CSM Time 4 - Time to Apply

Central Saint Martins

CSM Time to apply 2010/ 11 Special issue

‘The college introduced me to the top of the profession and raised my expectations. I was surrounded by talented people who made successful careers and we all learned from the alumni before us.’

Luke Hayman, partner at Pentagram, New York,

BA (Honours) Graphic Design (1988)

Lifestyle not education 2

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What’s the story behind those eye-catching, limited edition CSM bags you’ve seen around? Where did such a bold statement come from? And what does the slogan relate to?

bag!

READY TO MAKE YOUR MARK? Welcome to this special ‘How to Apply’ edition of CSM Time – the regular college life bulletin for students and staff at Central Saint Martins.

For this issue we’ve put together a wide range of stories intended to give you an insight into our courses.

We’ve also tried to give you a flavour of what it feels like to study here as we look forward to an exciting new chapter in our history – our move in 2011 to a new campus at King’s Cross in central London (see p4).

At the centre of this issue you’ll find a pull-out section designed to help you apply to Central Saint Martins.

Whatever your interest and whatever your subject, please read the ‘How to Apply’ notes before checking all the details of your course online.

It’s simple – read, enjoy, choose, apply. We reckon it’s a fantastic time to think about making your creative mark here at Central Saint Martins.

Hope you do too.

Don’t forget – our Open Days are the perfect way to find out more about our courses and to discover what it’s like to study here. Visit www.csm.arts.ac.uk/ courses/open-days for details.

The phrase is one of seven slogans conceived by BA (Honours) Graphic Design alumna Jasiminne Yip to articulate stereotypes of the six colleges that make up the University of the Arts London. ‘Lifestyle Not Education’ was the slogan given to Central Saint Martins.

Having amassed a treasure trove of information about the six colleges, Jasiminne had a clear enough sense of their environments to ‘illustrate and discuss their stereotypes’.

Self-employed today, she’s busy creating personal work that expands her portfolio in advance of her application to MA Fine Art.

Jasiminne created the slogans in 2007 as ‘catchy and witty jibes’ at the other colleges, and as a reference to ‘turf wars, identity, and college pride’. Two years later her tutor suggested Read more about BA (Honours) Graphic Design, visit she take the slogans further, investigating the truth (or lack of www.csm.arts.ac.uk/graphic-design it) behind them.

CSM Time is produced by Marketing and Communication editor@csm.arts.ac.uk in association with Rhombus Writers, and designed by Paulus M Dreibholz (alumnus and associate lecturer) and Emma Williams. © 2009 Central Saint Martins College of Art and Design unless otherwise indicated. We have made all efforts to credit images correctly. Please contact us if we have omitted to credit or miscredited an image – amendments will be made in subsequent issues.

+ Our new home 2011 (4) + Studying in London (7) + Movers & shakers – Fashion (8) + First impressions (10) + Movers & shakers – Art (12) + Events & happenings (14) + Movers & shakers – Drama Centre (16) How to apply (i) Courses – Foundation (ii) Courses – Undergraduate (iii) Courses – Postgraduate (iv) + Staff profile – Geoff Makstutis (18) + Art 09 (19) + Movers & shakers – Design (20) + Staff profile – Phil Baines (23) + Profile – Innovation (24) + Art 09 – Byam Shaw (25) + BA Fashion Show 09 (26) + Profile – Ceramic design (27) + Movers & shakers – Animation (28) + Research (30)

CSM Time to apply special issue

Our New Home 2011 4

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

A VERY SPECIAL PLACE FOR A VERY SPECIAL EXPERIENCE – MESSAGE FROM THE HEAD OF COLLEGE For many years our reputation for creativity has resulted from our tremendous impact on the arts, design and performance around the world. Our students and staff have always been special, defined as they are by their ambition and talent, by their willingness to challenge and negotiate, and by their passion and potential.

Central Saint Martins at King’s Cross will continue to be an international showcase for the arts, design, fashion and performance, situated at the heart of London’s newest cultural quarter and just a stone’s throw from its bestconnected transport hub.

It’s a very special time to consider joining us. There’s so much to look forward to! As part of the exciting changes underway at Central Saint Martins you can make your own creative mark on the world and help write the next chapter in our success story.

We want to nurture this outstanding culture. We want to Jane Rapley OBE, Head of College ensure that an education here remains a very special experience. That’s why Central Saint Martins is moving in 2011 To read more about the Kings Cross development visit to a new campus at the heart of King’s Cross in central London. www.arts.ac.uk/kingscross.htm An art and design school for the 21st century, our new home will combine historic industrial architecture with inspiring new spaces. By bringing all our subjects together on one site, the campus will create lots of innovative possibilities for collaboration. It also promises to deliver a terrific social scene for our students.

It’s an exciting time to consider joining us. There’s so much

to look forward to!

Current building in King’s Cross, The Studio. © John Sturrock

Stella McCartney, graduate of BA Fashion at Central Saint Martins:

‘London is an incredibly inspiring city. Everything comes to London: every gig, every exhibition, every theatrical performance.

You get to see the world in London.

It also has one of the best arts, design and fashion colleges in the world – Central Saint Martins – breeding fantastic new talent. That is why King’s Cross is so important for CSM and for London – it has been designed to meet the needs of today’s students and will bring all those amazing subjects under one roof.’

Current building at King’s Cross – Eastern Transit Shed. © John Sturrock

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Studying in London

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What’s it like to live and study right here in the capital (well, we would call it that, wouldn’t we?) of the known universe?

Performance Design and Practice graduate Ben Stones has been there, done that

Visualisation of new building at King’s Cross

Staff and students are already working on a range of innovative King’s Cross projects – including this BA (Honours) Textile Design brief

Tell us what you’ve been up to in less than 100 words Born in Yorkshire, I moved to London to study theatre design at Central Saint Martins. When I left I won a Linbury Prize commission to design the premiere production of Paradise Lost and had an exhibition at the National Theatre. Since then I’ve worked consistently in theatre in the West End and around the UK and designed for companies like Donmar Warehouse, Shakespeare’s Globe, Royal Exchange, Tricycle Theatre, as well as for live stand-up comedies including The Mighty Boosh and Mitchell and Webb.

SURFACES OF THE FUTURE The visual and cultural identity of our King’s Cross development was inspiration for a BA (Honours) Textile Design summer project for second-year students.

Why did you decide to study at Central Saint Martins?

I particularly admired the work of Maria Bjornson – an ex-student and visiting tutor – and that interest led me to the CSM theatre course after researching her life and work.

Weave, Print and Knit pathway students created group and individual collections of fabrics and innovative surfaces with a brief to bring ‘a new dimension’ to the King’s Cross space.

The project introduced them to current and future contexts for textile design and offered the chance to explore new, alternative, virtual and SMART concepts in their work.

Working with non-standard materials, yarns and processes, mixed pathway groups of students responded to specific site locations or applications – including corridors, transit zones and catering areas – to deliver a range of outcomes.

A highly experimental approach may be needed to achieve a

fabric appropriate to the end use

Visualisation of corridor at new building at King’s Cross

According to the brief ‘a highly experimental approach may be needed to achieve a fabric appropriate to the end use’.

Students were invited to consider making their own yarns or fabrics while exploring bonding, stiffening, heat transfer and plasticising processes.

Non-traditional project materials sourced from recycling centres, DIY stores and pound shops included cabling, electronic components, tarpaulin, fuse wire, wood, plants, string, artificial grass, flooring laminates and fibre optics.

As well as sketches, models and mood boards demonstrating research and outcomes, student groups submitted a CD presentation of their conceptual approach.

To read more about the Kings Cross development and BA (Honours) Fashion and Textile courses visit www.arts.ac.uk/kingscross.htm www.csm.arts.ac.uk/courses/37593.htm

Visualisation of corridor at new building at King’s Cross

What was the best bit about living and studying in London?

The nightlife is amazing – as is the close proximity to culture.

And the wide choice of theatre and art is unparalleled in the UK. What tips would you give to students beginning their studies?

See lots of theatre, film and art exhibitions. Having a wide knowledge of different styles and companies will help you throughout your studies and beyond in the industry.

And to students looking ahead to graduation?

Write to working designers and try to gain experience by assisting. The more credits you have the better. Most graduates won’t actually be designing for many years after leaving the course, so it’s absolutely essential in the theatre world to be able to model make and do technical drawing. Assisting is a good way to get into design and to earn money.

What are you up to now and how did you get there?

I’m currently collaborating with Lee Simpson, artistic director at Improbable Theatre, on a devised piece, while working on a few regional plays and various productions going into the West End. I’m also looking at transferring my first play to New York.

I have an agent who’s helped guide my career over the last five years, but much of it’s down to hard work and networking.

© Ben Stones

How did Central Saint Martins help you in your career path?

I got exactly what I wanted out of my theatre design course because I came to it with a love of theatre. I really enjoyed being around exciting visiting tutors such as Charlie Edwards and Maria Bjornson. I also enjoyed learning model-making techniques. Rubbing shoulders with working professionals really prepared me for a career as a stage designer because it taught me a lot about the business side of the profession. www.benstones.com To read more about student experiences and BA Performance Design and Practice courses visit www.csm.arts.ac.uk/alumni-profiles www.csm.arts.ac.uk/courses/performance-design-practice.htm

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MOVERS Fashion & SHAKERS 8

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AIMEE MCWILLIAMS (2003)

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.

Some of the world’s most inspiring fashion designers – including Stella McCartney, Giles Deacon, Christopher Kane and Luella Bartley – study on CSM’s BA and MA Fashion courses.

And here are six more outstanding talents from our fashion ranks RICHARD NICOLL (2002)

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.

JONATHAN SAUNDERS (2002)

JEAN PIERRE BRAGANZA (2002)

Todd Lynn (2000)

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.

DANIELLE SCUTT (2005)

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.

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’.

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. Saunders now shows his collection in New York and is creative director of Pollini.

These six graduates have been taken from the book

100 New Fashion Designers

by Hywel Davies, author and Senior Lecturer To find out more about BA and MA Fashion visit www.csm.arts.ac.uk/fashion www.csm.arts.ac.uk/ma-fashion

First Impressions 10

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He looked breathtaking and fearless and was ‘traffic-stopping’.

Literally

Walking through the college doors for the first time represents a moment of opportunity, adventure and high excitement. CSM professor and alumnus Iain R Webb recalls the unforgettable instant he clapped eyes on fellow student Stephen Jones, today’s much-loved milliner to the stars

Iain R Webb: ‘pretty vacant’, first day at St Martins, Friday 16 September 1977

ME & MR JONES I remember vividly the day I visited St Martin’s (now Central Saint Martins) in the autumn of 1976. Before I even entered the building on Charing Cross Road I was convinced this was the place for me. Standing on the pavement outside, plucking up the courage to go in and wondering if I cut the sartorial mustard wearing a liquorice-thin school tie, plastic sandals and sloppy orange mohair sweater (knitted by my Mum). The doors swept open and out sashayed a boy (or at least I guessed it was a boy) who looked like… well, I wasn’t sure what he looked like, only that I had never seen anyone look like that before.

Not in the real world, anyway. He was wearing a skinny matelot T-shirt with giant shoulder pads, exaggerated peg-top pants and stiletto-heeled boots. Around his neck was a scarf knotted at the side and the finishing touch (it should have been a clue) was a black beret worn at a very jaunty angle.

Stephen Jones. © Justine Photography He looked breathtaking and fearless and was ‘traffic-stopping’.

Literally. He was Stephen Jones, later to become the celebrated and much-loved milliner to the stars. regulars. By day the New Romantic in-crowd would hang out at the soigné salon – all grey taffeta drapes and Greek Jones was in his second year of the BA in fashion design when statuettes – that he opened just a year after leaving art school I joined the course in 1977 but we quickly became friends and in the basement of the P.X. boutique in Covent Garden not far even shared a flat in salubrious downtown Victoria along with from his present showroom in Great Queen Street. During his another St Martin’s fashion freak, Fiona Dealey. Many a career he has collaborated with every major designer from morning Fiona and I would come down to breakfast to find Galliano and Gaultier to Rei Kawakubo of Comme des Garçons.

Stephen monopolising the kettle in order to steam one of His client list is fabulously diverse, from Carla Bruni to Marilyn his high-rise hats destined for the heads of Steve Strange, Manson. He recently received a British Fashion Award for Boy George or any one of the weird and wonderful Blitz club Outstanding Achievement, and has his own fragrance.

Alongside designs from Stephen’s vast archive, the V&A exhibition showcased over 400 iconic hats hand-picked by the milliner, including Marlene Dietrich’s beret, Carmen Miranda’s turban, Kylie’s hat from the Can’t Get You Outta My Head video, and even one of the Queen’s Hermès headscarves from the 1940s. ‘The tank driving period,’ recalls Stephen.

Installation shot of the exhibition The Milliner’s Atelier. © V&A Images

Among Stephen’s most ambitious projects to date was 2009’s ‘Hats: An Anthology’ at London’s V&A Museum.

After a spell of work experience at London couture house Lachasse, where his head was turned forever under the tutelage of Shirley Hex, for his final collection at St Martin’s in 1979 Stephen created silvery draped cocktail suits accessorised with turbans featuring peacock feathers. The mood was 1950s couture with a punk attitude. ‘The last two looks were white court presentation dresses worn with broken tiaras with dead seagulls in them,’ he remembers, as adamant today as he was then that creativity is often born out of necessity.

‘If you don’t have a lot of money it forces you to think alternatively. You have to be more creative. Like when I left college I bought hats from Oxfam and reworked them.’

‘I never imagined this could happen,’ he said over the phone from New York where he was adding the crowning glories to To find out more about our alumni visit Marc Jacobs’ latest collection. ‘My dream at college was just to www.csm.arts.ac.uk/alumni-profiles make it to tomorrow, pay the rent and get some sort of degree.

I’m totally amazed!’

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YUKO NASU (2006)

Yuko arrived in London from Japan four years ago, and has become well known for her ‘imaginary portraits’ – featureless paintings inspired by faces she encounters everyday.

After graduating from CSM she quickly accumulated awards and accolades including Bloomberg New Contemporaries in 2006, Jerwood Contemporary Painters in 2008, and the Jerwood Drawing Prize in 2009.

As well as two solo exhibitions plus numerous group exhibitions at places like the Japanese Embassy and the Ivy restaurant, Yuko has featured on the cover of Art World and in Vogue, Elle, the Independent and the London Evening Standard.

Here’s a selection of ‘ones to watch’ from among CSM’s MA Fine Art graduates

Yuko Nasu, 040509, oil on linen, 125 × 100cm, 2009 George Henry Longly. Image courtesy of Dicksmith Gallery

GEORGE HENRY LONGLY (2005) Jacopo Miliani, 4WEMAY

JACOPO MILIANI (2006)

George has been very busy since graduating in 2005. He’s had six solo shows and lots of group exhibitions, working with galleries in Europe and the US. He’s also had his work featured in a number of collections, undertaken a residency, produced a touring body of work, and published a book.

Jacopo is an Italian artist working mostly with installation, photography and performance, with a focus on magic, popular culture and the collective imagination.

Apart from being pleased to have shown at the South London Gallery, George considers his biggest achievement to be the Since graduating from Central Saint Martins he’s exhibited fact that he continues to develop his practice and maintain a in Madrid, Rome and Milan. He’s also held down residencies at studio. He also likes being able to teach.

Platform Garanti in Istanbul and Fondazione Spinola Banna in Turin, while his work has been shown at the V&A in London.

In 2008 George was named by Time Out as one of London’s 40 top artists, and his work continues to feature in the press Working from his studio in Milan, Jacopo is currently within and outside the UK. participating in a range of projects and exhibitions.

KAROLY KESERU (2001)

Budapest-born Karoly graduated in 2001, and since then has enjoyed lots of success. She’s been selected for countless exhibitions and competitions by galleries and organisations such as the Contemporary Art Society, the Royal College of Art and the Hungarian Cultural Centre.

Karoly’s work has travelled the world, showing in London, New York, Berlin, Cologne, Frankfurt, Milan, Amsterdam, Los Angeles, Miami and Paris. It’s also been a big hit in her native Hungary, where the artist has been interviewed for network television.

Karoly Keseru, Untitled, acrylic on laser engraved perspex

CATHY LOMAX (2003)

As well as carrying out her own artistic practice Cathy runs Transition Gallery, a contemporary art space in east London.

She writes, lectures, curates, judges competitions, and seizes any other opportunities that come her way.

OREET ASHERY (2000)

Cathy set up Transition Gallery immediately after graduating as a means of showcasing her own work and that of her friends, but it soon developed its own identity. Her magazine Arty, launched at Central Saint Martins, continues to thrive.

London-based visual artist Oreet works in live art, performance, digital media, images, writing and objects.

Oreet Ashery, Dancing Men

Since graduating from CSM she’s won too many awards to list, and her work has been shown extensively in the UK and internationally – most recently at Tate Modern, the Jewish Museum New York, Akademie der Künste and the Pompidou Centre.

All Cathy’s projects feed into one another. She views her gallery first and foremost as an artist-led space, as opposed to a commercial venture, which allows her to develop ideas and connect with exciting artists.

Oreet is currently engaged in two major collaborative projects.

She has a three-year AHRC creative fellowship at Queen Mary University of London, and her work continues to be discussed in books and art journals. In 2009 the first book dedicated to her work, Dancing with Men, was published.

To find out more about more about MA Fine Art visit www.csm.arts.ac.uk/ma-fine-art

Cathy Lomax, Afro 3 (Marsha Hunt). © Cathy Lomax

Events & Exhibitions Happenings 14

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Throughout the year Central Saint Martins hosts talks and late-night events with today’s most influential figures from the worlds of art, design, performance and music.

It adds up to a review of contemporary culture with lively discussion focusing on topics of global significance.

The college encourages participation and debate!

We archive our events, so you can view them at www.csm.arts.ac.uk

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It adds up to a review of contemporary culture with lively discussion Recent guests, talks and events have included:

Gwyneth Paltrow, Penguin 75th Anniversary, Factory Records, Peter Saville, Pink Floyd, Yinka Shonibare, Gilbert and George, Norman Ackroyd CBE, Sex Pistols 30th Anniversary, Geoffrey Rush, Phil Baines, Swiss Graphic Design, Jean-Paul Goude, Why Not Associates, Sebastien Tellier, Howard Tangye & Anna-Nicole Ziesche, HK119, Memphis Industries, Platon, Alan Fletcher, The Clash, Alice Rawsthorn, Kai-Yin Lo, Eley Kishimoto, Dylan Jones, China Now, Black History, Colin Firth, Huda Awad & Muslim Glass, Japan, Posy Simmonds, Rob Dickins, Will Alsop, Sokari Douglas Camp CBE, Stephen Bayley, Paul Smith, Iain Sinclair, Chris Cunningham, Sebastian Conran, Abott Miller, Jonathan Ive, Alan Aldridge, Professor Douglas Allsop, Matthew Collings, Deborah Dawton, Rodney Fitch CBE, Super Furry Animals, Geoff Fowle, Richard E Grant, Dr Tom Karen, Patrick Mauries, Tom McCarthy, William ‘Bill’ Moggridge, Moving Brands, Professor Amelia Noble, Charles Saumarez Smith CBE, Hans Ulrich Obrist, Rebecca and Mike, Rough Trade Records, Matthew Taylor, Sarah Mower, Professor Louise Wilson OBE.

To find out more about our events and happenings visit www.csm.arts.ac.uk/csm_events_performances_exhibitions

MOVERS Drama centre & SHAKERS 16

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It’s ten years since Drama Centre became part of CSM. With an impressive list of recent graduates and alumni hitting our screens and filling theatres, there’s a lot to celebrate

How to apply

Whichever Central Saint Martins course you choose, please read these helpful notes before submitting your application Find the right course for you

Please note – there has been a national review of higher education admissions, and changes have been made to the For detailed descriptions of all our application process for art and design courses visit www.csm.arts.ac.uk/courses.htm courses. Replacing the previous two-route (A and B) process will be a single route You can gain an insight into our process with two deadline dates for equal courses at www.youtube.com/artslondoncsm consideration. Using the main UCAS or via our CSM blog. scheme, the new process offers applicants five simultaneous application choices with no order of preference.

This change will operate from September 2009 for entry in 2010. Please check Our Open Days take place in the autumn individual courses for application and spring terms. They’re a great deadline dates. opportunity to meet current and future students, to get a feel for our culture and to ask tutors questions. Visit www.csm.arts. ac.uk/courses/open-days to book.

Discover more about the college

Michael Fassbender. Courtesy of Troika Talent

MICHAEL FASSBENDER (1998)

BA (Honours) Acting To say that Michael caused a stir at the Cannes Festival would be a bit of an understatement. As the controversial hunger striker Bobby Sands in Steve McQueen’s Hunger, he was Bradley James, Merlin. Courtesy of BBC/Optomen nominated for the Orange Rising Stars at the BAFTAs. And perhaps it’s worth mentioning that he’s in Quentin Tarantino’s latest film Inglourious Basterds.

BA (Honours) Acting Playing the young Prince Arthur in the BBC series Merlin, Bradley is already working with some of the most respected names in British acting. Many newcomers might feel over-awed amidst such an impressive cast. If that were ever true of Bradley, there’s no sign of it. He plays Arthur with an honesty that transforms a legend into a flawed yet magnetic and (very) human figure.

BRADLEY JAMES (2007)

JONATHAN HUMPHREYS (2006)

Jonathan Humphreys, Mojo Mickybo. Courtesy of Arcola Theatre

BA (Honours) Directing Having made theatre history as the youngest director to have a show in the West End, Jonathan remains a force to be reckoned with. He directed Owen McCafferty’s Mojo Mickybo at the Arcola Theatre before it transferred to the Trafalgar Studios – impressive at any age, but at 22 pretty miraculous.

How do you follow that? You become staff director at the National Theatre, of course.

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Get to know our application process

For details of each course’s application process online, visit www.csm.arts.ac.uk/ courses.htm to choose your course, then use the ‘at a glance’ tab to find the course information PDF within ‘downloads’.

Here you’ll find: detailed information about the course; entry requirements, including IELTS requirements for nonnative English speakers; application procedures, including procedures for international applications; what we look for; when and how to apply; what happens next; deadlines for application; portfolio or auditions advice where appropriate; interview advice; information about fees; information for disabled applicants.

Application procedures vary depending on the type and level of your course.

Foundation, MA and part-time course applications are made direct to Central Saint Martins (download application forms online at www.csm.arts.ac.uk/courses. htm by selecting the course of your choice). BA course applications are made via UCAS .

Information for international students

our Disability Adminstrator, Margarita Moscoso: tel +44 (0)20 7514 7143; email m.moscoso@csm.arts.ac.uk If you’re dyslexic you may wish to discuss your support needs with our Dyslexia Co-ordinator, Elaine Wallace: tel +44 (0)20 7514 7043; email e.wallace@csm.arts.ac.uk For more information about disability and dyslexia follow www.csm.arts.ac.uk/ student-services

DRAMA CENTRE LONDON

If you’re applying to acting courses you’ll be expected to perform audition pieces and may be invited to a recall process.

For additional information on how to apply as an international student visit www.csm.arts.ac.uk/how-to-apply or call us at the international office +44 (0)20 7514 7027.

Find out about our research degrees

Information for disabled students

Got a question or a query?

Central Saint Martins welcomes applications from all students. Because we aim to support you throughout your studies we ask that you bring to our attention, as soon as possible, any special needs you may have. You can discuss these in confidence at your interview, at enrolment or during the first week of your course.

If you’re applying for an undergraduate or postgraduate course please ensure that any funding you need for your specialist support is agreed with your Local Education Authority before the start of your first term. You’ll find more detailed information about this in ‘Breaking the Barriers’, the University of the Arts London’s information booklet for disabled students. To get hold of this booklet – or to discuss your support needs before applying – please contact

If you’re interested in a research degree visit www.csm.arts.ac.uk/research

You’ll find FAQ s and answers at www.csm.arts.ac.uk/courses/apply

For general enquiries about all our courses call +44 (0)20 7514 7023.

This publication is intended to provide information to prospective applicants, parents, guardians and teachers or advisors. Please note that, whilst every care has been taken to ensure accuracy at the time of production, the information contained in this publication may be subject to change.

Courses Foundation ii

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Courses undergraduate

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Solemn Mass for a Full Moon in Summer, Cochrane Theatre, Foundation Studies in Performance, 2007. © Andrea Muendelein

Aude Marie, Knit, BA (Honours) Textile Design, 2008. © Andrea Muendelein

Kathy Wallwork, Foundation in Fine Art – Byam Shaw, 2007. © Andrea Muendelein Miss Julie, BA (Honours) Acting – Drama Centre London, 2007. © Andrea Muendelein

Diego Ulrich, BA (Honours) Graphic Design, 2008. © Dave Hendley

‘The course inspired me to believe in my own ideas, to love the workshop, to get real experience,

to learn from classmates, and to work hard.’

Sondre Frost Urstad, BA (Honours) Product Design

Francisco Muguiro Zarraluqi, Foundation in Art and Architecture – Byam Shaw, 2007. © Andrea Muendelein

Saavas Papsavva, Craig Kao, Nathan Birchenough, Sofie Grevelius, Damien Griffths, BA (Honours) Fine Art, 2007. © Andrea Muendelein

Louisa Milsom, Sculpture, Foundation in Art and Design, 2007. © Andrea Muendelein

Foundation in Art and Architecture (Level 4) www.csm.arts.ac.uk/courses/further_education/art-and-architecture. htm Foundation in Art and Design (Level 4) www.csm.arts.ac.uk/courses/further_education/foundation-art-anddesign.htm Foundation in Fine Art – Byam Shaw (Level 4) www.csm.arts.ac.uk/courses/further_education/foundation-fine-art.htm Foundation Studies in Performance Drama Centre London www.csm.arts.ac.uk/courses/further_education/foundationperformance.htm

‘The foundation course

gave me a comprehensive

grounding in the many different

disciplines. The tutors were knowledgeable and encouraging and

they gave me lots of confidence which I carried with me to higher education.’

Vicky Lou Fox, Foundation Art and Design

BA (Honours) Acting Drama Centre London www.csm.arts.ac.uk/courses/acting.htm

Laura Strand, BA (Honours) Jewellery Design, 2008. © Dave Hendley

BA (Honours) Architecture: Spaces and Objects School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/architecture-spaces-objects.htm

BA (Honours) Fine Art School of Art & Byam Shaw School of Art www.csm.arts.ac.uk/courses/fine-art.htm

BA (Honours) Product Design School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/product-design.htm

BA (Honours) Ceramic Design School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/ceramic-design.htm

Foundation Degree (FdA) in Fine Art Skills and Practices – Byam Shaw Byam Shaw School of Art www.csm.arts.ac.uk/courses/fine-art-skills-practices.htm

BA (Honours) Textile Design School of Fashion and Textile Design www.csm.arts.ac.uk/courses/textile-design.htm

BA (Honours) Criticism, Communication and Curation: Arts and Design School of Fashion and Textiles www.csm.arts.ac.uk/courses/criticism-communication-curation.htm

BA (Honours) Graphic Design School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/graphic-design.htm

BA (Honours) Directing Drama Centre London www.csm.arts.ac.uk/courses/directing.htm

BA (Honours) Jewellery Design School of Fashion and Textiles www.csm.arts.ac.uk/courses/jewellery-design.htm

BA (Honours) Fashion School of Fashion and Textiles www.csm.arts.ac.uk/courses/fashion.htm

BA (Honours) Performance Design and Practice School of Art www.csm.arts.ac.uk/courses/performance-design-practice.htm

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Aysseline Roy, Recycled and Felt, MA Design for Textile Futures, 2008. © Andrea Muendelein

JOHN SIMM (1992)

BA (Honours) Acting Can there still be anyone out there who hasn’t heard of John Simm? His portrayal of DI Sam Tyler in the BBC’s hugely successful Life on Mars propelled him to cult status. More recently, he’s been seen as Edward Sexby in The Devil’s Whore, Channel 4’s English Civil War drama, and as The Master in Dr Who. His credits would fill more space than is available here – let’s just say John is regarded as one of Britain’s leading actors.

Degree Show 2008, constructed in car park of Southampton Row building, Creative Practice for Narrative Environments. © Dave Hendley

John Simm. Courtesy of Kudos Film and Television Ltd

Louise Goldin, MA Fashion, 2005. © Christopher Moore

Graduate Diploma in Fashion School of Fashion and Textiles www.csm.arts.ac.uk/courses/graduate-diploma-fashion.htm Postgraduate Certificate in Professional Studies – Photography School of Art www.csm.arts.ac.uk/courses/photography.htm Postgraduate Certificate in Professional Studies – Glass School of Art www.csm.arts.ac.uk/courses/glass Postgraduate Diploma in Character Animation School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/character-animation.htm

Courtesy of Curtis Brown

JOHN DAGLEISH (2007) Jonny Dodge, MA Industrial Design, 2006. © Dave Hendley

‘Doing a Masters is about defining and

refining your own vision and approach. It’s one more step

to developing as a designer.’

Paulus M Dreibholz, MA Communication Design

Postgraduate Diploma in Fine Art – Byam Shaw Byam Shaw School of Art www.csm.arts.ac.uk/courses/pgdip-fine-art.htm

MA Design Studies School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/ma-design-studies.htm

MA Communication Design School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/ma-communication.htm

MA European Classical Acting Drama Centre London www.csm.arts.ac.uk/courses/ma-european-classical-acting.htm

MA Creative Practice for Narrative Environments School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/ma-creative-practice.htm

MA Fashion School of Fashion and Textiles www.csm.arts.ac.uk/courses/ma-fashion.htm

MA Design: Ceramics, Furniture or Jewellery School of Fashion and Textiles www.csm.arts.ac.uk/courses/ma-design.htm

MA Fine Art School of Art www.csm.arts.ac.uk/courses/ma-fine-art.htm

MA Design for Textile Futures School of Fashion and Textiles www.csm.arts.ac.uk/courses/ma-design-textile-futures.htm

MA Fine Art – Byam Shaw Byam Shaw School of Art www.csm.arts.ac.uk/courses/ma-fine-art-byam-shaw.htm

BA (Honours) Acting The BBC ’s production of Lark Rise to Candleford has been a huge success, featuring a cast that’s pretty much a roll call of theatre and TV talent. Landing the role of Alfie Arless, John obviously made an impression on his TV mum, Dawn French.

Dawn admitted she felt ‘compelled to act in a professional manner around newcomer John Dagleish, whose role as Alf was his first out of drama school.’

Joanna Ruebel, William, Postgraduate Certificate in Professional Studies – Photography, 2006.

MA Industrial Design School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/ma-industrial-design.htm MA Innovation Management School of Graphic and Industrial Design www.csm.arts.ac.uk/courses/innovation-management.htm MA Performance Design and Practice School of Art www.csm.arts.ac.uk/courses/ma-performance.htm MA Screen: Acting, Directing, Writing Drama Centre London www.csm.arts.ac.uk/courses/ma-screen.htm Postgraduate Certificate in Professional Studies – Glass and Architeture School of Art www.csm.arts.ac.uk/courses/glass.htm Postgraduate Certificate in Professional Studies – Innovative Pattern Cutting School of Fashion and Textiles www.csm.arts.ac.uk/courses/innovative-pattern-cutting.htm

Sadie Pickering, Waterloo Road. Courtesy of Michelle Braidman Associates

SADIE PICKERING (2008)

BA (Honours) Acting Sadie Pickering has been cast in the long-running BBC drama Waterloo Road, playing 16-year-old head girl Flick Mellor. She is also working on The Fixer for ITV. Sadie graduated in 2008.

Our former students and staff have made a real difference to their professions and our lives. Among the most influential are: Paul Bettany, Acting Stephen Billington, Acting Pierce Brosnan, Acting Simon Callow, Acting Anne-Marie Duff, Acting Colin Firth, Acting Tom Hardy, Acting David Leland, Directing To find out more about Drama Centre London visit www.csm.arts.ac.uk/drama

Staff profile Geoff Makstutis 18

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Geoff Makstutis, course director of CSM’s BA Architecture: Spaces and Objects, is in conversation with Sam Jacob FROM THE FORK TO THE CITY Defining architecture is like herding cats. As soon as you call it technical, its shape shifts into poetics. If you call it conceptual, it morphs into engineering. And if you define it as the act of building, it dissolves into sociology, geography and a myriad of other social and political interests. Though legally it is a profession guarded by institutions such as RIBA and the Architects Registration Board, architecture is equally a cultural position, a way of seeing the world.

Harry Cassell, BA (Honours) Architecture: Spaces and Objects, 2007–8

consideration of context – physically, socially and politically.

Learning from the context of the broader art school, the course encourages architectural interest to grow from individual responses to situations. The course structure helps students develop their own approaches and techniques. From year to year they develop independence as the course shifts from instructional mode to supporting individuals’ interests.

Projects have addressed a wide range of areas and issues – There is a schizophrenic, multiple personality disorder that from working with Romanian street children and proposals characterises architectural activity. Which is why ‘architecture’ for giant skyscrapers in Poland to social interventions in the exists in multiple forms – as a building, an interior, a city, banlieues of Paris and Marseilles and structures that support a logo, a way of organising, a philosophy, a tourist destination communities of immigrants – as well as more traditional briefs or place to live, an essay, an image, an event, an object, such as the design of a family home. a slogan, a policy and so on. The canon of architecture extends in all directions outward from the act of building. The act of Geoff emphasises the aim of encouraging students to believe building is just one way that these myriad interests might in their own approaches, which is reflected in the diversity come together. of alumni activities. Students have gone on to work for mainstream architectural practices like Shepard Robson and Capturing the conditions of architectural practice in education high design studios such as Zaha Hadid, as well as in more is a perennial conundrum. Should it simulate practice? Or tangential areas like theatre design and curation. revel in the lack of ‘real’ constraints? Should it prepare students for practice through teaching transferable skills or Architecture occurs at the intersection of a broad range of through developing a position? These are the subtexts that skills, influences and approaches. The real challenge at the BA Architecture: Spaces and Objects course leader Geoff heart of architectural thinking is to define the territory in Makstutis suggests in describing his programme’s ambition. which an architectural idea might exist – to define in each Interestingly, we are sitting in front of a huge rendering of the case, in ways specific to the concerns and conditions of each new CSM building at King’s Cross – a project whose potential project, what the role of the architect might be and how impact on the creative life of Central Saint Martins begs ‘architecture’ might be manifested. Rising to this challenge questions about architecture’s social impact. is what BA Architecture: Spaces and Objects is all about.

Geoff describes how the course aims to ‘release the creativity of architectural education’. Fundamental to this is a definition of what could be considered architectural. ‘From the fork to the city,’ says Geoff, which might serve as an unofficial motto, arguing that design is broad enough to accommodate very different models and ideas of what architecture might be, or mean.

Geoff explains how the course shapes the theory and practice of architecture into productive dialogue. Rather than developing a stylistic response, students deal with a

A graduate of the University of Michigan (1988) and the Architectural Association in London (1994), Geoff Makstutis qualified as an architect in the UK in 1996. Sam Jacob is a writer, critic and founding director of award-winning architectural practice FAT .

ART 09 It’stothe place watch the

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next generation of artists emerge and start to shape the TRANSFORMING VISION

future of – BA (HONOURS) FINE ART DEGREE SHOW 2009 art practice Yolandé Kenny, BA (Honours) Fine Art, 2009

The BA Fine Art Degree Show at Central Saint Martins is the largest of its kind in the UK. Indeed, with around 150 students exhibiting it may well be the largest undergraduate show in Europe. Not surprising, then, that there’s always such a diversity of artwork on display.

CSM students have every opportunity to ‘locate’ among their peers and within their own communities of practice.

For three years they work alongside each other, monitoring developments in other studios while questioning and challenging their own work on the basis of what they observe.

In so doing they learn to celebrate the achievements of others as richly as their own.

Our 2009 exhibition brought new artists to the public eye, professionally and individually, for the first time. Yet all our artists are fully aware of the shared environment – critical, social and intellectual – they help to shape. In 2009 as ever, the building itself underwent its annual transformation into exhibition spaces that reflect the subtlety and reach of the art community here.

Stuart Morrison, BA (Honours) Fine Art, 2009

Our graduating students will continue to practise beyond the terms of their education, carrying with them the practical, conceptual and professional skills developed during their course. Significantly, the achievement on display at our degree shows pushes contemporary art practice forward. The sheer range of artworks – from painting, sculpture and installation to video, performance and photography – reflects the course’s ambition in ways that challenge both tradition and recent orthodoxies.

Following the RIBA visit, a recommendation will be made to the RIBA Education Committee that the BA (Honours) Arts, Design and Environment (Architecture Pathway) be given Initial Validation.

It’s the place to watch the next generation of artists emerge and start to shape the future of art practice.

To find out more about BA (Honours) Architecture: Spaces and Objects visit www.csm.arts.ac.uk/courses/architecture-spaces-objects

To find out more about BA (Honours) Fine Art visit www.csm.arts.ac.uk/fine-art

Amanda Mulquiney, BA (Honours) Fine Art, 2009

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These alumni are flying the flag for our graphic design, communication design and product design courses at the School of Graphic and Industrial Design

Paulus M Dreibholz, design of I Giovani…’ for GAM Torino – FormContent Rebecca and Mike

REBECCA AND MIKE (1995)

BA (Honours) Graphic Design Since graduating from CSM, Rebecca and Mike have formed a freethinking partnership. Self-employed for a decade, they’ve collaborated with the likes of Paul McCartney and Trevor Beattie while their work has featured on Richard and Judy.

The duo consider ‘never selling out’ and being respected for what they’ve chosen to do with their lives to be just as important as other aspects of their success.

PAULUS M DREIBHOLZ (2004)

SAKIS KYRATZIS (2007)

As well as having his work featured in magazines and exhibitions, Paulus received an International Typographical Premier Award in 2004 and was runner-up in the Creative Futures award scheme for 2005.

Embracing graphic design as a mature student after an academic career, Sakis found a job immediately after graduating from CSM at an architectural practice in London.

MA Communication Design The London-based typographer and graphic designer is a tutor on CSM ’s MA Communication Design and BA Graphic Design courses. He also teaches at the University of Applied Arts in Vienna.

DAVID TANGUY (2000)

BA (Honours) Graphic Design Immediately after graduating David started working for himself while teaching third-year students on the course he had just completed. He created a studio – Praline – with CSM students, focusing on graphics projects in the arts and culture fields.

Of his CSM course he says: ‘I had some amazing tutors who taught me to discover my own way, to push ideas, to be more ambitious, and to avoid the commonplace.’

BA (Honours) Graphic Design In a varied and exciting career, Sakis’ commissions have included projections for dance and opera, charity and community projects, book design for photographers, and website work for artists. He also pursues his own interest in screen-printing and photography.

His links with CSM live on. Sakis designs promotional Paulus views his role as a tutor, and the work he does in his studio, as an opportunity to reflect on new ideas and agendas – materials for our degree shows. He’s also an associate lecturer, helping graphic design students with their dissertations. agendas which may not be immediately obvious, but which are nascent in the new generation of designers.

Despite his wealth of experience, Sakis remains modest.

He cites his career as a graphic designer as his major CSM took advantage of Paulus’ talent in 2008, joining forces achievement. with him to create CSM Time, the staff and student journal.

David Tanguy worked on the Big Fat Duck cookbook with Heston Blumenthal

Since then, Praline has done ‘lots of interesting things with lots of interesting clients’, and David is chuffed to find himself working with and for some top creative talents including Rogers Stirk Harbour and Partners and Nick Knight on www.showstudio.com.

Sakis Kyratzis, Xenia, exploring an abandoned chain of hotels in Greece

JAMES KING (2004)

BA (Honours) Graphic Design Working from a studio in Kentish Town, London, James is preparing to set up his own company. Having completed an MA at the Royal College of Art after studying at CSM, he spent a further year in research at the RCA’s Helen Hamlyn Centre.

Swisscom stationery, ‘Moving Brands’ project

Although James has exhibited at MoMA in New York – where his work has been added to the museum’s permanent collection – he considers his recent role as a CSM tutor to be his greatest achievement so far. ‘It’s been a fantastic experience – an opportunity to push a few students a bit further than they would have gone on their own.’

MAT HEINL (2003)

BA (Honours) Graphic Design Mat joined the global agency Moving Brands after graduating from CSM . Having worked his way up to design director he now collaborates with talented designers, strategists and client service colleagues.

At Moving Brands Mat has worked with Norton & Sons on their identity, and with the likes of Swisscom on strategic and long-term projects. He finds his role exciting because it challenges him to think on his feet, to adapt, and to find new ways of doing things.

James King, Dressing the Meat of Tomorrow

To find out more about BA (Honours) Graphic Design and MA Communication Design visit www.csm.arts.ac.uk/graphic-design www.csm.arts.ac.uk/ma-communication

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PAUL MARCHANT (2001) SONDRE FROST URSTAD (2003)

BA (Honours) Product Design Soon after she graduated, Sondre and her brother Yann set up their own product design company, Frost Produkt, becoming the brains behind the innovative Smart Bike System, the world’s first ‘intelligent bicycle hire system’.

Smart Bike System has since launched in Oslo, Stockholm, Barcelona and Washington DC, introducing an environmentally friendly transport alternative for the city.

BA (Honours) Product Design As product design manager at Transport for London, Paul touches millions of lives in the capital every day. He’s been in his current role for five years – before that he worked in design consultancy and with business start-ups. He also completed two postgraduate degrees in business and design management.

With responsibility for implementing the Mayor’s transport strategy, Paul gets involved in a wide range of projects and activities including the design of trains, stations, buses, bus shelters and taxis, and – more recently – bicycles and cycle hire.

SIMON GLOVER (1999)

BA (Honours) Product Design Since he graduated, Simon’s career has gone from strength to strength. Having started out as a graphic designer at Terry Farrell & Partners, a top UK architectural practice, he decided he wanted to get back into product design and was offered a position as junior designer at Priestman Goode, the awardwinning product design company. He later joined Tangerine, a company launched by a fellow CSM alumnus.

It wasn’t long, however, before Simon launched his own company. ODD is the integrated communications agency he set up with a business partner on the back of a commission they won in 2002 to design a bar. Seven years on, ODD is still going strong. Simon attributes his success to ‘being beautifully naïve enough to start a business at twenty-six, without really knowing what I was letting myself in for.’

To find out more about BA (Honours) Product Design visit www.csm.arts.ac.uk/product-design

Staff profile Phil Baines

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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.

Baines’ work of this period was heavily biased toward experimental typography that took inspiration from medieval manuscripts and the writings of Marshall McLuhan and George Memorial Plaque in Hyde Park 2009 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 From 1995 he began taking on ex-students as assistant process could be handled from concept to production without designers. One of these was Catherine Dixon, whose PhD outside involvement. studies on type classification he was then supervising, and the two colleagues now steer Central Saint Martins’ approach to After two further years of study at the Royal College of Art, typography teaching at degree level, and curate the College’s Baines graduated during a pre-recession boom for graphic Central Lettering Record, a ‘photographic teaching archive’ design. His work was featured heavily in Typography Now: The inherited from Nicholas Biddulph and Nicolete Gray (see Eye Next Wave (edited by Rick Poynor and Edward Booth-Clibborn), no. 54 vol. 14). Though Baines’ name may be more widely and he contributed two typefaces to Fuse, and guest-edited known than hers, research undertaken with Dixon often its fourth issue. underpins his designs.

In 1991 he returned to Central Saint 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.

Phil 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).

Phil Baines is a professor and senior lecturer at Central Saint Martins.

The bulk of Baines’ work, however, has been for arts This profile excerpted from Eye, the international review of graphic organisations and galleries, an oeuvre best exemplified by his design. Read more at www.eyemagazine.com books for Matt’s Gallery in London, which show his continuing obsession with experimentation that is grown from structures or patterns within the context 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.

Letterpress exerted a particular attraction due to its do-it-yourself aspect

Course profile ART 09 MA Innovation Byam Shaw MANAGEMENT 24

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By allowing discourse to flirt with discourse, one CSM postgraduate course is helping business and design develop a new, shared language

Korean Innovation Workshop. © Simon Bolton

CHAMPIONS OF CHANGE Hong Kong Productivity Council. © Simon Bolton

Now in its second year, CSM’s MA Innovation Management takes as its starting point the idea that innovation happens at boundaries. ‘Where disciplines and cultures rub up against one another – that’s where the opportunities lie for really imaginative change,’ says course leader Jamie Brassett.

MAIM, to give it its cheerful acronym, was set up in response to two things. The first was a growing buzz about the importance of innovation across business. As Gordon Brown put it in a speech back when he was chancellor, ‘our challenge is not just to encourage creative industries, our priority is to encourage all industries to be creative’.

Meanwhile, from his vantage point as contextual studies head for CSM’s BA in Product Design, Jamie noticed that design consultancies were increasingly being asked to use their design skills ‘further up the business food-chain’, applying them not just to branding issues but to a company’s whole commercial strategy.

Jamie and colleagues realised this pointed to new opportunities. ‘People with business backgrounds want to understand the language of design. Creative people increasingly want and need to understand the business discourses in which they can work.’ MAIM could help fill that gap.

One of the selling points of MAIM is that it draws on an art school culture and ethos and so ‘frees up’ ideas. Over the two years of the course, MAIM students are thrown into ‘a whole bunch of different projects’, finding new ways of engaging with the processes of innovation. It’s a very different curriculum from the usual business school seminars.

Another major plus is the sheer diversity of the students the course attracts. ‘We’ve got footwear designers, fashion designers, product designers and industrial designers,’ Jamie says. “We’ve got people with backgrounds in IT, accounting, marketing, and insurance. And they arrive from Colombia, Latvia, Korea, Malaysia, Hungary, Greece.’ Finding boundaries – places where innovation can spring up – isn’t a problem.

Jamie came to Central Saint Martins as an associate lecturer with a background in aesthetics and political philosophy.

Clearly, when it comes to reaping the benefits of mixing and matching disciplines, he practises what he preaches.

And, he says: ‘When I meet old colleagues from my PhD days and they’re running a philosophy department at wherever, I think: Oh, no – I’m so glad I’m here.’

MA Innovation Management course leader Jamie Brassett was in conversation with Robert Hanks.

To find out more about MA Innovation Management visit www.csm.arts.ac.uk/courses/innovation-management

Where disciplines and cultures rub up against one another – that’s

where the opportunities lie for imaginative change

Rob Drugan, BA (Honours) Fine Art – Byam Shaw

APOCALYPSE PENDING

Says Rob: ‘My work juxtaposes the romanticism of cultural allusion to American cinema with the underlying paranoia of What happens when you cross a scene from 1979 cult movie our post-cold war climate. The structures I create have a loaded Mad Max with the Byam Shaw School of Art degree show 2009? narrative. But although that narrative is designed so that The answer is a theatrical post-war military structure by BA viewers stumble upon it, the visitors themselves also activate (Honours) Fine Art – Byam Shaw final-year student Rob Drugan. and expand the scenario.’

Rob draws inspiration from American post-apocalyptic cinema and the grittier work of British film director Danny Boyle – for example, Boyle’s 28 Days Later collaboration with screenwriter and cult novelist Alex ‘The Beach’ Garland. British installation artist Mike Nelson, with his desolate architectural fabrications, has also been an influence.

Rob’s heavily modified ex-Russian military vehicle stood in the courtyard of Byam Shaw as part of the degree show presentations. Visitors were invited to climb inside and experience the space for themselves.

On the college roof, meanwhile, a watchtower functioned both as cinematic sculpture and performance stage – an instrumental soundscape was located here at dusk for the degree show private view.

This wasn’t Rob’s first large-scale installation. An earlier work – a ‘Cajun swamp shack alluding to a primitive character that might have been living in New Orleans around the turn of the century’ – was sited in locations around England.

With graduation behind him, Rob plans to work in the film industry as a set builder.

To find out more about BA (Honours) Fine Art – Byam Shaw visit www.csm.arts.ac.uk/fine-art-byam-shaw

BA Fashion SHOW 09 26

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Many of us in the media tend to view the Central Saint Martin’s BA (Honours) Fashion Show as a taste of tomorrow, writes Drusilla Beyfus. Omens hide in a silhouette, predictions loom in a hemline. And it’s a given that many of the young designers – mad, bad or sublime as their efforts may be – will in some form or other influence the future of fashion.

profile Ceramic design

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From costumes to kilns, one CSM student’s affinity with creative practice led ultimately to a love affair with ceramic design

With a chill wind still blowing through the dress trade it was especially interesting to see what this year’s class had in store at the college show, sponsored by L’Oréal Professionnel.

If there was a theme running through the pick and mix of women’s wear it was glamour in a modern context. The traditional enchantments of the style were expressed in hi-tech metallic fabrics combined with old favourites like chiffon and organza, sharp modernistic shapes, designs that re-moulded body proportions through 3D effects, prints that told a visual story, and goddess gowns trailing trains.

Omens hide in a silhouette,

predictions loom in a hemline Insider opinion held that knitwear and menswear led the field with the strongest collections, so it was fitting that Neil Young (Menswear) opened the show. His belted three-quarter length coat, broad of lapel, which was shown with collar and tie and skinny trousers, had both dignity and swagger. In my view the best of the menswear paid its respects to the past, sometimes casting far and wide for inspiration. Shaun Samson (Menswear), for example, produced an all-in-one outfit of a luxurious fabric featuring exquisitely executed smocking, a craft once associated with the work wear of ancient shepherds.

Many were the ways of expressing an aesthetic that was contemporary and glamorous. On my personal list of students who most skilfully avoided the retro temptation were Phoebe

Luke Brooks, presented award for 1st runner up by Peter Jensen. © Niall McInerney

English (Fashion Knit) whose clever knitted ‘afternoon’ dresses seemed to open a new window on the craft; Luke Brooks who created a breakthrough knitwear collection using neoprene sealing tape painted and deployed as a yarn in a design woven like basket weave over moulds; and Wes Gordon (Womenswear) whose evening dresses were constructed using sculpted glass parts, a showman’s effort which wrapped up the catwalk parade.

The 40 collections represented only a third of BA Fashion students in 2009, but – arguably – those who make the cut carry the torch for the college. I asked course director Willie Walters to explain the selection process. ‘The way we refine the numbers is by jury. There’s an internal jury of pathway tutors plus myself, and three outside jurors who offer an independent view.’

Annette Bugansky is preparing for an open day. Every available surface is covered with her delicate, beautiful, quirky ceramics.

‘Sorry it’s so hot in here,’ she says, referring to her studio space at Cockpit Arts, an artists’ collective near Holborn in central London. ‘It gets like this when the kilns are going all the time.’

Selection for the show doesn’t necessarily reflect a student’s attainment by internal assessment. Says Willie: ‘The internal jury is looking for people who come up with a new direction in their pathways, or who do what they do with consummate artistry and skill. The externals, on the other hand, choose whatever takes their fancy.’

Annette was interviewed for her Cockpit Arts residency the same day as the final exam for her MA Design: Ceramics (2005) at Central Saint Martins. ‘It’s wonderful to be here,’ she says.

‘I’m surrounded by wonderful designer-makers and artists.

I waited two years for the space, but it’s well worth it.’

It can happen that highly marked students miss out on the catwalk because their work fails to catch the jurors’ eye.

‘Those who don’t make it feel sad,’ admits Willie. From those who did make it, though, we got a welcome injection of confidence and optimism.

Annette trained as a designer and worked in fashion and costume for 20 years, including a stint in the costume department at the BBC . Because she was always dabbling with other materials and processes, including glass and glassmaking, she decided to investigate fine art.

Drusilla Beyfus was a senior lecturer on our Fashion Communication with Promotion pathway for 19 years. A former features editor at Vogue, she contributes regularly to the Telegraph magazine and continues to work closely with CSM on special projects.

Marie Hill, winner of L’Oreal Professionnel’s 1st prize presented by the company’s Marketing Manager Monica Tiadoro. © Niall McInerney

Annette Bugansky Design, work from the Knit collection

To find out more about BA (Honours) Fashion visit www.csm.arts.ac.uk/courses/undergraduate/fashion

But it was in the final year of her BA course that Annette’s fashion background started to weave its way into her new work. She began to bring her love of fabric into her designs, making flat surfaces – textiles – into 3D forms. The resulting porcelain objects, whose surfaces appear to be covered in fabric from tight-weaves to cable-knit, were so well received she knew she had hit on something special.

Annette went on to study for an MA at CSM , working predominantly on interiors projects using porcelain woven into fabric to create blinds, wall hangings and room-dividers.

Her work is in galleries around the country, including Flow, a contemporary arts space in Notting Hill, and the Angel Row gallery in Nottingham. She supplies a knitting shop, Loop, in Islington and her work is even exported to Australia.

As for the future, Annette wants to focus on design for interiors and hopes to get some help with manufacturing because her work is so much in demand. And she’ll continue She did an art foundation at Central Saint Martins with a final- to experiment with new surfaces, such as embroidery. ‘It’s term focus on ceramics – a focus she then sharpened on her taken a while,’ she says, ‘but it feels as if everything has finally BA (Honours) Ceramic Design (2003) course. ‘Once you learn come together.’ how to use a kiln, you find ceramics and glass have a lot in common. You have to learn the technical side. I spent two To find out more about BA Ceramic Design and MA Design: Ceramic, years experimenting as much as possible.’

Furniture or Jewellery, visit www.csm.arts.ac.uk/courses/ceramic-design www.csm.arts.ac.uk/ma-design

MOVERS Animation & SHAKERS 28

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Postgraduate Diploma in Character Animation graduates bring life and soul to the world of animation

Peter Baynton, Kitchen

Peter Baynton (2006)

Sonia Pang Narasimham, Cartoon Network promotion

Sonia Pang Narasimham (2002)

Sonia started as a freelance animator for Nexus Productions, Picasso Pictures and others, before going on to become animation director for the Turner Kids Channel, covering the Cartoon Network, Cartoon Network Europe, Toonami, and Boomerang.

Within five years of graduating, Sonia set up Studio-Pang, which has involved directing promos and rebranding for such diverse organisations as UEFA and Human Rights Watch.

Mia Nilsson (2005)

Matt West, Skatoony, Cartoon Network

Matt West (2000)

Matt is a lead animator and production manager at the Cartoon Network, where he’s worked on three series of its toprated show, Skatoony. With experience at the BBC , Channel 4 and Nickelodeon, he also worked with Tiger Aspect on Charlie and Lola, a series for CBeebies based on the incredibly successful books by Lauren Child.

Just two years after graduating, Matt won the BBC Talent New Animation Competition, and has somehow found the time to write a book, Making an Animated Film: A Practical Guide, published in 2004 by Crowood Press.

Paul Timpson (2003)

Since graduating, Paul’s career seems to have progressed magically. His first job was for Framestore working on Harry Potter 5, after which he went on to The Golden Compass where he was involved with technical animation and simulationgenerated elements. On The Tale of Despereaux, a 3D fully animated feature, Paul’s work covered technical animation and character FX related tasks, before moving on to Shrek 4 for the incredibly innovative Dreamworks.

Alex Jenkins (2002)

To say that Alex has been busy since graduating would be a bit of an understatement. Launching his career as a freelance animator, his work incorporated design, character design, and illustration, particularly for the web.

Alex Jenkins, Got Milk? Animation for California Milk Processor Board

Mia Nilsson

To have your first independent project nominated for an award must be quite exciting. In Peter’s case, his short film, Over The Hill, won six international awards, The McLaren Award for Rather modestly, Mia claims she’s lucky to have been in work British Animation at the Edinburgh Festival among them. consistently since graduating. Her first job was on the award-winning Amazing Adrenalini Brothers for Pesky, and she’s As an animation director at Tandem Films, his infomercial currently at the London-based animation studio 12foot6. about sex trafficking in Albania was shown as part of the BBC’s Red Nose Day, and is being translated into several Mia’s also an illustrator, and in 2008, won first prize in the languages for broadcast in Eastern Europe.

Levi’s Live Unbuttoned competition (obviously just luck, again).

Her illustrations appear regularly in the Guardian and Peter worked on Skatoony, a TV series for the Cartoon Network, other publications. Kandi, by One Eskimo, a music video she which was nominated for a BAFTA , and is already working co-directed with Linda Kalcov is in the official selection at the on his second independent film, Save Our Bacon, based on a International Animation Film Festival at Annecy, and she plans short story by the writer Davey Spens. Sometimes, six awards to make another independent short film soon. just isn’t enough.

He’s currently an interactive director with London-based production company Unit9. Of the many projects he’s worked on, The Creative Mind for Adobe’s launch of their Creative Suite software, was a highlight, winning many awards, including Webby Awards in three categories in 2007.

Paul’s in no doubt that his course laid the groundwork for his success, reserving particular praise for his tutor Kevin Rowe.

Paul Timpson, The Golden Compass

To find out more about Postgraduate Diploma in Character Animation visit www.csm.arts.ac.uk/courses/innovation-management

Research 30

31

cs m time t o a p p ly – sp e c i a l i ssue

Passionately interested in your subject? Burning to explore or question the things around you? Research at Central Saint Martins feeds back into our teaching and out into the wider world

MAKING LUXURY SUSTAINABLE Gucci Group is sponsoring a new research scholarship at Central Saint Martins that explores the potential of new technologies to meet the challenge of sustainability in the luxury goods sector of the future.

The first Gucci Group PhD Scholarship aims to bring blue-sky thinking to the question of what tomorrow’s luxury might look like. Gucci Group’s belief that cutting-edge design and material innovation can help ensure the future for luxury brands takes due account of environmental concerns.

Hosted by Central Saint Martins, the new scholarship has support from the Textile Futures Research Group (TFRG ), a unit within the University of the Arts London that links with industry and commerce to improve the interface between science and design.

Supported by TFRG , the Gucci PhD scholar at Central Saint Martins will join an elite community of specialist researchers and practitioners with internationally recognised expertise and hands-on experience of the latest groundbreaking projects in the field.

These include BioCouture, a visionary project uniting fashion and textile design with bio and nanotechnologies.

Led by Suzanne Lee at Central Saint Martins, BioCouture grows clothing materials from bacterial cellulose cultured in a solution of green tea. www.tfrg.org.uk www.biocouture.co.uk www.csm.arts.ac.uk/courses/postgraduate/ma-design-textile-futures

DEATHLY, PRETTY THINGS

Claire began exploring the symbolism of death during her MA in Design Studies at Central Saint Martins, and wanted to research it in more depth. She spotted a new trend in jewellery on the high street, on catwalks, in markets and in galleries – pieces that used deathly symbolism such as skulls and the colour black in their designs.

Claire reckons the use of jewellery to symbolise death and memory is far more complex and sophisticated today than at any time in history. And she feels good knowing she’s created an original body of work that adds to existing thinking and literature on the subject.

TO CUT CRIME, ‘THINK THIEF’ The Design Against Crime Research Centre (DAC ) at Central Saint Martins has joined forces with our product design students to help hard-pressed UK retailers tackle a rise in shoplifting.

In recession-hit 2008 and 2009, many businesses – particularly retailers – report an increased incidence of theft. The current British Crime Survey confirms shoplifting is up by ten per cent across the country.

Working with Professor Lorraine Gamman and with financial support from the Design and Technology Alliance, a Home Office and Design Council initiative, DAC developed an antishoplifting project for BA (Honours) Product Design students at Central Saint Martins.

Claire Barratt, Zombie Rings, 2005. © Vince Ray

Well on her way to completing her PhD, Claire Barratt bases her research on an unusual juxtaposition – death with jewellery. It’s a theme that arouses lots of interest in admirers who admit they wouldn’t normally find jewellery ‘quite so fascinating’.

Anti-shoplifting project, BA (Honours) Product Design

With a brief to ‘think thief’, students set out to thwart the potential shoplifter by blocking opportunities to steal – but without jeopardising the experience of legitimate shoppers.

The project also looked at incentives for shop staff to help cut crime.

A research degree is the

academic equivalent of running

a marathon – minus the sweat and the aching limbs

The design responses, exhibited at the CSM ’s 2009 show, attracted interest from business. A national anti-shoplifting competition, funded by the Design and Technology Alliance, has now been set by Professor Gamman and runs with the RSA in 2009/10.

‘Successfully completing a research degree requires a passionate interest in your subject and a burning desire to investigate and question the things around you,’ she says. ‘It’s a cliché, but a research degree is the academic equivalent of running a marathon – minus the sweat and the aching limbs.

At the end you get to call yourself doctor instead of receiving a medal.’

To read more about MD Design Studies and research degrees visit www.csm.arts.ac.uk/courses/postgraduate/ma-design-studies www.csm.arts.ac.uk/csm_research_degrees

www.rsadesigndirections.org/projects/projects11.html www.designagainstcrime.com www.csm.arts.ac.uk/product-design

BioCouture project, Gucci Group PHD Scholarship

www.csm.arts.co.uk

‘Just the name Central Saint Martins will open many golden gates of opportunity for me.’

Vajiradej Bannag, artist and product designer

whose work was chosen for Paul Smith’s Kean Street office,

BA (Honours) Product Design (2005)