a small education supplier providing storytelling DVDs to primary schools. They received their Innovation bursary only this year, and used it to pay for business advice. The response was almost immediate, with a potential client who wanted their product. The Innovation Central bursary scheme has also helped scientific businesses such as Aural Hygiene, one of the winners of University College London’s Entrepreneurs Challenge 2008. They developed a micro-suction service to deal with impacted earwax. They have since delivered to the NHS. Our bursaries have also benefited creative industries. Peachy is a progressive company that specialises in the design and manufacture of interior products and soft furnishings. It was set up by Lauren Moriarty to produce and distribute her own work and that of other designers. Since its launch in September 2007, David Saunders’ fashion label, David David, has attracted positive press. The bursary award is being used to develop a business plan featuring strategic participation in fashion and trade shows. The deadline for the round of bursary awards is 18 December 2008. Innovation Central can also help fund events that benefit businesses based in Camden and Islington.

Got a business idea? We award 12 bursaries a year of up to £3500 to small innovative start-ups

Central Saint Martins’ Innovation building

— For more information on how to apply for a bursary or details of upcoming events check out www.innovationcentral.co.uk —

How to win work and influence people The start of the new academic year coincided with the launch of a new digital creative networking community for the arts, Jotta. Jotta also gives artists a forum to network, discuss issues, source practical information and to look for work. Marketplace, the online opportunities page, gives organisations and individuals an area to advertise commercial briefs , job offers and collaborative opportunities. Because portfolios are already on-line artists can easily apply for openings offered. For the best on Jotta and daily updates users can access the on-line magazine for reviews, interviews, news and features. Jotta also gives them a forum to network, discuss issues and source practical information – from legal advice to studio swap details – and look for work opportunities. Marketplace, the online opportunities page, gives organisations and individuals an area to advertise commercial briefs, job offers and collaborative opportunities. Artists can then use their portfolio to apply for openings in a seamless way because their work is already posted on site. For the best on Jotta, users access the magazine with reviews, interviews, news and features. Jotta.com is a CSM Innovation and University of the Arts London partnership venture designed to support artists. So whether you’re an artist wanting to be seen by the world or you’re looking for new, exciting talent you should be logging on. — www.jotta.com —

Private coLLECtion 14

CSM TIME — IS S U E I / N ove mbe r 2008

REGGAE GOT SOUL

CSM graphic design tutor Dave Hendley, writer on Jamaican music and art director of many a CD re-issue for Trojan Records, charts his lifelong love affair with reggae Jamaican popular music in all its many guises, and photography, have been the only two consistent passions of my life. If I were only to be allowed one of theses indulgences I think my obsession with reggae has the upper hand. This music has been my companion through good times and bad since the tail end of the 1960s. It has provided the soundtrack of my adult years and allowed me access to the people, places and experiences that have shaped and defined the past four decades of my life. Since the days of ska the principal format for the music has always been the 45-rpm, seven inch single - the perfect platform to perform a three-minute explosion of energy and emotion.The unconventional character of the music is reflected in the liberated raw graphics that give each of these records its individual character. Beyond a handful of names, such as Roy Tomlinson who designed the iconic, and much imitated, Studio 1 logo, the artists who gave Jamaican music such a strong visual identity remain largely anonymous. The casual disregard for design conventions alongside the bold use of colour, typography, and illustration give these graphics a vibrancy that is all too often lacking in our own contemporary imagery with its unhealthy obsession with computer generated perfection. Misspellings, typographic errors and all manner of imperfections flourish on these labels and sleeves. Sometimes this results in moments of unintended humour, such as in the case of the celebrated Studio 1 re-issue of Horace Andy’s song ‘Illiteracy’, which is ironically and quite shamelessly misspelled as ‘Illiciteracy’. No reference to the graphic design of reggae would be complete without mention of the silk screen Studio 1 sleeves of the 1970s. Originally introduced by the label’s owner Coxsone Dodd as a cost cutting measure the crudity of the process inadvertently created some of the most graphically stunning examples of album cover art in any genre of music. Most prized of these sleeves are the ones printed on recycled cardboard and a peek inside ‘Studio 1 Showcase – Volume One’ reveals that it is printed on the reverse of a Selsun AntiDandruff carton. I love the physicality of these old records and the way they are so connected to the past. Whenever the postman delivers a new addition to my collection I imagine it being enjoyed by its previous owners and wonder about the time line of events that have led it from the pressing plant in Jamaica to my UK home in a small seaside town. Such connections are impossible with CDs and iPods.

To share your private collection contact editor@csm.arts.ac.uk

15â&#x20AC;&#x192;

All images courtesy of Dave Hendley

Project Fashion

CSM TIME — IS S U E I / N ove mbe r 2008

A FABULOUS DRESS FOR GRAYSON ( & CLAIRE ) Congratulations to second-year print students Koko Kasugai (Gold Claire), Kristin Lin (Silver Claire) and Sophia Anastasiou (Bronze Claire) – winners of 2008’s fashion project to design a fabulous dress for award-winning artist Grayson Perry. Grayson has worked with CSM fashion students since winning the Turner Prize for contemporary art in 2003, setting an annual brief to create a garment for his female alter ego ‘Claire’. This year’s project winners received ceramic ‘Claires’ glazed with gold, silver and bronze created exclusively for Central Saint Martins by the artist himself. Grayson Perry is best known for his large ceramic vases decorated with elaborate images dealing with gender and sexuality, social issues, psychotherapy, the art world and autobiography. The surfaces of his ceramics are built up using many techniques including marbling, stencilling, carving, inlaying, photography, and precious metal lustres. He has also made pieces using embroidered textiles, and recently started working with print and cast iron. RESEARCH AND INSPIRATION Here’s a snapshot of how this year’s Grayson Perry project shaped up for CSM fashion students. Grayson presents examples of his work at a 21 May briefing – a catalogue of his work will be available in the print room for the duration of the project. It’s important you attend the briefing presentation in order to familiarise yourself with the work. — (Top) Ceramic dolls given as prizes, especially made by Grayson Perry for the students

In approaching your research and inspiration sources for this project, consider the themes that inspire Grayson’s work. His inspirations list (see below) offers starting points – art, fashion, TV, history and other themes. Using these as a springboard for your research, consider the ways Grayson develops his own research, drawing on his life story as well as cultural experiences. Keep an ideas book exploring your interpretation of themes in the inspiration list. In developing your ideas, consider colour, mark making, style, cut and mood. Use your sketchbook to merge and cross-fertilise ideas. Think about how the various elements of your research can create a style that can be applied to fabrics and garment design appropriate to Grayson’s fashion style and personality – remember the final outcome will be worn by Grayson. Pay attention to the symbolism of cut, style and accessories and consider the narrative history, references and imagery within both print and garment design. Don’t be afraid to use apparently contradictory combinations of source material in your final design solutions. PRINTS – BE EXPERIMENTAL Using your research as inspiration, pull together the various elements to devise a series of prints. Be experimental, creating a series of designs that work together as a story. Exploit the variety and richness of your source material to tell a story that reacts with the garment designs within the collection and consider how the prints will work with the cutting of the garments and any accessories. GARMENTS – CREATIVITY AND CUT Notes: ‘Heat is the enemy of drag’ – Boy George. Small torso – make shoulders narrow and high waist. Dress is cut to disguise male shape without recourse to false breasts or hips. From a series of rough designs (about 30) design and illustrate

‘I work with students at Central Saint Martins and they make me weird and wonderful outfits. I wear them to parties and openings, or to the shops if I’m in the mood’ KEY WORDS FOR DRESS Key adjectives include: ladylike, humiliating, stiff, shiny, rustling, sissy, cute, prim, precious, neat, sweet. THINGS GRAYSON DOESN’T WANT TO SEE Sportswear; denim; bare shoulders, upper arms, midriff; lots of pink, particularly with white; portraits of Grayson; raw edges; low waists; cheap glamour, corny kitsch, handkerchief hems, garments difficult (or impossible) to get into; colours that run in the rain. THINGS GRAYSON DOES WANT TO SEE A finished garment he can actually wear; boldness; attention to detail; a jacket/cardigan type garment to wear over dresses; large scarf/ shawl; a label with your name sewn in the garment so he can always recall who made what.

a collection of 6–8 outfits. Not every garment needs to be printed, but the outfits must work as a collection. One outfit/ garment will be made up. You could use elements from the print design to form a placement print or an embroidery motif on some of the plain garments. Consider the key elements of Grayson’s dresses, as well as what he does and doesn’t like in a dress (see above), while bringing your own ideas and creativity to bear. Grayson Perry modeling dresses designed by the students. Images courtesy of Lindsay Taylor

Consider proportion, cut, style, and the application of print to garment. Grayson will look extra favourably on dresses designed to fill gaps in his wardrobe. For instance, he has plenty of dresses suitable for a spring or summer garden party, but hardly any he might wear to go shopping or to lunch in the autumn or winter. (Grayson is ready to be pleasantly surprised by anyone ignoring this bit, but you have been warned!)

RESEARCH 18

CSM TIME — IS S U E I / N ove mbe r 2008

Images courtesy of Mark Lewis

CSM RESEARCH PROFESSOR MARK LEWIS will REPRESENT CANADA AT 2009 VENICE BIENNALE Mark Lewis will be Canada’s official representative at the 2009 Venice Biennale of Visual Art, the world’s oldest international showcase for contemporary art.

Mark Lewis is a CSM research professor and co-founder with Charles Esche of Afterall, the research and publishing venture based at Central Saint Martins. Born in Hamilton, Ontario, in 1958 he lives and works in London, England. He attended Harrow College of Art (London) and the Polytechnic of Central London.

Having started out as a photographer Lewis began making films in the mid‑1990s. His solo museum exhibition credits The artist’s contribution to the Canadian Pavilion is a short include Vancouver Art Gallery, Hamburger Kunstverein, Musée silent film entitled ‘Romance’ featuring the classic film d’art moderne (Luxembourg), BFI Southbank (London), and the technique of rear projection combined with state-of-the-art National Museum of Contemporary Art (Bucharest). His work digital technology. The rear projection technique brings staged is in many collections including those at the National Gallery events (foreground action) together with documentary footage of Canada, MoMA in New York, Musée d’art contemporain de (background locations) in montage form. Montréal, and the Centre Pompidou in Paris. The Venice selection was made under the auspices of the Canada Council for the Arts by a jury comprising three experts in Canadian and international contemporary art – Greg Bellerby, director of the Charles H Scott Gallery at the Emily Carr Institute of Art & Design, Paulette Gagnon, chief curator of the Musée d’art contemporain de Montréal, and Francine Périnet, director of the Oakville Galleries.

Mark Lewis is currently making a documentary on rear projection in collaboration with the National Film Board of Canada, the Van Abbemuseum (Netherlands), BRITDOCART (UK) and LeGrand Café St-Nazaire (France).

An interview with Mark Lewis will feature in the next issue of CSM Time — www.marklewisstudio.com —

DESIGN AGAINST CRIME TO STEAL SHOW AT NEW LONDON ARCHITECTURE Putting the Brakes on Bike Theft – the theme for October’s multi-agency cycling seminar staged at the Barbican by TfL’s Cycle Centre for Excellence in association with CSM’s Design Against Crime (DAC) Research Centre and the London Bicycle Film Festival 2008 – will be the subject of a longer exhibition at New London Architecture from 15 December 2008 to 10 January 2009.

PARK LIFE

Images courtesy of Susan Trangmar

Susan Trangmar’s intimate portrait of St Ann’s Well Gardens in Hove celebrates the freedoms we find in green spaces

The show will feature all DAC’s work displayed at the Barbican – a measure of how well the seminar was received. Susan Trangmar, fine art research fellow at Central Saint Martins, has been selected by open submission to create Design Against Crime at Central Saint Martins has a practicea new work of art about the emotional landscape of a park. led research agenda built on the understanding that good design addresses security issues without compromising ‘A Play in Time’, Susan’s video artwork filmed at functionality and other aspects of performance, or aesthetics. St Ann’s Well Gardens in Hove, is showing at Brighton Museum and Art Gallery until 16 November 2008. A book In other words, secure design is user-friendly and abuserpublished to accompany the exhibition includes an interview unfriendly. But it doesn’t have to look criminally ugly. with the artist and a DVD of the work. Besides government backing, DAC at Central Saint Martins has received Design Council funding in association with the Universities of Salford, Sheffied Hallam and Huddersfield, and support from the Royal Society of Arts whose student awards programmes have included briefs on crime-resistant laptops, ATMs, bicycles, rucksacks and more. We are currently developing a working partnership with the Jill Dando Institute of Crime Science at University College London. — www.designagainstcrime.com — Images courtesy of Design Against Crime

Haunting, lyrical, life-affirming Celebrating its centenary this year, St Ann’s Well Gardens is an important site in British film history. George Albert Smith set up a film studio here in the 1890s and invented film editing techniques and special effects such as the close-up. ‘A Play in Time’, with its double screen and dramatic, nonchronological editing, is a fitting addition to this rich history. At times haunting, at others lyrical and life-affirming, the film is a beautiful evocation of the liberty we enjoy in green spaces where the imagination has free rein. Having chosen St Ann’s Well Gardens as her location, Susan spent a year engaging with the park’s visitors and studying its unique topography. Using moving image and recorded sound, she traced seasonal changes and shifting moods to evoke the private life of a public space. Susan Trangmar’s work has been widely exhibited internationally since the 1980s. Her photographs and installations consider the ways we experience and represent spaces – rural, urban, industrial or architectural.

Secure design doesn’t have to look criminal

Recent works include ‘A Question of Distance’, made in Israel and Palestine, and ‘Conditions of Visibility’, shown recently at Peninsular Arts, Plymouth. — DVDs of A Play in Time are available from www.photoworksuk.org —

ARTscom 20

CSM TIME — IS S U E I / N ove mbe r 2008

Phew! rock and roll Beginning October 2008, these evening and part-time courses taught by acclaimed and respected industry figures will span all aspects of the ever-changing music scene, from journalism and PR to graphics and A&R. Fashion, art, design and performance are not the only fields in which the College makes its mark. Central Saint Martins is home to an imposing list of alumni who have variously shaped, reinvented and dominated the music business as we know it. Visionaries like the Sex Pistols, who played their first gig here in 1976, and Pulp, whose singer immortalised the College in one of the 90s’ most memorable lyrics, were students at Central Saint Martins. Scott Walker, arguably one of the most revered and enigmatic popsters of all time, came back to study at the College recently. From Sade to PJ Harvey our graduates have shaped the sounds that influence today’s emerging talent, and many more alumni work ‘behind the scenes’ in the music industry.

Artwork by Vaughan Oliver for the Pixies. Vaughan Oliver runs the artscom course ‘Designing for the music industry’. For more details www.csm.arts.ac.uk

CSM’s Music Business courses aim to help those looking for a potential career in music, and bands that want to manage their own route to stardom. As the industry gets to grips with digital developments in production, distribution and promotion, a grasp of the music scene’s shifting dynamics is crucial. For aspiring writers there’s our Music Press course with popular culture commentator Paolo Hewitt, author of ‘Paul Weller – The Changing Man’ and ‘Getting High – Oasis on the Road’. Taylor Glasby, founder and editor of Disorder magazine, will introduce you to the trials and tribulations of finding success as a freelance music journalist.

For the first time in its history Central Saint Martins will host a range of Music Business courses

Building A Record Label led by Saddle Creek’s Tom Davies, Introduction to A&R taught by Fierce Panda’s Ellie Coden, and co-founder of Triad Publicity Vanessa Cotton’s Music PR course are all excellent ways to find out more about working in one of the most vivid, exciting and creative industries in the world. — www.csm.arts.ac.uk/musicbusiness —

EYES ON INDUSTRY

SWEET SOUND OF SUCCESS FOR MAX MARA’S HANNAH

Rickards was selected to exhibit at Bloomberg New Contemporaries in 2003 and Don Quijote at Witte De With Centre for Contemporary Art in Rotterdam in 2006. She has also exhibited in Oslo, Cologne and Berlin.

At a gala event in January 2008 at the Italian embassy in London, the 2nd Max Mara Art Prize for Women in collaboration with the Whitechapel Gallery went to CSM graduate Hannah Rickards.

HANNAH RICKARDS’ MAX MARA THE STORY OF A PRIZE The 2nd Max Mara Art Prize for Women in collaboration with the Whitechapel Gallery was initiated in 2007 at the British Rickards’ sound installations often involve translating a Pavilion during the 52nd Venice Art Biennale. The judging sound occurring in nature and then interpreting it back into panel – chaired by Whitechapel director Iwona Blazwick – language or music. included critic Rachel Withers, gallerist Cornelia Grassi, artist Cornelia Parker and collector Judith Greer. By October 2007 In Birdsong (2002) she recorded ‘songs’ from six different birds five artists had been short-listed – Yasmeen Al Awadi, Georgie before lowering their pitch and replicating them with her own Hopton, Melanie Jackson, Lisa Peachey and eventual winner voice. In Thunder (2005) she stretched an 8-second recording Hannah Rickards. of a thunderclap to eight minutes. The notation was then transcribed by composer David Murphy as a musical score for The Max Mara winner emerged on the basis of project six instruments, recorded and reduced to the length of the proposals presented by the short-listed artists, with the original thunderclap. winning project realised during a residency in Italy from April to September 2008. The artwork resulting from the residency The intention is not to mimic the sound, but to translate it via will be presented at the Whitechapel Gallery in January 2009 the working process. An integral part of Rickards’ work is the before being acquired by the Collezione Maramotti. presence of text, reflecting the influence of early conceptual artists such as Douglas Huebler, Robert Barry and Lawrence Born in London in 1979, Hannah Rickards completed her BA Weiner. Her 2007 solo exhibition at The Showroom, was based Fine Art at Central Saint Martins College of Art & Design in on the spoken accounts of people who had witnessed the 2002. The youngest on the Max Mara short list is a conceptual Northern Lights (aurora borealis). artist who often works in the medium of sound. Nature and artifice are tightly woven into her sound art – elaborate production machinery positions it in a realm between original sound and its reproduction.

HUGO BOSS CHRISTMAS WINDOWS Following on from the success of last year’s Christmas windows designed by CSM graphic design students for Louis Vuitton, Hugo Boss challenged students from the course to demonstrate why CSM has such a respected international reputation by designing their windows at flagship stores throughout 2008. Six students working in pairs had their concepts bought and their designs have been shown in stores in Berlin and Tokyo: Farida Kunkongkaphan and Nattaton Kanokvaleewong; Kevin Yeo and Madoka Takuma; Noburo Oikawa and Yuko Sugimoto. Hugo Boss were delighted with the results and plan to explore innovative ways of working together in the future. — Images courtesy of Hannah Rickards and Hugo Boss

WHAT’S ON

CSM TIME — IS S U E I / N ove mbe r 2008

November

February

TRANSCENTRIC

DR TOM KAREN IN CONVERSATION WITH STEPHEN HAYWARD

Transcentric is a collection of works across a range of media by artists associated with RMIT University in Melbourne and the University of the Arts London. The show traces overlapping themes arising from social, environmental, geographical, political and other forces both unique to London and Melbourne and common to urban centres like them. — Poster designed by Ipek Altunmaral / Phil Baines Studio — (Selected work from the exhibition will also be displayed in the Window Gallery until 7 Dec 2008, 107 – 109 Charing Cross Road, London WC2H 0DU ) — Exhibition: 17 Nov – 16 Dec 2008 Mon – Fri: 10 am – 6 pm, Sat: 10 am – 4 pm — Lethaby Gallery Central Saint Martins Southampton Row London WC1B 4AP

January

Dr Tom Karen is a British Designer of Czech origin. He was managing director and chief designer at Ogle Design from 1962 until 1999. He oversaw design of the Bush radio TR130 model, the Chopper bicycle, the Bond Bug, the Reliant Scimitar GTA, an award-winning series of truck cabs for Leyland, and Marble Run. — Image courtesy of Tom Karen — 10 Feb 2009, 6.30 pm — Cochrane Theatre Southampton Row London WC1B 4AP

AN EVENING WITH HANS ULRICH OBRIST

SHOWCASE Exhibition showcasing a selection from our undergraduate, postgraduate and research degree students. — 15 Jan – 25 Feb 2009 — Lethaby Gallery Central Saint Martins Southampton Row London WC1B 4AP The Window Gallery Central Saint Martins Charing Cross Road London WC2H 0DU Back Hill foyer 10 Back Hill London EC 1R5LQ

DRAMA CENTRE Chaplaincy ALUMNUS at CSM IN CONVERSATION WITH DR VLADIMIR MIRODAN Drama Centre Director, Dr Vladimir Mirodan is in conversation with noted alumni. Please visit the CSM website or see email updates for further information. — Spring 2009 — Cochrane Theatre Southampton Row London WC1B 4AP

March

DOUGLAS ALLSOP EXHIBITION An exhibition of recent large-scale works and drawings by the Byam Shaw professor. — 9 Mar –4 Apr 2009 — Lethaby Gallery Central Saint Martins Southampton Row London WC1B 4AP

INAUGURAL PROFESSORIAL LECTURE 2009

Swiss curator and art critic Hans Ulrich Obrist is Co-Director Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, and is author of the forthcoming ‘Formulas for Now’ book. In 1993 he founded the Museum Robert Walsen and initiated the Migrateurs program at theMusée d’Art Moderne de la Ville de Paris, where he served as a curator for contemporary art. — Photograph by Dominik Gigler — 23 Feb 2009, 6.30pm — Kings Place 90 York Way London N1 9AG

Professor of Fine Art at Byam Shaw Douglas Allsop in discussion with art historian Chris Kul-Want to coincide with the Douglas Allsop exhibition (see above). — 16 Mar 2009, 6:30 pm — Lethaby Gallery Central Saint Martins Southampton Row London WC1B 4AP

People at Central Saint Martins have come from all over the world, from all sorts of backgrounds, with different perspectives on life and how the world works. We all place differing degrees of importance on our religious or spiritual convictions. For some people their faith is deeply important, for others it is less so, for others still, it is irrelevant or does not exist. The Chaplaincy Service is available to all students and staff of whatever religious background or none. The Chaplains offer friendly and confidential spiritual counsel and pastoral care, and encourage understanding and respect for differences between people of all faiths. We work with Student Advisers, Health Advisers, Counsellors and the Diversity Team. We can offer guidance about religious observance, and any issue relating to religion, faith and spirituality. The University Chaplain, Andrew Norwood is at CSM on Tuesday mornings (Student Services Room 103) and Wednesday mornings (in and around the Central Club) at Southampton Row. — Contact details a.norwood@arts.ac.uk 07843 329 587 www.arts.ac.uk/student/chaplaincy

LOVE ROCKABILLY? GET ON DOWN TO KOKO CSM model making technician Ricky Lee Brawn and his Rockabilly band The Space Cadets will be appearing live at Koko, Camden, as part of the Sin City weekend on 17 and 18 January 2009. — Details and timings at www.sincitylondon.com

workshop

PRODUCT DESIGN STUDENTS MAKE MINI-ME ARMY — Photograph by James Barnett

When 90 students tackled a 1st-year BA (Hons) Product Design With just one week to complete the project, participants got induction project themed ‘Mini-Me’, the quality of the results to grips with the full range of workshop processes and at least astonished the CSM Industrial & Product Design workshop staff. ten different types of machine. Students were given the task of making a basic model from the same generic shape created using all four workshops (wood, plastics, metal, spray) before customising the ‘Mini-Me’ to reflect something of their own personality.

Says project originator Simon Bryant: ‘Students were engaged in an enormous learning curve and gained a vast amount of experience which can be seen in the exceptional quality of the output.’

best of the books

CSM TIME — IS S U E I / N ove mbe r 2008

Fruit Edible, Inedible, Incredible

by Wolfgang Stuppy and Rob Kesseler in collaboration with the Royal Botanic Gardens This intimate examination of plant reproduction is an eye-catching collaboration between art and nature and a valuable reference tool for artists, designers and gardeners alike. Rob Kesseler, ceramics lecturer at CSM, and Wolfgang Stuppy, seed morphologist

for the Millennium Seed Bank Project at the Royal Botanic Gardens in Kew, ask why fruits

Crunchy apples, luscious strawberries, sweet bananas exist when some are plainly inedible and others downright poisonous. The word ‘fruit’ conjures up images of crunchy apples, luscious strawberries and sweet bananas, but this book explores how fruits are part of a more elaborate plot and how their true nature is concealed in what lies buried at their core – their seeds. Rob Kesseler has always looked to plants for inspiration. In 2001 he was appointed NESTA Fellow at Kew, where his focus has been on microscopic plant material. His work has been shown in museums and galleries in the UK and Europe. — Image courtesy of Papadakis publishers

The Big Fat Duck Book

Tartan

by Heston Blumenthal with the Design Factory

by Jonathan Faiers

Tartan has colonised the world. The flexibility of its design and the enduring appeal of its symbolism – as well as the travels of the Scots – have taken the fabric around the globe. Traditionally the badge of clanship and district, tartan was popularised outside Scotland by kilted Highland regiments and thanks to Queen Victoria’s royal endorsement.

Hollywood has sustained the romantic fictions of tartan from Brigadoon to Braveheart. At the same time, designers such as Vivienne Westwood and Alexander McQueen (alumni of CSM) have deliberately subverted the traditional and historical associations of the fabric, as have contemporary artists like Matthew Barney.

Designers like Westwood and McQueen have deliberately subverted the fabric’s traditional and historical associations Tartan now turns up in the most surprising places, influencing the conceptual clothing of Japanese designers Watanabe and Takahashi, the stage costumes of Outkast’s Andre 3000, and contemporary interior design. A beautifully illustrated interweaving of history, art, music, film and fashion, Tartan has all you ever wanted to know about this most radical and most traditional of fabrics. The author – cultural theorist and senior lecturer in Cultural Studies at CSM – has published widely on fashion and textiles, popular culture, film and museology. — Image courtesy of Berg publishers

The Last Things by David Moore, with an essay by Chris Petit

David Moore is, to quote the writer Iain Sinclair, a ‘photographer of secret spaces’. From September 2006 to April 2007 the CSM photography tutor enjoyed unprecedented access to a crisis management facility below ground in central London. This space – first port of call in any situation where the state is under threat – is sustainable for extended

periods and is part of a larger network. For eight months Moore was able to observe a working space continuously on standby and fully prepared for national emergency. The result – The Last Things – develops ideas about government and power first seen in Moore’s The Commons (Velvet Press 2004), but takes a different visual approach. Here, the facility’s hermetic, tightly regulated environment, artificially lit and air conditioned, is prescient with the threat of crisis. Sophisticated yet touchingly ordinary, part military and part civilian, these labyrinthine depths are documented by Moore with chilling clarity. An essay by filmmaker and novelist Chris Petit accompanies the images. David Moore has exhibited and published widely. He currently teaches photography at Central Saint Martins in London. This is his third book. The Last Things by David Moore is published with support from the University of Hertfordshire, Arts Council England, Arts Council Northern Ireland, Belfast Exposed, Wolverhampton Art Gallery, and Central Saint Martins College of Art & Design/UAL. — Image courtesy of Dewi Lewis Publishing

Having enjoyed a successful partnering of the Design Laboratory with his Fat Duck restaurant to develop brand story, interiors and bespoke objects, Heston Blumenthal approached the CSM unit again with a brief to creatively direct his next venture, The Big Fat Duck Book. In this vast, beautiful volume we get the full story of the meteoric rise of the Fat Duck, birthplace of snail porridge and bacon-and-

egg ice cream, encountering the passion, perfection and weird science behind both the restaurant and its founder. Blumenthal is widely regarded as an innovative genius, and the Fat Duck has twice been judged Best Restaurant in the World by top chefs. The project has spanned almost three years, from development of the book’s layout and narrative to co-ordination of creative input from illustrator Dave McKean, graphic designers David Tanguy and Praline, three different photographers, plus a generous helping of experts in the fields of psychology, biology and gastronomy. The end result is not only a colourful history of Heston Blumenthal’s rise to fame with the Fat Duck restaurant and its celebrated menu, but a showcase for bespoke design elements produced by the Design Laboratory during years of creative partnership. — Image courtesy of Bloomsbury Publishing

100 New Fashion Designers by Hywel Davies

Bill Gibb : Fashion And Fantasy

by Iain R Webb, foreword by Twiggy This stunning appreciation by the fashion journalist and CSM professor explores Gibb’s fascination with historical imagery as well as the themes that inspired his designs.

The TV President by Elise Valmorbida

Elise Valmorbida, tutor on Central Saint Martins’ Creative Writing course, is launching her new novel The TV President. In a re-enactment of 1963’s Dallas presidential motorcade for a reality TV show, one JFK lookalike is killed and another injured.

Some of the tightest, Gibb’s eccentric combinations cleanest writing I have of checks, tartans, stripes, seen in a long time floral prints and Fair Isle knits — Nicholas Lezard, broke new ground The Guardian

Vogue’s ‘Designer of the Year’ in 1970, Bill Gibb (1943 – 1988) graduated from St Martin’s School of Art in 1966 and went on to become a major contributor to fashion’s story. His career, though prolific and visionary, was sadly short-lived. His legacy, relevance and importance, however, are apparent today in the work of designers from Giles Deacon to John Galliano (both CSM alumni too). Gibb’s eccentric combinations of checks, tartans, stripes, floral prints and Fair Isle knits broke new ground. This lavishly illustrated volume features many previously unpublished photographs.

The CSM lecturer selects and salutes the ones to watch in the ultimate guide to the movers and shakers of the fashion world today. As well as identifying the best talent worldwide, this visually stunning survey offers a comprehensive showcase for cutting-

The ultimate guide to the movers and shakers of the fashion world today edge imagery. Davies identifies fashion’s brightest while championing innovators including Ashish, Aitor Throup and Meadham/Kirchhoff. All 100 designers here are notable for their interpretive ambition and their single-minded determination to pursue alternative solutions in dressing their customers.

The unhinged widow and wounded survivor, both disguised in black burkhas, drive from Dallas to Detroit in a gold SUV to hear a murderer’s confession. Tune in to The Big Dealey, the betting show with a colourful line-up of assassination suspects. Watch as colossal brands, religious forces and infotainment wreak havoc on the truth. Race towards HyperFriday – the day when gamers, viewers and voters are promised the greatest election ever seen.

‘Part mystery, part road-movie, her novel offers a wholly original and blackly funny switchback ride.’ Iain R. Webb regularly writes for the Guardian — and Independent. Twiggy, Britain’s first Image courtesy of Elise Valmorbida supermodel and close friend of Bill Gibb, also contributes here. — Image courtesy of V&A

A former fashion editor at Sleazenation, the author has written for Arena, Jack, Vogue, ELLE, Wallpaper, The Sunday Telegraph, Nylon, Dazed & Confused, Loaded Fashion and Time Out. He has also been consultant to Levi’s, Braun and Orange. — For more details see p6 — Image courtesy of Laurence King Publishers

Trends 2009/10 from Central Saint Martins edited by Kevin Tallon

Discover today how the future Peter Blakes, John Gallianos and Stella McCartneys are envisioning the world of tomorrow. Central Saint Martins’ global reputation for creativity has influenced the worlds of art, design and performance for years. Working with CSM’s limitless supply of creativity, Kevin Tallon and his Saints team adopt

stunning visuals to present ten key trends for 2009/10. Each essential trend features graduates’ output – from fashion to fine art, from product design to graphics – selecting only the most creative work in its rawest form. Trends 2009/10 from Central Saint Martins helps explain and decipher emerging art, design and socio-cultural trends being shaped by what the book describes as the most creative, influential group of international 20something early adopters on the planet. With ten years’ fashion industry experience in both design and trend forecasting fields, Kevin Tallon has worked with leading fashion houses including Gucci, Chantelle, Esprit and Katharine Hamnett. A BA Menswear lecturer at Central Saint Martins, he runs an Artscom creative fashion design course. Published by Batsford, an imprint of Anova Books, and available at Foyles and Amazon. — Image courtesy of Anova Books

PRIVATE VIEw

CSM TIME — IS S U E I / N ove mbe r 2008

Director of Academic Affairs and Operations Professor Vaneeta D’Andrea and Mark Dunhill, Dean of School of Art

Curator Tony Charalambous (left) and boyfriend

GLORIOUS

Private view of Glorious – Vestments created for the tercentenary of St Paul’s Cathedral by Marie Brisou, (graduate of woven textiles) 7 October 2008

Designer of Vestment, Marie Brisou (left), Dean of Fashion and Textiles Anne Smith

Technical Consultants Alan Haywood (left) and Rodney Wilson

Associate Lecturer in Fashion Print and Former Pathway Tutor BA Fashion for Print Natalie Gibson and Course Leader for Graduate Diploma in Fashion David Kappo

Project Leader and Subject Leader – Woven Textiles Philippa Brock and Fashion head hunter and founder of InDesign Professor Julius Schofield

SOKARI DOUGLAS CAMP CBE

Sokari Douglas Camp CBE Private View – The Pleasure of Seeing You: Sculpture and Fabric Patterns 15 October 2008

Sokari Douglas Camp CBE (left) with Felicity Green, former lecturer, long-time friend of the college and now proud owner of a piece from the exhibition

(left to right) Sokari Douglas Camp CBE, Mrs Yullie Shyllon , Mr Mack Jemmott

(left to right) Deputy Rector Will Bridge, Head of College Jane Rapley OBE, Chair of Governors Sir John Tusa

(left to right) Technical Consultants Ricky Lee Brawn, Johnny Wilkinson, Helen Ingham

(left to right) Professor of Typography Phil Baines and his wife Jackie with Director of Marketing and Communication Lee Widdows and Lecturer in BA (Honours) Graphic Design Catherine Dixon

Alan Aldridge (left), Editor of GQ Magazine Dylan Jones

Wainwright singing The Man With Kaleidoscope Eyes on stage at the Cochrane Theatre

ALAN ALDRIDGE Alan Aldridge in conversation with Dylan Jones 20 October 2008

Alan Aldridge signing his latest book The Man With Kaleidoscope Eyes Wainwright and Saffron Aldridge

Advertis e m e n t