FARID. Summer 2018
THE SECOND ISSUE THE ZINE
EDITORS’ EDITORS’ EDITORS’ EDITORS’ EDITORS’ EDITORS’ EDITORS’ EDITORS’ EDITORS’ EDITORS’
LETTER LETTER LETTER LETTER LETTER LETTER LETTER LETTER LETTER LETTER
Hey again!
Well, firstly we hope you enjoyed our first issue. On behalf of everyone involved, thank you for being so supportive of FARID and of what we are trying to achieve. Now, let’s talk fashion.
It might be a reductive thought that we are focusing on fashion. Sometimes, being reductive isn’t a bad thing. The concept of fashion has been explored from a 360-degree point of view, in this issue of FARID. The team has worked tirelessly to produce a wide range of content, of which (hopefully) you will enjoy. With emphasis on sustainability and putting ethics in to aesthetics. We pledge our support for the FASHION REVOLUTION. Are you asking yourself, what is the FASHION REVOLUTION? Well, it’s a global movement calling for greater transparency in the fashion industry. We want to see a radical change in the way that clothing is produced, sourced and consumed so that fashion is much cleaner, safer and fairer for everybody and the environment too. Like who wouldn’t want that?! You can join the FASHION REVOLUTION by changing certain aspects in your lifestyle and the way you consume things, find out more throughout the issue. Alongside focusing on ethics, this issue is jam-packed with original visuals and editorials for you all to enjoy. So, grab a cuppa and delve into the second issue of FARID THE ZINE.
Much love!
HESHAM ABDELHAMID Editor-in-chief & Co-Founder
BENOIT GANESAN Associate Editor & Treasurer
LEWIS THOMPSON Editor & Co-Founder
IN IN IN IN IN IN IN IN IN IN
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4. VINTAGE EDITORIAL Photography by Max Bareham 10. RISING LOVE FOR VINTAGE CLOTHING Why are millennials fixated on old clothing? 16. Q&A: YAROSLAV PETRUNIN A hidden body builder 20. VIDEO: TEAM FARID TAKES ON GFW The latest on the talents of 2018 40. UPCYCLING: IKEA FRAKTA BAG Reuse till your heart is content 46. THE TEN MOST ‘OH MA GOD’ RUNWAY MOMENTS Kieran Galpin reflects on the most iconic fashion extravaganzas 52. STAY IN YOUR MAGIC Stay positive and stay fresh 54. PLAYLIST: LIFE IS TRICKY The ultimate playlist to boogie your worries away to 56. MONEY. FASHION. POWER Join the fashion revolution 58. AN A TO Z GLOSSARY OF EVERYTHING WRONG WITH THE FASHION INDUSTRY The problems behind the garments 62. SPENDING MILLIONS ON CHEAP CLOTHING Tamsin Blanchard explains it all... 64. GENDER PAY-GAP: DOING THE SAME JOB BUT GETTING PAID LESS Why does it exist? 66. POEM: WHO Ever wondered WHO made your clothes? 68. AN UN-FASHIONABLE REVIEW OF A FASHION DOCUMENTARY Cameron Hayward reviews Manolo: The Boy Who Made Shoes For Lizards 72. ARTISTS OF THE ISSUE: A COLLABORATION WITH XTRA.art A monthly competition focusing on the talents of tomorrow 74. Q&A: KRISHAN SHARDA 78. Q&A: PHOEBE WARD 86. PLAYLIST: SOUND OF THE ISSUE Discover the ultimate soundtrack to change the world in style. 87. GET INVOLVED Join the team!
IT TAKES A VILLAGE... SPECIAL THANKS TO ALL OF OUR CONTRIBUTORS
Max Bareham Kieran Galpin Alexander Gerogieff Oliver Walker Esser Studios Holly Harden-Sweetnam Nora Al-Shaheen Tamsin Blanchard Rhiannon Healey Sasha Haines-Stiles Alec Doherty Cameron Hayward Yinan Zhao Bryn Evans Krishan Sharda Phoebe Ward Gloria Ogunyinka Janita Sumeiko Yinan Zhao
SPECIAL THANKS University of Gloucestershire’s Student Union UoG Journalism ISSUU XTRA.art George Bucks Kaija Hunter Yaroslav Petrunin Lieke Dekker (Esser Studios) Graduate Fashion Week Norwich University Of The Arts Ikea Manolo Blahnik
We got the We got the Bringing back all that Our love is 4
photography & curation by MAX BAREHAM words by KIERAN GALPIN models: GEORGE BUCKS KAIJA HUNTER
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AN INSULT TURNED COMPLIMENT words by KIERAN GALPIN
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ravel back just five years to the days when luxury brands governed both the runway and the lives of everyday people. For the women, out there you no doubt recognise the ever-familiar glare of the ‘it girl’ with her Michael Kors tote bag and matching watch. Us men however were no different, because if you weren’t clad in a Ralph Lauren Bomber you simply were not current enough. Times have changed dramatically over recent years, and we are now in the golden age of vintage street fashion. The item of clothing may have changed but the ‘bitchy’ attitudes seem to be as strong as ever. In 2018 it is all about how owns the most exclusive vintage pieces, whether that be a pair of 1980’s Diadora sneakers or the unruffled embrace of a fur jacket. So, when did millennials become so invested in dressing from the past when our attitudes and values are so set in the future? Us Millennials seem to be the most nostalgic generation ever, obsessed with yesteryear as our minds and hearts are set on changing the future of the world. Everyone in some form indulges in the past, whether it be through fashion or streaming TV shows that have long since ended. In 2017 there was a 26.8% increase in Vinyl sales and that figure is still set to increase in 2018. The way we dress is no different from our streaming habits as vintage shops are now more popular than the staple high street retailer. Perhaps it came when a generation so set on individuality became bored with dressing in the same £25 jumper as everyone else. Fashion does have a habit of becoming repetitive, so set in comfortability that it remains stationary in history. By travelling back to a decade since past you free
yourself of the conformity mainstream fashion imposes on its wearer. Instead of becoming compliant in a mass produced sweat shop jumpsuit, your average trend setter can now be the next step in a statement pieces’ story. When we look at the financial climate during the time vintage fashion began to rise, we can clearly see the realistic reason people turned to places like thrift stores. Just after the recession the average spender could not indulge in the usual £85 jacket without selling a relative or auctioning off a kidney or two. The obvious place to turn to were stores previously thought of as ‘cheap’ and ‘tacky’ but steadily rising in the hearts of millennials. As the masses became steadily more invested in vintage stores those said places gained the traction needed to increase their inventory, and stock a wider array of pieces. The minimum wage for millennials ranges from £5.40 for under 18’s and just over £7 for those who are 21. Trends tend to come and go with each passing year but for a while now street vintage has remained the primary aesthetic for most millennials, not because of personal style but for the simple reality that is realistic spending. In huge store chains like Tk Max you can typically buy five items for the price of one River Island dress, so realistically speaking that is more money for student night at your local club. It is only in the past year, that the need for clothes has shifted slightly. Now, for millennials especially, there is a consensus that the money is well spent if used for an exclusive statement piece. Sports brands like Ellesse and Kappa sell a typical windbreaker for £70 and their vintage selections retail at considerably more. Festivals
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have also added to the vintage rage by subtly dictating millennial fashion, this has slowly seeped into the everyday lives of regular partiers. Bucket hats and wacky printed shirts were entirely confined to the muddy fields of festivals and raves but you are now more likely to see mainstream retailers stocking those items for everyday use. Your average shopper is more likely to invest £135 in a retro Palace T-shirt simply because there are very few of them on the market. Current millennial style seems to be less about cost and more centred around the exclusivity of the product. Typically, in the fashion industry, trends are pre-ordained by the huge fashion houses; this is still the case but is slowly changing to become the opposite. Once vintage street style became the new mass aesthetic we steadily saw a rise of retro looks among the world’s top models and 11
celebrities. It appeared as if the luxury glamour of the 90’s supermodel era was slowly diminishing, replaced by a grungy street tone already recognised by the public. Vintage street style - hugely popular and imposes a strange irony on the present. This is because present day millennials are so obsessed with the past even though their minds are so determined to make a better tomorrow. This is a strangely beautiful irony that not many people seem to realise, but it does not come without its controversy. In a bid to become individual have millennials simply turned the alternative into the mainstream? If this was true, then unfortunately it does detract from the brilliance of its origin. Regardless of its meaning, vintage fashion is at an all-time high. With each year, another decade becomes ‘retro’ so there doesn’t seem to be a sell by date on this timeless trend.
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YAROSLAV PETRUNIN “I want to support myself and my name. I don’t want to be somebody else.”
If you just bumped into Yaroslav Petrunin on the streets of Cheltenham, you could be forgiven for not suspecting that he is, in fact, a bodybuilder.
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on’t get me wrong, he’s a well-built guy, but his body isn’t bursting out of his clothes, with veins bulging from his arms and legs 24/7. But there’s more to this athletic, mild-mannered Accounting and Finance student from Russia, than meets the eye.
“I wake up and have my first meal before I go to uni, and then when I have a break after my lesson I’ll eat, then I have another lesson and go to the library for three hours and then I’ll eat again after that. “ “Basically, I need to eat all the time otherwise I’ll lose my results. My diet usually includes chicken, rice or sweet potato and vegetables, so it’s pretty plain and boring, but at the same time it’s quite efficient in terms of losing weight and gaining muscles.”
Yaroslav recently took part in the Miami Pro competition, run by World Beauty, Fitness and Fashion. The competition saw 250 participants modelling in front of an audience of almost 600 people. For someone who seems so unassuming, to think of him on stage in front of all those people, half-naked too, is a strange concept.
The willpower needed to stick to that diet is something a lot of us probably lack, highlighting the mental strength needed to be a bodybuilder. When people first look about bodybuilders, it’s difficult to look past the physique and outer strength and see the work and dedication needed to make progress.
I first met Yaroslav in a photography studio, and over the course of a few hours, it became apparent just how many different sides there were to him. He seemed shy at first; uncertain about the day’s schedule and what was expected from him - far from the swagger and confidence people stereotypically expect from bodybuilders. But as time went on, he began to open up and let his guard down. Despite his apparently quiet nature, it turns out there are three things about bodybuilding that really appeal to Yaroslav, and the one that appeals most to him, is the one that brings out the exhibitionist in him.
Yaroslav’s physical routine is just as gruelling as his diet, too. He works out five times a week, which is five times more than I ever manage, and each workout lasts for roughly an hour, but sometimes they go on a bit longer. “I enjoy the actual process of lifting weights and getting stronger, but the third thing that I enjoy most is the performance, so how you pose and how you introduce yourself to lots of people. When you’re on the stage there’s hundreds or thousands of people and you need to introduce yourself and be an actor actually.
“The first would actually be the dieting. When you’re dieting I would say that you’re leaving your comfort zone and it shows real power over your body.” Now, as someone who more than occasionally enjoys a kebab, I know I have no power over my body, but Yaroslav’s diet is calculated and meticulously worked out. 16
curation by ALEXANDER GEROGIEFF photography by LEWIS THOMPSON words by OLLIE WALKER featuring YAROSLAV PETRUNIN
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“You want them to think, ‘wow he’s amazing.’”
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“You need to get their attention, so they look at you and react. You want them to think, ‘wow he’s amazing.’” You can have the best shape ever, you can have lots of muscles, but if you’re not an actor and if you can’t do poses properly and grab the attention of the public then you’re literally nothing in this world.” I won’t lie, considering how quiet he was when we first met, Yaroslav’s response took me a little bit by surprise. It turns out that being on the stage gives him an adrenaline rush, much like it does for runway models, actors and musicians. Some people can freak out and get scared, but for me the coolest thing about this sport is when you’re on stage because at this moment you feel freedom and you can do whatever you want, you can introduce yourself properly and be yourself in front of all these people. I think if you don’t enjoy that, then this sport is not for you. The workout and dieting is just backstage stuff, but the actual bodybuilding is about being on the stage.” This rush from being onstage is not an alien concept. A lot of celebrities began life as shy and quiet individuals, who found their feet by treading the boards as kids. You even see seasoned performers with an incredible stage presence, who step offstage and become as quiet as mice. David Bowie, Adele and even Elvis have all admitted to suffering from stage fright and anxiety in front of crowds. Yaroslav told me that he wasn’t always as confident as he is today, particularly in his body. “When I was 15/16 because as I said before I had extra weight and I couldn’t feel as confident as I feel now. People are always judging you based on your body and of course appearance and presentation are very important, so when I was 16 I wasn’t very confident compared to now.” And even with the condition that his body’s in now, he’s not completely happy. While we sat waiting to get started, he made the same comments that we all make; complaining about how fat we think we are and how we have so much work to do.
of bodybuilding I’m still fat. I’m not lean enough so that’s why I’m working and working and working all the time. It’s a long process.” Much like in the modelling industry, body image is a huge part of bodybuilding. People who we’d all class as stunning examples of humanity can perceive themselves to be too big, or too small or misshapen. Body dysmorphia affects around 1 in 50 people, and can lead to illnesses like anorexia, depression and anxiety. A study published in 1993, found that amateurs in sports that value thinness or muscularity, like ballet dancers and bodybuilders, show a high degree of body uneasiness and inappropriate eating attitudes and behaviours. Another study from 1995 found that bodybuilders suffer from higher rates of body dissatisfaction and bulimia than other athletes. When people think of bodybuilders, most people’s minds flick to images of what’s known as ‘golden era’ bodybuilders, like Frank Zane, or more commonly, Arnold Schwarzenegger. Arnie and the other hugely imposing figures left their mark on history and are still admired today, over 20 years since the end of the ‘golden era’ which stretched from the 1960s to the ‘80s. “(Schwarzenegger’s) probably the best, he’s the legend, but I’d like to build my own shape. I’d like to show how I see my body, and because I’ve got my personal view of beauty of the body and my view of the best shape, I’m working on being myself.” With more and more chiselled abs across the media and people working on their figures in the gym, interest in bodybuilding has risen rapidly over the past decade. We could be entering a second golden era for bodybuilding, and there’s room for more legendary figures like Arnie to take to the podium and make history. But Yaroslav has his own ideas about where he wants to go in the future.
“I want to support myself and my name. I don’t want to be somebody else. I want to be someone completely different to “When you’re doing this you never think of yourself what’s been done in the history of this as a masterpiece or in the best shape, you’re always sport.” on your way so I’m never satisfied with my body. Of course, I feel confident about my body, but in terms 18
Interview & Words by OLIVER WALKER
“Of course I feel confident about my body, but in terms of bodybuilding I’m still fat.” 19
After relocating to London’s eclectic and art-centric Brick Lane, GRADUATE FASHION WEEK - in its 26th year - is still propelling the careers of the UK’s brightest fashion talent into the mainstream consciousness. Fashion supports 797,000 jobs domestically alone, contributing £26 billion to the economy. Graduate Fashion Week is a crucial part of the dynamic – fuelling innovation in all parts of the fashion business. It is a showcase for the imagination and possibilities – shaping the way fashion works as well as looks. #TEAMFARID took a trip to good ole’ London to bring you the latest on the rising talents of the class of 2018. We had a chat with fashion design students from NORWICH UNIVERSITY OF THE ARTS about their experience at GFW and their aspirations for the future. You can watch the video by clicking the play button.
FARID X
GFW Click the play button to watch the video
special thanks: NORWICH UNIVERSITY OF THE ARTS & GRADUATE FASHION WEEK photo and video by LEWIS THOMPSON & BENOIT GANESAN video editing by BENOIT GANESAN colourist: LEWIS THOMPSON interviews by GLORIA OGUNYINKA featuring garments by fashion design students from NORWICH UNIVERSITY OF THE ARTS 20
garments by ESME EVANS 21
garments by ALICE BARNEY
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garments by HARRIET BORNEMANN
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garments by JESS WALKDEN
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garments by AMY BURT
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garments by NINA LAW
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garments by ESME EVANS 27
garments by JESS WALKDEN
garments by ERIN NEARY 28
garments by RACHEL YIM 29
garments by JESS WALKDEN 30
garments by NINA LAW 31
garments by JERRY HUANG 32
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garments by LAURA SUTTON 35
garments by ESME EVANS 36
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garments by BRYAN WAN
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IKEA IKEA WORDS BY HESHAM ABDELHAMID BAG DESIGN BY ESSER STUDIO
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umans are the only creatures on the planet that create waste. The by-products from other creatures function as food or shelter. But not us humans; we have broken the loop. We now create toxic waste that will remain on the earth for hundreds of thousands of years. And yet we are such creative beings. One way we can change it is through ‘upcycling’. Upcycling is the ‘process of converting waste materials or useless products into new materials or products of better quality or for better environmental value.’ In today’s world, stuff is wasted and thrown away, mostly by people who have more than enough stuff. While others go without. We chuck food away, while in some parts of the world people are starving. And, many things which could be put to good use end up in landfill. We’re a wasteful lot. But we don’t have to be. Lurking in garages and sheds all over the world are dusty items which are not loved anymore, but are still in good condition. An old sofa or a discarded toaster, which someone else might
need. So, instead of throwing it away, give it away. Online groups such as Preloved are one way to upcycle and get rid of stuff you don’t want. These types of services sell anything from wheelbarrows and wedding dresses to sofas and motoring parts. And, people all over the world are building their homes out of recycled waste. Such as Senior Design Lecturer at the University of Technology, Sydney, Rod Hayes who built his home out of recycled trusses, hard-wood timber and lots of stuff from an old railway junkyard. Students are always broke, it’s a fact. So, we all have to figure out ways to freshen up our day-to-day life. One item students will 100% have lying around is IKEA’s frakta bag. We all used the frakta bag to move into our halls or move copious amounts of alcohol to a house party, once. Now, it’s time to upcycle that big blue bag, that was initially designed to be reused. The talented people from across the bond at Esser Studio bring to you a practical design which upcycles IKEA’s iconic bag for life.
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FRAKTA FRAKTA FRAKTA FRAKTA FRAKTA FRAKTA
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FRAKTA FRAKTA FRAKTA FRAKTA FRAKTA FRAKTA
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THE WONDERFUL EVERYDAY IKEA’s Frakta collection is so versatile, the internet discovered that in early 2017 with the reuse of the blue bag in various and certainly bizarre different ways. Upcycling is so important. With the rising numbers of plastic waste and the dangers our surrounding environments are facing, we need to figure out ways to minimise our waste. We also need to think about everything we buy, think about the ethical and environmental issues each product you spend money on could cause. In order to stay in love with our things; we need to either change or adapt our thinking and ask, does the item which is being used have long term durability and recyclability? That’s the only way of achieving the wonderful everyday.
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curation and words by KIERAN GALPIN
The world of fashion may seem all glitz and glamour, but the click-clack of heels down the runway is nothing without its scandal and shock.
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Naomi Campbell at Vivienne Westwood’s A/W 1993 show Vivienne Westwood has become known for her challenging and innovative fashion that continues to challenge normal conventions with every year. The location is Paris, 1993 and as rising star Naomi Campbell hits every beat down the runway, disaster strikes. One misplaced foot later and the supermodel becomes a super noodle, hunched on the floor with a shocked grin plastered across her face. That day will go down alongside the phone throwing incident as one of Campbell’s most defining.
The Hadid sisters - 2017 Sisters who fall together stay together seems to be a staple mantra in the fashion industry, at least as far as the Hadid sisters are concerned. As Gigi began her attack on the runway during Anna Sui’s 2018 show, the strap of her stiletto began to unravel. Although this wasn’t one of the displayed features of the shoe, what it did show is Gigi’s great display of professionalism and overall fierceness. In fact, many onlookers hadn’t even noticed the mishap as Gigi kept her composure during the walk. It was only when sister Bella acted as a crutch, did the everyone finally realise what had happened. Funnily enough this echo’s Bella’s own fall from grace in 2017 during Michael Kors. As the sister approached the catwalk corner in a gorgeous embellished dress she, unfortunately, fell to her knees, tweeting later that day “Guys, I am a professional break dancer now, I forgot to tell you”.
Valentino: The Return of Blue steel - 2015 “Have you ever wondered if there was more to life, other than being really, really, ridiculously goodlooking?” Because after Valentino’s 2015 show it is no longer in question. Ben Stiller and Owen Wilson showcased ‘real modelling’ in what was a genius marketing tool for the upcoming Zoolander 2. It was no surprise that the occasion went viral and was sure to bring extra attention to Valentino’s lace dresses that appeared just before the actor’s arrival.
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PETA protest at The Victoria Secret 2002 show Every year us common folk lay sprawled across our beds eating ice cream as we delve into that year’s instalment of the Victoria Secret show. The 2002 show, however, had some surprise guests on stage who were not the usual aesthetic Victoria Secret presented. Four women representing PETA (People for the ethical treatment of animals) stormed the stage with signs that read “Gisele: Fur scum”. This uninvited intrusion came after Gisele had starred in an advertisement for Mink coats. While Tyra Banks would have been the star of the night with her Flamenco dance number, the 2002 Victoria Secret show will always be known for those four angry PETA members.
Kate Moss at Louis Vuitton’s 2011 show The all-knowing entity Google says that “Good girls go to heaven and bad girls make you feel like you’re in heaven” and as history shows us, there is no one as bad as Kate Moss. Moss has always been something of a bad girl, and even at 16 she was described as a “dirty realist”. Despite her rebellious nature it was shocking to see Moss spark a cigarette during her assault on the catwalk. The show was centred around the idea of ‘freedom of choice” and so as the trolls continued to display their disgust, designer Marc Jacobs revelled in his genius message. With the theme of the show put aside this was still a grungy display of ‘badassery’, something moss has become the poster child of.
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Anything CHANEL does Every year, French fashion dynasty Chanel continues to top the previous year’s fashion show. Their catwalks have transcended mere fashion shows and have become living art exhibitions that often capture the hearts and minds of its audience. When you have staged your show in a makeshift rocket silo and grocery store where is left to sashay down the runway. Well, this year Chanel was inspired by mother nature herself; as they recreated something from a fairytale inside the Grand Palais. With the floor littered with leaves and invitations to match, the front row would not be ‘leafing’ soon (Pardon the pun). The fashion itself was quintessential Chanel, with bulky coats and elbow length gloves being showcased to the max. Set your alarm clocks ladies and gentleman because if there is one thing we should be waiting for it’s the next Chanel show.
Fashion Royalty, McQueen The Queen Another member of fashion royalty, McQueen destroyed the conventions of fashion year on year until his sad passing in 2010. Making huge historical statements was McQueen’s forte and there was no more shocking than his depiction of Joan of Arc in 1998. As the floor was ignited to form a circle around what could only be a very nervous model, crowds were said to be in total silence at the spectacle before them. Combing the themes of sex and female empowerment were staple McQueen aspects that continue to drive the fashion house into the future. There were so many shows to choose from but the use of pyrotechnics display what it truly takes to remain etched into the minds of fashions elite.
Sashay Away, for no reason.
Now we couldn’t discuss shocking runway moments without noting the impressive ‘fashuns’ that prance down the runway of the popular reality show. The most shocking moment came in season four when frontrunner Willam Belli was disqualified just after hurling to stage right. Since her exit there has been an air of mystery around “what did Willam do” and it is only this month that light has finally been shed. In a twitter exchange with comedian Leslie Jones, Willam spilt the T on exactly what went down all those years ago. In a series of screenshots, Willam Explains the numerous occasions the powers that be and herself came to blows. To paraphrase a long situation, it seems that Willam was removed from the show after standing up for what she thought was right. Read the screenshots here. 50
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The Queen of Fashion, literally Anna Wintour move aside because fashion has a new matriarch. This year, At a Richard Quinn show, the utopian hierarchy of the front row was shifted with the new ‘IT’ girl, none other than Queen Elizabeth herself. Cosying up next to the Vogue Editor in chief, onlookers couldn’t help but hope the famous words of “oooh cows” would spill from her majesty’s mouth. Her baby blue dress by Angela Kelly had the audience questioning whether she would be appearing as a model herself, unfortunately, this was not the case (Although there is always next year). This rare occasion is one the fashion community and the world will hold dear to their hearts forever. Long live the Queen.
“We were all rooting for you!!” No, this statement was not in relation to Hillary Clinton’s email scandal but instead took place on cycle four of Americas Next Top Model. Although not strictly a catwalk moment it did appear on a runway so I am letting it slide. After supermodel and host Tyra Banks ever so slowly revealed the names of the girls who would remain in the competition, she then shocked the world with a surprise double elimination. If that wasn’t enough to have you ‘gagging’ then you simply had to wait for a few more uncomfortable moments as the wannabe models said their goodbyes. Tyra expressed her “admiration” for Rebecca’s show of emotion but the mood turned sour when addressing Tiffany. The following rant of a lifetime has inspired memes for over a decade and is still used when someone just needs to say… “BE QUIET TIFFANY”.
So, now you are educated on the shocking moments in fashion history, keep your eyes open for future noteworthy events. Somethings to keep an open mind about are: General falling in any context, shock eliminations, surprise front-row guests and location, location, location! 51
Life is tr Stay in y icky baby our magic
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Life is tricky baby Stay in your magic “A constant human error: to believe in an end to one’s fantasies. Our daydreams are the measure of our unreachable truth. The secret of all things lies in the emptiness of the formula that guards them.” - Floriano Martins. From time to time we all forget who we are. Someone new could enter our lives at any point and temporarily change the way we think, affecting our behavior. Exposing ourselves to different people is indeed a benefit as it opens our minds and broadens our horizons. However, we must remember never to stray too far from our own beliefs, as for when tricky times arise, we as individuals can only depend on ourselves. Part of this is staying in your “magic”, for this is what makes an individual themselves. Magic for some may mean embracing and expressing oneself through style.For another, it could mean staying connected with nature and caring for the world we share. The most fundamental part of “staying in your magic”, is the ability to never stop dreaming, for that is what keeps us happy and provides each of us with passion and purpose. Filled with all things I love, my piece is an expression of this seasons trends. Currently crushing on 70’s fashion, our model wears denim cullottes, a silk sunrise striped shirt, and sliders. Paint swatches of favorite shades of denim, embrace this summer with fresh blues and alternative outfits, to step away from the crowd and “stay in your magic”. Holly Harden-Sweetnam
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c i g a m r u o y n i y a t S THE ULTIMATE PLAYLIST When you’re feeling stuck in tricky spot, remember jamming is not a thing of the past, so here’s a mix of 70’s tracks that will keep you dancing in the moonlight, having the time of your life.
“I find romance when I start to dance in... Boogie Wonderland” - Earth, Wind and Fire
“It’s such a fine and natural sight... Everybody’s Dancing in the Moonlight”
(Ok, not quite all 70’s....)
- Toploader
“’Cos everyday we pay the price with a little sacrifice... Jammin’ till the jam is through” - Bob Marley
“It’s only me,who wants to wrap around your... Dreams”
- Fleetwood Mac
“The moment, that I first laid eyes on him, all alone on the... Edge of Seventeen” - Stevie Nicks
“You were made for me and girl I was made for you... I was made for lovin’ you baby” - KISS
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“See that girl, watch that scene, dig in the... Dancing Queen” - ABBA
“But there ain’t any use in pretending, it could happen to us any day... How Long” - Ace
“Everybody shakin’ and we’re stayin’ alive... Stayin’ Alive” - Bee Gees
“A lady who’s sure all that glitters is gold and she’s buying a... Stairway to Heaven” - Led Zeppelin
“That ain’t workin’ that’s the way you do it... Money for nothin” - Dire Straits
“Your voice is soft like summer rain and I cannot compete with you... Jolene”
- Dolly Parton
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Have you ever wondered who made your clothes? How much they’re paid, and what their lives are like?
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ur clothes have gone on a long journey before they hit store shelves, passing through the hands of cotton farmers, spinners, weavers, dyers, and sewers. 75 million people work to make our clothes. 80 percent of them are women between the ages of 18 and 24. However, the majority of the people who make clothes for the global market live in poverty, unable to afford life’s basic necessities. This needs to
Money. Fashion. Power. This section will explore how money and power come into play across the fashion supply chain. What happens to your money when you purchase clothing? Who is getting a bad deal, and what can you do about it? We will also introduce you to the MONEY. FASHION. POWER GLOSSARY, a collaboration with Nora Al-Shaheen. An A to Z guide of everything wrong with the fashion industry.
change.
As consumers, we have power. We are the driver of trends, and every time we buy something, we’re voting with our wallet and interests. When we speak, brands listen. When we double tap, brands love it. As consumers, we need to know who makes our clothes and under what conditions. We need to be able to scrutinise what it is we’re really paying for. We need to know that people who clothe us are being paid enough to live with dignity. Otherwise, we’re effectively and unwittingly contributing to the exploitation of others.
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This section features contributions by creatives who support change within the world’s most influential art form. You will learn the story of your clothing and how to become an advocate for the people who make your clothes.
AUDITING is the process of reviewing a company’s finances, working conditions, and environmental practices. BINDING REGULATIONS It uncovers risks to workers’ safety and opportunities to improve require companies to act in ways that protect workers working conditions. and the environment. Governments can and should hold companies legally accountable for how they behave, but they often don’t.
AZ TO
A glossary of MONEY FASHION POWER lingo. The processes and the elements behind the garments. Words by Nora Al-Shaheen
COLLECTIVE BARGAINING is a process where employers and unions negotiate to determine fair wages and working conditions.
FORCED LABOUR is when people are forced to work against their will or by threat of force or punishment. Estimates say 21 million people are forced to work, many of which are in the cotton and garment industries.
JOIN A UNION
LIVING WAGE
a union is an organisation made up of employees which looks after worker interests and protects their rights at work. Unions are key to solving the fashion industry’s problems.
is a wage a worker earns in a standard working week that is enough to provide for them and their family’s basic needs - including food, housing, clothing, education and healthcare.
KIDS AT WORK child labour is work that deprives kids of their childhood, their life potential and dignity. Estimates say there are 168 million child labourers. 58
ETHICAL TRADE means that retailers, brands and their suppliers take responsibility for protecting the environment and improving the working conditions of the people who make the products they sell.
DUE DILIGENCE is a process through which companies assesses their impacts on human rights and the environment and then take actions to reduce any negative impacts.
GRIEVANCE MECHANISM is a complaint process that can be used by workers, allowing them to voice concerns about working conditions without fear of punishment or retribution.
INDUSTRIAL RELATIONS
HOMEWORKER is someone who’s subcontracted, works at home and is commonly paid by each piece they produce rather than an hourly wage. Homeworkers are mostly female.
NON-COMPLIANCE
MINIMUM WAGE
is the failure to act in accordance with the law, regulation or a company’s code of conduct when it comes to social or environmental issues.
is the lowest wage rate set by the government at which companies are legally required to pay workers. In developing countries this is often set at the UN poverty level, which is US $1.90/day.
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refers to negotiations among workers, managers and governments on business performance and working conditions. Good industrial relations are key to a happy workforce.
PURCHASING PRACTICES
OCCUPATIONAL HEALTH & SAFETY
often involve shortterm contracts, bad communications, pressure to deliver cheap prices and last-minute changes to orders. These enable bad conditions for workers.
QUICK LEAD TIMES refer to how long it takes to go from design to final product. A typical lead time has gone from 6 months to a couple weeks, which can increase risk of poor working conditions.
refers to the safety, health and welfare of people at work. Many of the people who make our clothes work in dirty, dangerous and exhausting conditions.
TRANSPARENCY means companies know who make their clothes, where they are made and under what conditions, and they share this information with the public. 60
RESPONSIBLE CONSUMERISM
is intentionally buying goods or services that have minimal to no harmful impacts on humans, animals, or on the environment. It’s voting with your $.
Social protection includes access to health care and income security such as sick pay, injury pay, parental leave, pension, subsidised food or housing.
WOMEN’S EMPOWERMENT
UPCYCLING is the process of reusing materials in a way that increases a product’s value and makes it desirable again, saving garments from going to landfill.
VALUE CHAIN refers to all the steps it takes to produce and sell a product, from farm to closet.
over 80% of garment workers are women who tend to be stuck in low skill, low pay jobs. Education, training and unions are key to enabling women to negotiate better conditions.
EXPLOITATION
ZERO-HOUR CONTRACTS
is not paying a living wage for someone’s work. It may also involve practices such as physical intimidation, child labour, forced overtime, restricted movement and limiting unions. YOUR
are contracts in which employers are not obliged to provide a set number of working hours each week and consequently do not have to provide social protections.
VOICE
has the power to make a positive difference. Ask questions. Tell the brands you shop from and your local policymakers that you want cleaner, safer and fairer fashion. 61
Money owns power over the fashion world. But do we have the power to change things for the better?
SPENDING MILLIONS ON CHEAP CLOTHING
Tamsin Blanchard Member of the Global Coordination Team for Fashion Revolution & Associate Lecturer in Fashion Journalism at Central Saint Martins
No matter how good our intentions, we all know how easy it is to get a little carried away on a Saturday afternoon shopping with friends.
We are in a mall, we see the discount signs, the rails of clothes which are so cheap we know it’s too good to be true. But we can’t resist. We buy two for the price of one. Shopping gives us a buzz, a quick thrill that lasts until we get home and we realise there is no more room in the wardrobe for anything else. And we haven’t even worn last week’s bargain buy yet. It’s like over indulging at lunchtime or gorging ourselves on cakes. After the initial pleasure, we feel a little queasy. Clothes we see on the high street and in artfully directed images online are so seductive. We want 62
the look. We love the fact you can buy that jumper in so many different colours (one for every day of the week!). We’ve seen it on our favourite girl crush. We want to be that girl. We are exposed to so much - the non-stop stream of Instagram loves, Snapchat sales, our trusted Youtuber’s hauls and cool recommendations. But nobody can pretend not to know the reality behind the speed at which we all shop now, the true cost of the instant fashion we pop into those shopping baskets, and the prices which might be affordable to you and me but which are actually a horrible lie.
It doesn’t add up. Just think about it the cost of the cotton, the farmer’s time sowing the seed and harvesting it (not to mention the cost of the chemicals to stop the weevils destroying it and the gallons of water used to nurture it), the time spent to weave the cotton, the cost of the cloth, the time spent cutting, sewing and finishing it to make a garment. And then add to your calculations the shipping, and of course, the designer’s time, the branding, the packaging, the marketing, the advertising. All of those steps condensed into a price tag on a dress that costs less than the price of a cinema ticket...how is that possible? The answer of course, is that it’s not. That’s just basic common sense.
is feeding a frenzy that is seriously unhealthy - and the bottom of the food chain is being starved in the process. So how each and every one of us spends our money is really important. There is a ripple effect, and by spending more mindfully, we have the power to make waves – and ultimately to slow down the fashion system.
If you’ve ever made a piece of clothing yourself, you will quickly understand the time and care it takes to make a piece of clothing. Unlike cars which are pretty much made by robots, our clothes are still made by human hands. Everything you wear, no matter how simple, has been sewn by a skilled worker – usually a woman following in the footsteps of her mother before her - who makes so many garments an hour that she might sometimes actually feel like a robot. We have dehumanised the people who make our clothes because we have made it ok for their labour to be just a few cents more than worthless. Every time we buy something that costs less than we think it should, we are implicit in that transaction. Money - our money - is what makes the fashion world go round. By disrupting the status quo, we have the power to change things. The high street fashion model is - like the supermarkets - built on excess consumption. Have you ever looked at the bulging rails of your favourite clothes store and wondered how on earth they are going to sell all of that product? And then you go in a week later and find it’s all been reduced to half price. And the rail is still full. This glut of clothes 63
How each and every one of us spends our money is really important. By disrupting the status quo, we have the power to change things. Already, some high street stores are taking notice. They know it’s no longer cool to promote the idea of throwaway fashion. Instead, I am starting to hear brands talking about clothes that are designed to hang in our wardrobes for longer than a season. They talk about us buying less, buying better. Perhaps they know the game is up. The idea of making more to sell more is running out of steam. It certainly isn’t making good business sense to be constantly on sale. So my recommendation to you is to stop, think, shop around. Do some research online. Look for retailers and designers who promote fair trade. Shop locally from independent designers at market stalls who you can talk to - and who should be happy to tell you all about their supply chain. The more we know about who made our clothes, the less places there are for the industry to hide unethical practices. And how we choose to spend our money is the surest way to make our voices heard. Ker-ching!
Gender PAY GAP.
Why does it exist? Words by RHIANNON HEALEY
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here is no denying that there is certainly is a difference between the earnings of men and women, with more than seventy-five percent of UK companies paying their male staff more than their female counterparts, and figures from nine out of the seventeen sectors that make up the economy show that men on average earn 10 per cent or above than women. But what exactly do we mean when discussing the gender pay gap? In layman’s terms, the gender pay gap is the percentage difference between average hourly earnings for men and women. To clarify, the gender pay gap is not the same as having an unequal pay gap, which is illegal. The development of the gender pay gap can occur if there are more highly paid men than women in a company, or if the company deems women to be less experienced than their male counterparts, or if women experience a deduction to their salary after taking maternity leave. However, it has been said in no uncertain terms that there’s no one singular reason behind the gender pay gap – it’s a multidimensional issue that still has a long way to go in being addressed. Sucheta Nadkarni, professor and director of the Wo+Men’s Leadership Centre at Cambridge Judge Business School, has said that despite flaws, the figures revealed by companies do indicate men are paid more than women on average. 64
Under the Equal Pay Act 1970, and more recently, the Equality Act 2010, it is unlawful to pay people unequally regardless of whether they are a man or a woman – finally. This applies to all employers, no matter how big or small and with no exceptions. What the gender pay gap doesn’t tell us is whether women are being paid less than men for the same work, which has been against the law since the Equal Pay Act was introduced back in 1970. However, it does give us a measure of the differences in men and women’s working patterns: different occupations, part-time roles being predominantly taken up by females – and the lack of women in senior roles. Therefore, it makes some sense that a company might have a gender pay gap if a majority of men are in top jobs, despite paying male and female employees the same amount for similar roles. Women are more often required to care for young children or elderly relatives. Based on this lifestyle, they are then more likely to work in part-time roles, which are often lower paid or have fewer opportunities for progression within a company. Discrimination against women is, therefore, another cause of the gender pay gap. Sucks for us, right? Sam Smethers, the chief executive of the gender equality campaigning charity the Fawcett Society, said she found the admissions surrounding bonuses particularly powerful. “It’s hard to argue that a 70% or 80% bonus pay gap is justifiable. That
won’t be driven by performance alone, it will be asked for. Women are not 70% or 80% less productive than men; when women ask for bonuses they are seen as pushy.” Surely this isn’t the right attitude to have in tackling this issue?
responsible, those at the top certainly need to re-evaluate this process: it’s simply not fair to pay someone more when their colleague does exactly the same job. It doesn’t make any sense. There is some cynicism about the likelihood of the findings triggering change. Either way, something drastic has got to change. It’s sad that many women who speak out against this inequality are demonized for being pushy, but more that they are actually scared to speak out for the fear of losing their job. There is far too much stigma surrounding the want for equal pay for women. Come on guys, it’s 2018 – it’s time to close the gap and tackle the other issues in the world.
The gender pay gap isn’t just confined to women in these workplaces – you might be shocked to know that the popular show The Crown has been revealed to have a shocking gender pay gap, with leading actress Claire Foy being paid significantly less than male costar Matt Smith. Both have given a response to this, with Smith stating “I believe that we should be paid equally and fairly and there should be equality for all…not just in our industry, in all industries.” It should be said that the actors and actresses are not aware of who receives what, and while they cannot be held 65
Illustration by ALEC DOHERTY
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WHO?
Poem by SASHA HAINES-STILES
Who Who Who Who
grew this cotton sowed the seeds spun these threads wove this cloth
Who Who Who Who
brags her bags crows her clothes swoons her shoes posts the most
Whose silk is that Who turned the worm Who sheared the sheep Who’s getting fleeced
Who sets the price Who pays the cost Who’s asking Who needs to know
Who fixed the hem Who broke the system Who’s on her feet Who made my clothes
Who embroiders truth Who’s naked underneath Who are you Who are you wearing?
Who sewed the seams Who stitched the tag Whose fingers bled Whose fault is this Who Who Who Who
grew the brand hemmed and hawed hired the helpless dyed for you
Who sweats the details Whose sweater is that Who shot it first Who gets a fair shot Who’s Who’s Who’s Who’s
overdressed oppressed high on fashion high on fumes
Whose dress is to die for Who shops to live Who gets the bargain Whose life’s on sale Who’s always searching Who’s never satisfied Who’s got nothing to wear Who cares
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The Boy Who Made Shoes for Lizards Review by CAMERON HAYWARD
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ashion is like art, I feel distant from it because I am often told it’s not for me by people in the ‘fashion world’. One phrase I repeatedly hear is “you just don’t get it”. It seems odd to me that people who have a passion wouldn’t try to encourage others into their circle. An inflated sense of superiority Is something I feel emanating from fashion designers, to fashion bloggers. I’ve not been invited to the party, so I don’t pay attention to it. As an outsider to the world of fashion, I am frequently told of documentaries that will change my perspective and draw me in to the lucrative world of fashionistas. Though they don’t usually feel all that welcoming, offering me a peak through the shop window into the world of high fashion, without actually letting me in. So, when a friend of mine told me about Manolo, I didn’t really want to listen. For some reason the idea of yet another documentary aimed at converting me into a fashion lover didn’t have much appeal. When I found out the main subject was shoes, it changed my mind. Shoes are where fashion and I meet, the crossroads of my interests, and the fashion scene.
clothing, all without most of them knowing who he is. For Manolo, it is clear that fashion was always a way to express himself, and he only ever wore what he wanted to, only ever drawing what he wanted to draw. In the documentary, Anna Wintour said that the golden age of British fashion was down to the main motivation being passion and love for your craft, rather than how well it might sell. Manolo represents this philosophy beautifully, watching him smile and his eyes fill with fire when he touches brush to paper shows a love for his creations that is hard to find in the most intimate artist. The fact he still creates every template for his factories by himself tells me he doesn’t trust anyone else to see the things in his own pieces that he can see. Manolo, as many fashion designers are, is revered as a god. Creating such beautiful ‘creatures’ as he calls them, does give an undoubtable level of awe. But the thing this documentary does so beautifully is show how human Manolo is, despite his magical creative abilities. From the introduction with Manolo making sure the camera is getting his good side, to him tending his garden by himself. For such a gilded figure to say something like “I’m still learning” is an incredible moment to capture and makes for a warm welcoming hand to guide me through the world of fashion. No more human a moment have I ever seen than when Manolo met Galiano. it’s a beautiful moment, two friends who clearly love every second spent with each other. John Galiano entering the room put a face on Manolo that
At least, I thought I loved shoes. I love the appearance of shoes, and I appreciate what they bring to an outfit, but in fashion there is a whole other level of appreciation for them. I had never even heard of Manolo Blahnik before watching this documentary, which seems now to be completely ridiculous. He is a true creative visionary, and the kind that can shape the way a whole generation thinks about
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I had never seen, one of sheer delight and genuine shock. These two icons of fashion, then sit together and reminisce about how they met, both so happy and comfortable next to each other. I feel my prejudices towards people in the fashion circle melting away with this documentary. I spoke before about how fashion designers are revered as gods, and that’s truer for those outside fashion than inside. But what this does so well is show that they are people, and that these creations come from someone’s genuine expression. That’s the reason it’s a great watch for someone like me. I felt such a desire to know even more, about Manolo, about the stories he tells, and the people who speak about him. If it weren’t already obvious, I’m not a fashion geek, but having learned more about the man behind the shoes, I’m starting to become one. Something I especially appreciated was that the title is immediately explained. My first question was answered, he really did make shoes for lizards. Albeit foil shoes but its such a wholesome beginning, and one that satisfied my curiosity right off the bat. Truly great documentaries make great use of interviews, and this is absolutely no exception. Many varying but equally intriguing points of view are brilliantly presented by a huge host of household names. From the fabulous and wise Andre Leon Tally to the equally fabulous but better-looking Naomi Campbell, the documentary is a testament to the scope of Manolo’s influence. It’s a documentary that can single-handedly convince a sceptic of the importance of fashion, without losing its
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touch with reality. The stories told throughout are captivating, and beautifully articulated by some of the founders of modern day fashion. Having said that, it is not without its faults. The recreations of Manolo’s past are, at times, distractingly bad which can take you out of the magic. Also, some of the framing used for interviewing was a bit strange. I had to rewind Anna Wintour about five times before I could pay attention to what she was saying the framing was so bad. I still feel a great separation from shoe design, while Manolo can see every detail that makes a shoe a masterpiece or a mistake, I see a pretty shoe. ‘I get this shoe’ says Naomi Campbell admiring a ghastly piece of animal-print boot. This is what I feel separates me from fashion in general, that I am made to feel like I just don’t get it if I don’t like something a prestigious designer has created. The documentary does a great job of sparking an interest, and it will not be the last fashion documentary I watch. But I still feel beneath those in fashion, and perhaps that’s part of the point. Clothing, especially high fashion, is all about gilding the lilly, taking a step too far because it’s what’s needed to push the boundaries. At its core though, what this documentary taught me is that fashion is mostly about expression. Whether you express yourself by following trends, creating, or being like Manolo and dressing like a 19th century Spanish gentleman, fashion lets people explore who they are. If there’s one thing to learn from the experience of watching this documentary, it’s that fashion is important, whether you want it to be or not.
ARTISTS OF THE ISSUE A collaboration with XTRA.art
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Creating a creative network and nurturing talent is at the centre of this collaboration. FARID and XTRA.art will hold a monthly competition to showcase and the nurture young talents. To find out more about the competition and how to apply – head over to XTRA.art’s website.
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KRISHAN SHARDA
What type of art most i
Growing up, my passions found film an amazing mi photography and perform on screen to educating m camera, film-making has see being a Film Director set; being the driving forc this department as I feel m suits the job role.
How did you first get in
At the age of 16, I began the prospect of higher ed academic and creative su would take me. I came ac introductory filmmaking c gave me the focus and m was excited to finish scho a Saturday. Once finished a career in film I would ne contacts in the industry I and experience to allow m freelancer. I have since vo films as possible, starting designer, and now as a Pr have now worked on ove date.
What are some challeng how have you surmount
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N A
KRISHAN SHARDA is the first winner of the FARID x XTRA.art competition. We had a little chat with the aspiring director about what the future holds.
interests you?
s lay within the creative mediums. I ixture of such mediums: art, music, mance. From analysing performances myself on the technical craft behind the been my passion from a young age. I r as the link between departments on ce of a crew. I am eager to progress in my skillset and confident personality
nto filmmaking?
Finding bigger and more prestigious opportunities to develop my skills has been difficult. Returning to school, I kept in contact with those who had ran the and instructed the BFI course. It took a lot of correspondence, but after months of emailing and searching around for opportunities to do with anything film related eventually I was offered work experience with Creative Media Skills, a company within Pinewood studios who run masterclasses on filmmaking. However, another challenge presented itself to me: I could not afford to pay for a course. I ended up arranging to work for free in the office photocopying and making tea and coffee in return for a place on one of their course.
While on my placement with Creative Media Skills, the n my A-Levels and was daunted my networking continued; I would spend my lunch breaks ducation. I had chosen a variety of venturing around Pinewood handing out CVs to production ubjects but was unsure where they offices, workshops and crew members in the hope I could cross the BFI Film Academy, a 6-week gain some more work in the studio. This took confidence course held every Saturday. This course and people skills, something I feel is needed as a Director. motivation to pursue a career in film. I Throughout the summer of 2016, I continued to gain ool every week to attend this course on placements at Pinewood working as a runner for a company d, I quickly learned: in order to pursue called Actors Studios, who made high end showreels for eed a foot in the door. With no real actors, helping out on short films made by the Iver Makeup was motivated to develop the network Academy and working as a trainee painter and prop maker for me to progress as a filmmaker and Pinewood Creative. I also worked on as many short and student olunteered to work on as many short productions as possible in a variety of departments, seeing g off as a Runner, then as a production them as a great opportunity to learn and meet people to make roducer and First Assistant Director. I films with. Perseverance and flexibility really helped me when er 20 short and student productions to faced with such obstacles.
ges you’ve faced in the industry and ted them?
All the experience I had gained at Pinewood and throughout the summer of 2016 allowed me to build up a solid foundation of contacts to keep gaining experience but unfortunately not
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get paid for it, I had such a good time working throughout that summer that I came to the decision, to not attend university but following the career of a freelancer. Alongside school I had a Saturday job as a sports coach which I feel has given me the skillset to become a good Director —needing leadership, good communication and lots of energy. Throughout my last year of sixth form I continued to gain experience, working on short films as a Production Assistant and also gaining paid work on higher end professional productions such as Hard Sun (BBC), I had been gaining paid work in the prop department but this was not the department I wanted to work in so often when on jobs as a prop trainee I would introduce myself to the Assistant Directors looking for more hopeful work.
then, I have gained more work as a Set Personal Assistant on Johnny English 3 and Mamma Mia. I am eager to gain a full contract on a film as I feel this would be a huge stepping stone for me. I am grateful for all experience I’ve gained, starting with my position on Solo. I hope to one day become a full Director, and eventually produce my own films, as I have experience creating and producing my own short films alongside many other young filmmakers and BFI alumni. What skills have you developed through your time in the film industry and how might these apply to future positions? I feel my experience in a variety of departments has benefited me as a filmmaker as I have a much better understanding of the production process: working as a Trainee Painter and Prop Maker/Dresser helped me understand the hard work put into preproduction, then getting experience as a Production Assistant on short films allowed me to work with a variety of departments on set (helping the sound, camera and lighting departments). Understanding these departments has made me a better Assistant Director as we have to coordinate and work with all members of a film set. My experience working as a PA on feature films in the
What do you see as an integral event in your career to date? In February of 2017, when helping to run a BFI course at Pinewood, I introduced myself to an Assistant Director who helped me gain some daily work on a feature film titled Solo: A Star Wars Story. I worked there as an Assistant Director, a position I was ecstatic about, however it was only work which would occur for around one day every several weeks. Since
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last year has given me the drive to work as a Set PA on a full production. I feel I have the right experience behind me to be able to cope and understand the disciplines of a film set but still have much more to learn, which I feel is the most exciting part of this opportunity, thinking how much I would learn. Each and every opportunity I am given I treasure, as I have built my network and career from the ground up. I was excited to work on £500 budget short films shot in the director’s back garden so being given this opportunity would a be life changing experience that I would value and appreciate. I am motivated to succeed and I aim to bring that energy to each and every film set I work on. Many of the skills I learn when on set for higher end productions I apply to being a Producer and First Assistant Director on smaller projects. I feel I have a solid ground work and skillset to be built upon and such an opportunity would allow me to grow as a filmmaker and transition into the next part of my career. I am eager to learn and expand my knowledge and skillset and I believe being given the chance to work on a full production from beginning to end would truly benefit me and be the opportunity I have been pushing for nearly two years now. My ambitions are to become a Director and then produce
and create my own films. I am currently directing music videos and short films on the side of PA work which I am learning from and enjoying. What’s next for you? My passions are to direct and create my own movies and grow as a filmmaker. I recently finished some work on The Voyage of Doctor Doolittle which I loved and will start on another feature next month. I am in the edit for a short film I directed at the end of last year and will be directing a variety of music videos throughout the summer. I’m also in the early stages of my next short film! I’d like to give a final shoutout to XTRA. art. They have helped give me the platform to show my work and feel confident as a creator. Throughout school, I felt I had to stick to an academic path, and Yinan and the team definitely helped me grow as a creative mind by assisting me in the showcasing of my work as well as teaching me there are more pathways to a successful career than university!
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PHOEBE WARD Hi, I’m Phoebe, I am 21 and I was born and raised in Cambridge before moving to Norwich to study fashion design at the University of the Arts.
they were noticeably my work.
When did you start developing an interest in graphic design and illustrating?
I honestly have no idea, it sounds so cliché but I feel like I have been sketching, drawing and designing for as long as I can remember! I guess the work that I first actually felt quite proud of and still am till this day is a series of big, messy, collaged paintings of rugby players in scrums and tackles that I did for my A-level art. I loved that my school was so shocked that a girl was interested in something that was as boisterous and forceful/powerful as rugby.
If you can remember, what was your first design/illustration?
Fortunately, I grew up in a family of artists so have always been encouraged to explore anything to do with art! I loved to draw and paint from a young age and always found fashion illustration really cool and I guess that lead me into the actual world of fashion that included the textiles and making aspect of it. I would say that the fashion industry has been my main focus for probably the past 5 or 6 years, so in terms of graphic design, it was only really until I was able to experiment and play around in photoshop that I began getting interested in graphics. I think I really liked how quickly you are able to create something from scratch or easily manipulate something that already existed. I’ve only ever had two inductions to the program but actually really enjoy trying to figure and work out stuff for myself. I feel like the illustration part has always been there, but it was only when I started uni that I really discovered a style that I liked. I originally began drawing alien-vibe, totally out of proportion fashion figures, always in awkward and unusual positions, I enjoyed the fact that
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What advice would you give to your past-self when it comes to illustrating/ life? I think I would advise myself to be a lot more free, experimental and bold. To think outside the box a bit more and push my creativity as much as possible. Don’t play safe. When you’re young and in education, you’re given time to discover what you’re passionate about and you are (hopefully) encouraged to be daring and innovative and push the limits of what you’re capable of. When you step out of education and into full time jobs, chances are you aren’t going to be able to do whatever the heck you want to, so just take this opportunity to have fun and be as shocking and limitless as possible.
And in terms of life, again it sounds quite cliche, but take every opportunity you can and surround yourself with people that lift you up and make you happy, work hard and play hard. How would you describe your designs/ illustrations? Ooh that’s super hard! I think it’s difficult to say because the illustrations that are in this zine are quite commercial, like they’re quite aesthetically pleasing, and I try to use really nice colour combinations in them and people seem to really like that. But then the illustrations in my sketchbook and portfolio are a quirkier, they are stylised but in a slightly more unique way. Where do you draw inspiration from, when it comes to your designs?
is really my area, but having dabbled a little in creating a zine this year as well as living with graphic designers for the past two years, I completely appreciate the dedication and artistry that goes into every form of graphics. I hate that so many people are quick to shoot down the arts as being unimportant when they don’t realise that almost every aspect of their life has been designed - from the clothes they’re wearing, to the packaging of food they’re eating, the fork they’re eating it with, to the cities and buildings that they live in. Whether it be a graphic designer, fashion designer or architect, creative/ artistic minds have allowed all of this to happen. Where do you see yourself in the next 5 years?
I can’t say I’ve thought about it too much, Literally anything and everything. In terms but honestly I think I would just be really of my fashion designs, I find it really happy to work for a menswear company important to discover and focus on a that I love the design, work ethos and narrative that I can portray throughout a ethics of and have slowly worked my collection, I need to have a reason behind way up so that I can have a bit more certain aspects and functions of a garment control and design influence over what design. And with the digital art that you is being made. I would love to have a can see in this zine, a lot of this is simply varied and versatile job that can also inspired by the culture of skateboarding. allow me to travel all over the world and I became interested in this when we were just experience and soak up as much as given a project to design a collection for possible. Supreme, I soon realised that there was so much more to this world that just the big brands like Supreme and Palace. I just loved the fun and playfulness that can often be seen in skate-wear designs as well as the vibrant colour combos. Do you see graphic design as an art form and why?
Let’s have a chat!
Definitely and its such a hugely important part of every society and culture around the world, I wouldn’t say that graphics
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FARID.
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