Segue 2009

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contents issue seven_2009 2 3 6 8 14 16 18 24 26 28 32 33 34 35 36 37 39 40 42 43 44 48 50 52 54 55 60 62 64 65 66 68 70 72 74 76 78 84 86 92 93 94 96 98 107 112

Editor’s Letter Fashion Eccentrics Natalie Hammond Lucky Knickers Georgina Langford SHOOT: Re:Make Ciara McCullough Too Much Too Soon: Premature Adulation Cat Tsang Fingers On The Buzzers Emma Hilton From Glamour To Slammer Suzanne Kelly The Ginger The Better Emily Hunter Meggings Or Minging?

Kay Vincent SHOOT: Wonder If He’s For Sale?

Martina Akrenius Nuno New Yuka Maeno Love Bites!

Francine Heath Rubbing Shoulders With Royalty Kirsty Tribe Brighten Up For A/W 2009 Lauren Goward Why Listen To The Smiths In 2009?

Emily Loughlin Get Your Tits Out For The Lads!

Sophie Berry SHOOT: Double Take Emma Hilton Various

Various One Pill Makes It Better Ria Palmer What Would Barbie Do? Shannon Monteith SHOOT: Bare Necessities Laura Beech

Thinking Outside Of The Box Suzie Dicker Crisis Reinvents Creativity Ciara McCullough NOKI Hannah Dick I Am Cannibal Rebecca Honess SHOOT: Re:Interpret Ciara McCullough In Disguise Louise Hansson Sex And The City Georgia Williams Meet The Adventurers Sally Clayton Eco-Fashion Passion Sophie Overment SHOOT: Babydoll Georgina Langford The Power Of A Sister Janine Francois Cat-walking In A New Direction?

Becki Whitford SHOOT: Listen Cressida Meale Doin’ It Vegas Style Celia Butler The Fan Martina Akrenius SHOOT: Stylecase Various The Botox Backlash Rebecca Henwood SHOOT: We’ll Slide Down The Surface Of Things Martina Akrenius Various

Various Super Shoulders Lauren Goodwin-Grafton Front cover image Do You Know Who I Am? Cressida Meale Styling - Laura Beech Photography - Gemma Brinloe Tom, Dick & Sally Gayle Griffith Photography assistant - Jack Davis Parsons...

Various Make-up - Vanessa Bolivar The Graduates Model - Ania D. @ Storm Model management Information On New Courses segue 1

Trying to write an editor’s letter is like trying to compose your first Twitter: so much to say (in a witty and intelligible yet succinct manner), so little space to say it in.

So, to take the pressure off, I’m going to borrow a few lines from a far superior writer than myself:

Cat Tsang

“It was the best of times, it was the worst of times, It was the age of wisdom, it was the age of foolishness…

We had everything before us, we had nothing before us…”

It is perhaps the most apt summary of the past three years, and of our impending future. This is, as we have all been told many times (sometimes with alarming relish), the worst year to graduate – particularly for fashion students; we are being unleashed into the most volatile of industries, at the most unstable of periods. We are inundated with bad news from every angle, and find ourselves faced with brick walls at every turn of the job-hunting maze. It’s almost enough for any aspiring journalist to throw down her pen/MacBook and retreat into a life of solitude, comforted only by the short but sweet memories of our carefree student life.

It’s a good thing, then, that as students of the University for Creative Arts, we are more than equipped to deal with anything that the current economic climate may throw at us. Frequent emails concerning job and work experience opportunities are passed onto us, usually originating from students who have graduated years before. Even past graduation, when we are (hopefully) settled into our dream jobs, we are permitted to contact staff for advice, on anything from questions about the industry to the state of our CVs. Most importantly, we have had the luxury of being taught by successful, working members of the industry – and their consent to rifle through their address books for those all-important contact numbers – whose interest in their students goes far and beyond the classroom.

It is for these reasons that I am confident in the graduating students of 2009. Some will go on to be great writers; others may find their passion lies in PR, styling, photography or buying. There are those whose future may be found a million miles away from Epsom, fashion or journalism, but who will be a success nevertheless.

Regardless of where, how and when we arrive at our destinations, one thing is certain: we have the best tools for the jobs – so let us at ‘em.

Deborah Lampitt

Photography Chris Moore

Cat Tsang Editor/Course Graduate BA (Hons) Fashion Journalism

Editorial Editor-In-Chief: Deborah Lampitt dlampitt@ucreative.ac.uk Art Director: Robert de Niet robert@de-niet.com Editor: Cat Tsang cat.1985@hotmail.co.uk Deputy Editor: Ciara McCullough ciaramccullough@hotmail.com Features Editor: Georgina Langford georginajones_2@hotmail.com US Editor: Sophie Berry sophie_elixabeth@hotmail.com Fashion Editor: Martina Akenius martinaakrenius@gmail.com PR: Becky Whitford beckiw84@hotmail.co.uk Picture Editors: Becky Black beckyblack17@hotmail.co.uk Ria Palmer rizla12@hotmail.co.uk Thanks to The University College for the Creative Arts @ Epsom, and the lectures who have worked on the course: James Anderson, Bernice Brobbie, Alexia Economou, Annie Davis, Rory DCS, Anuree De Silva, David Gibson, Daryoush haj Najafi, Nick Johnson, Terry Newman, Neil MacKenzie Matthews, Adil Oliver Sharif, Magda Pniewska, Louise Simmonds, Garath Thomas, Paul Tierney, Gisela Torres, Glen Waldron, Alyson Walsh, Mark Wells, Ben Willmott and Amanda Windle Specials to thank Christopher Moore @ catwalking.com for his continuing support.

Published by: BA Fashion Journalism, The University for the Creative Arts @ Epsom, Printed by Tower Printing Enquiries For more information about any of the work in ‘segue’ please contact: Deborah Lampitt, Course Leader, BA(Hons) Fashion Journalism, University for the Creative Arts @ Epsom, Ashley Road, Epsom, Surrey, KT18 5BE. Tel: 01227 817 494 eMail: dlampitt@ucreative.ac.uk All rights reserved. For educational purposes only. segue is a collection of Stage Three BA (Hons) Fashion Journalism projects and has no commercial value.

No part of this publication may be reproduced in whole or part without written permission from the publishers. © 2009 BA (Hons) Fashion Journalism, University for the Creative Arts @ Epsom.

The views expressed in segue are those of the respective contributors and are not necessarily shared by the course, its staff or the University of the Creative Arts @ Epsom these parties cannot be held responsible for them. segue is published once a year.

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Fashion segue 3

All images Susie Bubble 4 segue

Skunk-like tresses, headwear made of parrot feathers and theatrical adornment, all in a days work for fashion’s most unorthodox style icons. But as fashion sinks into the depths of homogeneity, there’s a select few originals who are expressing distinctiveness through their clothes, whilst inspiring designers to take note. As ‘Do’s and Don’ts’ magazine spreads dictate universal conventionality and celebrities become spellbound by ‘stylist culture’, Natalie Hammond explores the untamed lives of a group of women who will not follow the rulebook.

“Eccentrics are irresistible people. They are irrelevant, occasionally impertinent, a tad mysterious, good at applying eyeliner. They are a fabulous confection of style, self-empowerment, and black patent sling backs.” Simon Doonan’s ‘Eccentric Glamour’ is an antidote to society’s botox and boobs endemic that see’s a carbon copy of Anna Nicole Smith (R.I.P) on a street near you. Porno-chic Paris Hilton is a nine year old’s pin-up heroine and TV makeover shows manufacture women that look indistinguishable from each other.

Since when has the art of dress been so dull? And who said a bucket of bleach and five grand of lipo is the fast track to beauty? Fear not. There’s a group of women who are joined in their unanimous need to buck convention, and are fundamental to the progression of style. They embrace fashion like no-one else, even the odd, surreal and out-right ugly is worn with absolute conviction until it’s beauty becomes recognizable. Isabella Blow, Anna Piaggi, Daphne Guinness and Amanda Harlech have practiced this ability to within an inch of its life and it’s impossible not to notice.

The advancement of style rests heavily on the shoulders of a small group of individualists whose passion for dress will prevent us all from being swept under the bright lights of conformity. Radical dress, and its followers, is not confined to the 21st Century and has been significant to the progression of fashion. Paul Poiret in the 1910s was avant-garde in his approach to fashion, acting as a pivotal element to the emergence of modernism – hobble skirts, harem pants and draping were all Poiret designs – and even then, forward-thinking women were adopting these cutting-edge designs as a canvas for self expression.

Georgina Chapman and Karen Craig’s label Marchesa was named after Milanese socialite Luisa Casati. Her hair was cropped and dyed, her face powdered with white chalk and she had belladonna extract dropped into her eyes to enhance her pupils. Not only was her appearance stark and a-typical, her entourage consisted of two pet cheetahs - now that out-shines today’s Chihuahua-in-a-coat obsession. Poiret designed gowns especially for Casati, spawning the first ever love affair between a designer and their oddball muse (which now sees relationships between Daphne Guinness /McQueen, Tilda Swinton/Viktor and Rolf and Amanda Harlech/Galliano). Later, in the 1920s, America’s first celebrity interior designer Elsie de Wolfe was performing gymnastics at the age of 65 in a black leotard and aqua-blue hair, capturing the eccentricities of Jackie O’s cousin Little Edie Beale. The Beales of Grey Gardens fame inspired Galliano for Dior’s S/S 08 collection, with clashing colours and irrational styling of a ‘crazy old lady.’

Anna Piaggi is one of the only 21st Century equivalents to Casati and De Wolfe. The seventy-something journalist, stylist and editor is renowned for her

work for Italian Vogue, as well as being described as Italy’s most eccentric dresser. In 2006, The V&A presented ‘Anna Piaggi Fashion-ology’ which showcased her extensive collection of vintage couture, personal storyboards, photographs and film archives, and the highly credited ‘The Fashion Journal’ was a collection of drawings of Piaggi by Karl Lagerfeld during the 1970s. What is most enthralling about her, is her love of ‘anti-fashion’ and absorption with concepts of ‘ugliness.’

Piaggi’s blue hair, red-blushed cheeks and fantastical headwear has made her fashion’s most vibrant species, almost taking her above the realms of good and bad taste. “They have all found a style that works well for them and as a result they have become style icons. It’s all about having confidence and not being scared to experiment,” said Hannah Lawton, PR Manager at Matches.

Dressing ‘pretty’ is never a main concern for a true fashion eccentric, everything from a shoe to a swan has been worn and ridiculed. Style queen Daphne Guinness’s black-and-white striped hair is sure to invoke an eruption of catcalls and the late Isabella Blow – once muse to Philip Treacy, and a devoted fan of idiosyncratic styling – was hardened to the scorns. “I don’t feel like they dress for the sake of being original but that they dress because they wear things that make THEM happy.

I try to aspire to do the same,” said Susanna Lau, aka Susie Bubble of Dazed and Confused and StyleBubble.

“Fashion thrives on figures to either ridicule or revere.

Nobody wants to revere the obvious (the perfectly stylish) so an eccentric is there to inspire the industry.” It’s unlikely that the public will ever become familiar with seeing someone sport Dior couture around Waitrose.

But even eccentrics can follow a code of dress now and again, particularly apparent in Blow’s abhorrence of jeans and flat shoes. The curious case of Bjork follows the same premise; she refuses to wear T-shirts or jeans on the grounds that they denote “American Imperialism.” These ‘style constants’ as identified by Doonan, are the basic elements of someone’s personal taste. Piaggi’s dyed blue curls and Anna Wintour’s classic bob “communicate and define a unique identity” and are unaffected by whimsical fashion trends, and as he goes on to explain, these style constants are then punctuated with something spontaneous. “A rhinestone bucket bag, a vintage Pucci poncho. Et voilà! Eccentric glamour is the happy result.” In a world where clothing website ASOS rules every teen’s wardrobe, celebrity looks are manufactured for anyone with a debit card – no style required. So if all it takes is a quirky handbag and a trip to Beyond Retro, why do we hold ‘hire-astylist’ celebrities at the peak of fashion royalty? Paying someone to pick your outfit hardly requires a great deal of personal style, only demanding one essential rule, that the chosen garment will not land he/she in the ‘What were they thinking?’ page. “There are these set-in-place codes of dress where some things aren’t acceptable but since fashion is supposedly a subjective and personal matter, why bother having these pages at all if all they’re going to do is breed sheep-like behaviour and horrible sneering?” said Susie Bubble. This is where the world’s most glamorous eccentrics want to be; it’s where the best examples of creative expression conceal themselves behind blue and gold parkas, red accessories and a lime green corsage (thanks Róisín Murphy).

No one uses her body as a style canvas better than heiress and movie producer Daphne Guinness.

She caught the eye of Alexander McQueen over a decade ago after he saw her walking through Leicester Square in his Givenchy orange-and-purple dragon robe. McQueen told Harper’s Bazaar: “I have to meet this woman” and Guinness has been one of McQueen’s muses ever since. “As a man designing for women, you have one vision, but when a woman takes the piece and makes it her own, accessorizes it to the max, it helps you move ahead.” Fellow fashion empress Amanda Harlech, who has assisted Karl Lagerfeld for over a decade, has often been described as a muse, first for Galliano and now for Lagerfeld. Oscar winning actress and avantgarde filmmaker Tilda Swinton captured the sights and hearts of Viktor And Rolf, and Giles has only just begun his liaisons with Thandie Newton. The audacious styles of all of these women have inspired the work of fashion’s most talented designers, they even make a simple trip to the supermarket a visual indulgence. “Fashion is often about escapism and fashion eccentrics use their personal style to express themselves and live a certain lifestyle which is represented through their clothing,” said Matches’ personal shopping director, Catherine West.

Form and function are of no importance at all to a true fashion eccentric, with little regard for social norms and customs. Isabella Blow, who passed away in May 2007, wore a collection of the most demanding headwear ever created. When once asked how she was planning to eat through the veiled antlers that covered her face, she replied, “That is of no concern to me whatsoever.”

The life of an eccentric is vibrant, full of diversity and overall, demanding. And with such high measures of creativity come the inevitable hazards, as demonstrated by the real devotees of fashion idiosyncrasy. When Piaggi attended Paloma Picasso’s wedding in 1978 with parrot feathers jutting two-foot from her metal helmet, she should have stayed away from the lit candelabras (guess what happened next). Virginia Woolf’s well-known phrase, “It’s clothes that wear us, and not we them” has never had such pertinence. In 2003, kooky actress Chloe Sevigny fell from her fiveinch Balenciaga boots, breaking four teeth and needing immediate reconstructive surgery. Fashion eccentrics and their outfits can cause more hysteria than a Burberry sample sale. When Bjork wore the infamous ‘swan dress’ to the Oscars in 2001 and Piaggi used two dead pigeons as a boa to a Venetian Ball in the 1970s, the level in which you qualify as part of this elite group of women was notably raised.

So, who are the next generation making tracks at removing themselves from ordinary, everyday fashion into the mysterious depths of eccentricity? It’s hard to think of many, but there are a definite few who have shown a deeper appreciation for style. Featured uber-fashion geek Susie Bubble has identified herself as a contender, looking as if she jumps into her wardrobe, spins around and sees what happens. “I certainly am not inspired by someone of my generation yet, and I tend to be influenced by eccentrics,” said Bubble, whose style blog attracts 10,000 readers a day. Ultra-modern Tilda Swinton has always been an intriguing creature with her translucent complexion and slicked-back hair, and continues to fascinate Viktor and Rolf, and drop-deadcool Katie Grand, Editor of fashion magazine Love is already fashion’s crown-jewel. But a love of the industry alone is by no means a ticket to join the likes of Harlech and Guinness. These potential-eccentrics (lets say PE’s) each have their own shortcomings that need addressing

before they’ll be acknowledged members of the fashion eccentrics (the FE’s). The FE’s pull together their own looks that are neither chosen by a stylist nor copied from the catwalk, as they fully understand their duty as protectors of individuality. It’s not an easy job to dress in a totally distinctive way, but our true FE’s influence the future of the industry, inspiring designers just by wearing their designs like no one else does. Whether our PE’s will simply fall through the floor after wishing it would swallow them whole following the unavoidable taunts, or struggle to maintain their demanding choice of dress, we will wait and see. In the mean time, sit back and watch the weird and wonderful world of the eccentrics, and how they uphold their responsibility to keep fashion exciting. Why conform when you can transform?

“I don’t feel like they dress for the sake of being original but that they dress because they wear things that make THEM happy. I try to aspire to do the same”

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Georgina Langford discovers a uniquely British lingerie phenomenon, and explores how our sense of formality extends into the bedroom.

They come in all shapes, sizes, colours and fabrics. But whether they are scandalously scanty scraps of chiffon from Miss Selfridge, or devastating red silk bloomers from La Perla, every woman owns a pair of lucky knickers. A quick colleague survey offers up some revealing admissions: “Mine are sheer leopard print with black lace,” confesses Miss J, and “Bubblegum pink with frills on the bum, works every time!” giggles Miss L. Results from this completely non-scientific survey indicate that the French-knicker style appears to be the overall shape of choice, especially when fashioned from black lace. Miss S extols the virtues of the lacey black wonders: “They are cute and classy, yet understated and reliable even on ‘fat’ days – I am always comfortable in them. I think you’re more confident in classy but comfortable knickers.”

Briefs, bloomers, and just about anything but ‘girl boxers’ (yuck!) are all capable of attaining ‘lucky knicker’ status, but some brands simply know how to do it better than others. In true Gok Wan style, discard anything fraying, baggy, or - god forbid - grey, and turn instead to the hallowed shelves of luxury lingerie boutiques. The scandalously strappy design of Agent Provocateur’s Cendrillon knickers not only invented a completely new genre of undergarment, but also has a 100% success rate in the boudoir, guaranteed. Similarly, it is not by accident that the Francoise button-back, sheer tulle knicker by Myla has been a best seller – everybody knows that buttons just have to be pressed…

The infamous bottom peep-show signature look from Damaris has been updated for 2009, and the Glass collection features fetching clear PVC briefs with a hot pink bow adorning the posterior, and perfect for those with more adventurous tastes. Finally, what woman could fail wearing Strumpet and Pink’s Hunting Through the Ruffles (pictured)? For the grand price of £500, these hand-made beauties should do the seducing for you!

Confidence in the art of seduction is a key factor, and many women select their LKs for their visual effect on that persistent female insecurity, the derrière. According to Miss E, “I love my lucky pants as they have a little split which makes my bum look lovely, and slightly bigger then it is - and it conveniently hides any cellulite!” As a country, we are notorious for our prudish, bashful blushes at any mention of doing the bad thing in polite conversation, but behind closed doors our private lives are filled with Carry On cheekiness.

We are nonchalant about a pair of bare bosoms, having grown up with such (questionable) British institutions as Page 3, and ‘rude’ car garage calendars, but any instance that requires ladies to parade their bottoms - even for an audience of one – is a cause for concern. Hence the essential nature of a fan-flippingtastic pair of LKs to increase our self esteem during boudoir rendezvous.

The magical mood-altering powers of brilliant pants could be the reason why we are willing to spend irrational amounts of money on ‘the perfect set’. The fabric-to-garment ratio on a pair of S.P.A.N.K.s should raise serious value for money issues, but we will gaily hand over our plastic in return for tissue wrapped dreams of boudoir prowess. With Ann Summers and Agent Provocateur both reporting profit rises despite an economic crisis, it seems that in hard times we get our extracurricular activities gratis, but are willing to flash some cash in order to make it happen (we girls have the task of distracting our men from permanent guy time, and sometimes our best M&S Ceriso set just isn’t up to the job).

Perhaps it is the time-honoured British sense of occasion that drives us to dress up for our underduvet activities? We wear our silliest hats to the horse racing, and everyone has a ‘Christmas dress’, so why not have a new pair of LKs for every milestone in a fledgling relationship? Miss B admits that she will buy a new pair “always involving some sort of lace” for every new encounter, and will often never wear them again.

Regardless of the cost, many women would not dream of going on a date without their pair of LKs, and if they did, they wouldn’t be as confident in their personal powers of seduction. Hip young designer Amy Molyneaux, of PPQ, recently told The Guardian that even though her own label’s dresses are coveted by girls everywhere, the one item of clothing that she personally couldn’t live without is nice knickers: “I am partial to a pair of black polka-dot net ones”. In reality, the notion of placing such faith in such a tiny item of clothing (which, nine times out of ten, a partner won’t even notice) could be seen as ridiculous. But, like many of the other traditions and superstitions we live our lives by, LKs have become intrinsic to the nation’s sexual adventures. We wear our silk, lace or dental floss creations in the same way that Superman wears his ruby red cape; he is still a superhero without it, but that cape is the ultimate accessory, the finishing touch, and the proverbial cherry on his cake.

“As a country, we are notorious for our prudish, bashful blushes at any mention of doing the bad thing in polite conversation, but behind closed doors our private lives are filled with Carry On cheekiness“ segue 7

Styling - Ciara McCullough Photography - Agnieszka Maksimik Make-up - Gabriella Maubec Model - Antonia Lloyd

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Previous page: Black dress, vintage; Lace gloves, vintage; Bracelet, borrowed from Letitia; Mask, Stylist’s own.

This page: Grey Mink coat, borrowed vintage from Hannah’s mum; Slip, borrowed from Letitia; Shoes Model’s own.

Painting083 FLORAL HEADPIECE & DIAMOND BRACELET, BOTH FROM A SELECTION AT BASIA ZARZYCKA. PLEAT FRONT DRESS, BERUBE.

Tweed jacket, borrowed from Laura; Lace bodysuit, Stylist’s own; White tights, free from Topshop Student Night; Lace socks, Stylist’s own; Shoes, Model’s own.

Slip, as before.

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Top, Stylist’s own; Lace gloves, borrowed vintage from Letitia’s mum; Feather skirt, wrapped feather trimming; Tights, Stylist’s own.

Too Much Too Soon:

“Before you can say ‘hype’, Little Boots is golden handshaking with every record company available”

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Here is what Cat Tsang knows about new singer on the block Little Boots: she’s scared of moths. She was once on a plane that had to perform an emergency crash landing. She was the former lead singer of indie-pop group Dead Disco. She once auditioned for Pop Idol, was rejected at the third round, cried, and went home. Her favourite pair of shoes are gold tasseled cowboy boots. She favours Superdrug over Boots, because the former stocks better Barry M makeup. She once met Sid Little from Little & Large.

Why would anyone know so many pointless facts about a singer/songwriter who has yet to release a single? Well, why wouldn’t they? Little Boots – the musical alter ego of Blackpool lass Victoria Hesketh – is, to coin a phrase, a viral phenomenon. Her self-uploaded videos of her in her bedroom playing a stylophone – a small keyboard instrument thrust into the spotlight by didgeridoo fanatic Rolf Harris - consecutively rack up hits of over 200,000, and her Facebook page has nearly 8,500 members. Type “Little Boots” into Google, and watch over 12,300,000 results pop up. Let me reiterate – this woman has yet to release anything more than a 3 track EP. But she was a VIP at the Brits.

Britain has always had a ‘stack them up to watch them fall’ mentality, and nowhere is this more prevalent than in the music business. We support the underdog, and who could be more of an underdog than a little girl playing music in her bedroom on a toy Casio?

It may do well here to point out that this little girl is 25, is reasonably pretty and likes to dress up in cameraready outfits. But those PR-friendly points aside, Little Boots’ little backstory was a sure-fire hit. The rumour mill goes into overdrive, the view counter goes up, newspapers catch on, and before you can say ‘hype’, Little Boots is golden-handshaking with every record company available.

Digital Director at DazedDigital, Alistair Allan, who has known Victoria Hesketh since her Dead Disco days, insists that her online fame is merely a “byproduct” of her talents, however. “Victoria is fun, and works like a dog,” he maintains. “She’s completely unashamed about her ambition to make cheesy pop music, (but) the media often skews things, turning innocent things that normal people do into controversial stories. (Some of her) success is due to her personal network and her online PR company. But part of this newfound fame is (also the result of) personal recommendations and Victoria’s honesty, and has nothing to do with the viral growth.”

I’m pretty sure that Hesketh won’t be complaining about her fame, virally or not; after all, she has wanted to perform all her life. Her earliest memory, she tells music magazine FACT, is of her babysitter writing out the lyrics to “The Best of Blondie”, so she could sing along. And she is certainly not without talent. Having the dexterity to understand, let alone play, a Tenori-on (an extremely complicated Japanese digital music sequencer, as used by artists such as Bjork and Peter Gabriel) should reap praise in itself. But should rehashing versions of Haddaway’s huge 90s hit “What Is Love” and Wham’s “Last Christmas” for YouTube fans really be enough to

obtain someone a top spot on the BBC’s annual “Sound of 2009” list? Previous recipients of this title include Adele, Keane and Mika, and they haven’t done too badly out of it – deservingly or not.

So could this premature adulation of her talents be dangerous? Could the over-hype of her as-yet-publicly-unheard music actually be the death of her career, even before it has really started?

Producer of “Later...With Jools Holland”, Alison Howe, gave Little Boots a spot on the popular music show last November. Asked to describe the ‘Sound of 2009’ winner for BBC News, she remarked, “Imagine if Debbie Harry had come from Blackpool and played the synthesizer.” Given that Debbie Harry is nowadays more renowned as a fashion icon than a singer, I think we can see what Howe is implying, albeit accidently. She may look good and wear free designer togs well, but all style and no substance makes Little Boots a very dull addition to the charts.

Unfortunately for young singers, it’s a Catch22 situation. All artists need hype to spark interest in their music, but female singers in particular are subject to overkill in the public eye by overenthusiastic PR and media types. The public become bored very quickly by the barrage of interviews, photoshoots and Radio 1’s repetitive airplay, and soon the media turns on the poor soul, harangued by the very newspapers who were singing their praises not three weeks ago. Male artists, however, will always manage to sidestep the media’s overzealous attention, explains journalist Paul Tierney.

“Popular music has traditionally been the domain of men - from Elvis and The Beatles, through to Take That and beyond - and therefore women have always been seen as a ‘distracting novelty’,” he acknowledges. “We do love a good female artist in this country, though, and because of our reputation of producing classic singers such as Dusty Springfield, we expect a lot from our homegrown girls. The music press is also very male dominated, so, when a talented and, dare I say, goodlooking new female artist comes along they will always focus on her in a rather overzealous way. Unfortunately a lot of men still objectify women, and a certain amount of old-fashioned sexism prevails.”

Lily Allen can certainly attest to the fickle mood of the industry. Her debut album, “Alright, Still”, was released to rave reviews in 2006 for its quirky lyrics and ability to connect to the hard-won youth of today.

With her Mockney accent and penchant for teaming glitzy ballgowns with trainers, she epitomized a rebellious attitude that appealed to young girls across the country. The fame quickly went to her head however, and any respect she had gained through her music vanished as she was photographed night after night making the rounds of London’s nightclub scene. Cue a struggle with her weight, a battle with narcotics, and endless public spats with celebrities and fans alike – all played out in glorious Technicolor through the media who had happily built her up as the voice of a generation.

Likewise, Adele - a 20 year-old singer from Enfield hailed as a ‘soul sensation’ – is in danger of

Premature Adulation being cast in a similar dye. Since winning the first ‘Critics Choice’ Brit Award (for artists who have yet to release an album) in 2008, Adele’s star seemed only to be growing brighter. Winning two Grammys - Best Female Pop Vocal Performance for her number one single “Chasing Pavements” and Best New Artist - in February this year, the critical and public opinion was unanimous.

Superstar-producer Mark Ronson even took the young singer under his wing, adding further fuel to the hype machine. But the backlash has slowly begun to creep in.

When groups with names such as, ‘Chasing Pavements

by Adele Makes Me Angry’, begin to pop up on social barometer Facebook, it’s a good indicator that the tide is almost certainly beginning to turn.

The instantaneous success that comes with the hype surrounding artists like Lily Allen, Adele and Little Boots could play a major part in their downfall.

Unlike artists whose success has been built up slowly and who have established a loyal following over years, these women have a recently acquired fanbase, whose attention span may only last until the next ‘next big thing’. Alistair Allan concedes that – like Lily Allen, whose name spread like wildfire after she posted her music on her Myspace page - Little Boots’ Internetderived fame may result in her being especially at risk.

“In the next two months, heaps of cash will be spent to ensure every single person in the first world knows who Little Boots is,” says Alistair. “They have a very basic formula which works well, but often is short sighted - and stunts natural longevity.” The Internet has the power to accelerate fame at an exponential rate; music reaches an audience immediately, leaving no room for a slow-growing ‘underground’ fandom – the basis of a lengthy career.

The one thing that may prolong a young female singer/songwriter’s career is to avoid resting on the laurels of the media’s zealous flattery, and to continue to hone her craft until her fanbase is secure – and not the product of a PR blitz. Paul Tierney believes that, although tricky, this can be done. “The modern cult of celebrity demands more than the music.

Magazines expect singers to have a ‘lifestyle’. But Alison Goldfrapp springs to mind. She seems to have neatly sidestepped being a conventional female artist, and always plays by her own rules.”

He continues, “Realistically, the only way for any artist to survive - male or female - is to have strong material that produces proper hits. It’s not enough to be big in clubland, or an underground sensation.

Good songs that resonate beyond cult status are what’s required.”

Victoria Hesketh, however, just may be beginning to believe her own hype. Asked

by The Times to describe how her life has been affected by the public attention, the modest singer remarked, “I’m a real person, I just happen to make ridiculously epic pop songs in my bedroom.”

For her sake, let’s just hope she was kidding.

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“Someone, somewhere, was commissioned to go through the meticulous process of drawing, measuring, making and testing a ball-slapping machine.

Whoever it was must have the most interesting resume in Japan“ Emma Hilton investigates Japan, home to the world’s second largest economy, world leader in technology, machinery, robotics and game shows that will tickle your funny bone to death. Turn on a Japanese television set after working long hours and you will be met with a plethora of game shows, which could only have been pitched by someone on acid. It makes you think twice about this being a country where people take off their shoes before entering someone’s house as a sign of respect. Countdown…eat your heart out!

With such a strong sense of culture and a work ethic second to no other, it is surprising that this modern day super power is also home to a game show that requires its contestants to sit in a large vat of boiling hot water in order to make a girl’s breasts wobble.

The British public love nothing better than a good old game show, from Mastermind to The Price Is Right. Game shows have given the British some household names; Terry Wogan, Bruce Forsyth and Richard Whitely to name but a few. However, the most outrageous game show our wholesome stiff upper lip society has ever had is Blankety Blank presented by transvestite Lily Savage, which was edited to within an inch of its life because of Lily’s overtly adult humour, subsequently making Blankety Blank very ________. Yes, Britain’s 21st century game shows could definitely learn a thing or two from Japan’s vortex of oddities.

Japan is the only country where death by overwork - or ’karoshi’ - is a recognized phenomenon.

With higher average working hours than anywhere else in the world, it’s no surprise that when they get home from a long and stressful day they are going to want to kick off their shoes and unwind in front of the television.

On Channel One it is just about time for Ball Buster, the aim of which is all indicated in the name. However, the Japanese are going to be busting a different set of balls this evening. This highly intellectual and mentally stimulating game show involves a line-up of men repeating impossibly difficult tongue twisters. Think along the lines off Peter Piper picking a peck of pickled peppers and Betty Botter who had some butter, “But,” she said, “this butter’s bitter. If I bake this bitter butter, it would make my batter bitter. But a bit of better butter - that would make my batter better.”’ Congratulations if you managed to say the above without tripping over your own tongue. If you didn’t then at least you won’t get a great big walloping in the bollocks from an insane ball-slapping machine. What is most perplexing about this entire show is that someone, somewhere, was commissioned to go through the meticulous process of drawing, measuring, making and testing a ball-slapping machine. Whoever it was must have the most interesting resume in Japan.

Over on a different channel is a game whose name doesn’t quite translate to English, but for all intents and purposes will be called ‘Grandson Over Cliff Game’. In teams consisting of Grandmother and

Grandson, the object of the game is for sweet dear little old grandma to answer the questions correctly. If she doesn’t, her grandson pays the unfortunate price of being rigged to a rocket and then bungied over the edge of what appears to be a small cliff.

If neither of the above sound like your idea of viewing pleasure then there is always Komodo Dragon, which is possibly the jewel in the Japanese game show crown.

The objective is for women to tie raw meat to their head, which alone is a peculiar spectacle to say the least. They then place their heads into a glass box which is home to nothing other than a Komodo dragon. So to recap, that’s raw meat attached to a women’s head, being dangled in front of a dangerous reptile. The objective, along with trying to keep your head, is to be the last one standing. Another game that is fun to play whilst watching the hilarity ensue is ‘Guess the Insurance Premium’.

These are but a few of the shows to grace the television sets across Japan.

To add to the above, there are a whole host of other shows involving eating marshmallows whilst the contestant’s face is strapped to a bungee cord, making contestants in bug costumes clean a tilting hardwood floor, and Human Tetris which requires participants to contort themselves into impossible positions.

Unfortunately, Britain has only been able to sample the delights of Takeshi’s Castle. This condensed version of the original Japanese series became an unexpected hit when it premiered on Challenge T.V. in November 2002, regularly dominating the top ten programmes on the channel each week. The original show involved between 100 and 142 contestants who were required by General Tani (Hayato Tani) to compete in a series of silly physical challenges, eliminating many of the contestants. Takeshi’s Castle is now airing in the U.S under the new name of ‘Most Extreme Elimination Challenge’, which quickly became abbreviated to MXC because the name was so long half of it was cut off in the cable guide. The United States also created a parody on Japanese game shows entitled ‘I Survived A Japanese Game Show’, originally titled ‘Big In Japan’. Perhaps the chaps who created the original name MXC stormed the board meeting and demanded that the name had to be unnecessarily long and uninteresting. ‘I Survived a Japanese Game Show’ involves ten Americans, who leave the United States for Japan where they compete in game shows, and the winner takes home $250,000. Britain is starting to take influence from Japan and has recently started airing Total Wipeout, presented by Top Gear’s Richard Hammond.

The game starts with twenty contestants and quite literally wipes them out through a series of Super Mario-esqe obstacle courses. Hopefully, this could be the start of a more interesting broadcasting remit for Britain, though there are certain Japanese game shows that could make even the most tasteless of the British blush.

If you thought that Japanese game shows couldn’t get any more bizarre then you were wrong; it also hosts a number of post-watershed game shows with a very strong reoccurring theme…naked women. First, there is the ‘Bikini Tight Rope Fighting Game’, in which women wrestle each other in thongs. Then there is ‘Girls In School Girl Outfits, Guess By Touching Game’, in which young girls dressed in school uniforms (for no apparent reason) have to stick their hand into a box and guess what’s inside. Not recommended if you don’t like high-pitched screaming on a loop. The ‘Dizzy Naughty Maid Outfit Bowling and Cat Bikini Game’ is another example of unnecessary use of costume as the game revolves around bowling not cleaning. This show should carry a disclaimer for any man with high blood pressure, due to the sheer volume of crotch camera used.

It is rumoured that due to Japanese men working such long hours, they become tremendously sexually frustrated, thus causing the creation of the mythical schoolgirl panties vending machines. There is no concrete evidence that these vending machines actually exist, but apparently they contain used schoolgirl knickers for the sniffing pleasures of the hardworking sexually frustrated commuter. So yes, perhaps these late night game shows could do the prostate the world of good, but perhaps the Japanese government should just put more severe restrictions on overtime and working hours as apposed to lubing up dozens of young women and getting a middleaged man to slide across them.

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FROM glamour to S In 1975, feminist writer Adler Freda, in a controversial look at women and crime, challenged the status quo when she predicted the emergence of a new breed of women criminals.

They would, like men, use their power, status, and position to commit crimes for economic gain.

How accurate she was. Suzanne Kelly investigates the 21st Century’s new breed of pink-collar crooks.

This page: White shirt, Reiss; Black belt, Martin Margiela; Grey trousers, John Rocha; Shoes, Lanvin; Blue pinstriped shirt, Paul Smith; High waisted trousers, Vivienne Westood; Braces, Vivienne Westood; Tights, Donna Karen; Shoes, Bottega Veneta.

Pages 20 & 23: Jacket, Stylist’s own; Shoes, as before; Tights, as before.

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Slammer

Styling - Suzanne Kelly Photography - Rory DCS Make-up - Zoe Koritsas Models - Karima Hellenkamp & Roksana Lagowska at D1 models

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“Embezzlement can start with greed or financial need, but it’s often allowed by too much trust and a lack of oversight by the employer” Running a foster home for vulnerable children was a lucrative sideline for Cathryn Wiles, a finance officer at Blackpool Council. So successful was the fictitious establishment she called Cherrywood, she was able to siphon £617,000 of taxpayers’ money to fund home improvements, exotic holidays and top-of-the-range BMWs. Wanting an extension built but lacking the money, she began to divert council funds to her bank account. Initially, the payments were around £3,000 but, as she got bolder, they increased to sums of £32,000 and £29,000.

Sentenced last month to spend nearly three years in jail for theft and false accounting over a five year period, Wiles is the latest of middle class entrepreneurial women: those who embezzle from their employers.

Traditionally, the British middle classes promote an image of honesty coupled with a veneer of whitecollar respectability, however times have changed. A new survey conducted by the Metropolitan Police reveals the modern day middle classes as more dishonest than other social groups. The survey shows an increase in embezzlement arrests, especially amongst women, reporting a 70% rise in female arrests between 1991 and 2007, despite the relatively small number of women in high profile positions. In today’s economic climate experts expect this figure to rise exponentially.

Disparities for this rise could be linked to an increased number of women filling trusted, money-handling positions. However, embezzlement occurs in all levels of an organization in which there is an opportunity to breach financial trust, and such activity is not limited to executive positions. David Kirk, legal director for the Fraud Prosecution Service says, “Embezzlement can start with greed or financial need, but it’s often allowed by too much trust and a lack of oversight by the employer.” Kirk claims that embezzlers are often conscientious, hardworking employees. “The employee you trust the most will steal the most, the position they hold is earned through trust.” Most suspects do not have a criminal record; fewer than 8% of embezzlers of either gender had prior criminal convictions. Offenders are often

reluctant to take time off and they rarely take a sick day, skipping holidays and arriving early and leaving late from work, “because they have to be at work to keep the cover-up going”, adds Kirk. All qualities that might be found in a dedicated employee. Authorities say most embezzlement rookies see taking money as a short-term loan, however they get braver as it goes along. Studies show women tend to steal smaller amounts over a longer period of time. Because men dominate most company hierarchies, they have access to more of the organization’s resources and their thefts are larger.

Embezzlement, of course, isn’t merely a crime involving money. The breach of trust is enormous, and the emotional ripple extends to stunned husbands and children, victims and fellow workers. Some businesses barely survive. In February 2009, Sheila Hodgetts, 52, an accounts clerk from Liverpool, was sentenced to five and a half years after she almost brought a civil engineering firm to its knees and forced more than two dozen colleagues out of work. She relentlessly plundered almost £630,000 from her employers, R. Betts Construction, to fund a luxury lifestyle of holidays, home improvements and cosmetic surgery.

Still, her alleged thievery, and even that of Wiles pales in comparison to that of Joyti De-Laurey, described as ‘the Picasso of Con Artists’. De-Laurey stole £4.3 million from her employers at Goldman Sachs, the first woman in Britain to be accused of embezzling such a huge amount of money. Some championed her as a modern day Robin Hood, others condemned her as a greedy thief. During the four years De-Laurey worked at Goldman Sachs, she plundered her bosses private bank accounts by forging their signatures and writing cheques to herself, to create a decadent life of luxury, matching her millionaire bosses’ tastes, pound for pound. From the millions she squandered she bought a string of luxury cars, 11 properties in the UK, a £750,000 villa in Cyprus, a £150,000 speedboat, lavish holidays, designer clothes and spent £350,000 on Cartier jewellery. Friends and family also received

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“People ‘want’. They want experiences, they want states of mind and in Western culture, most of all they want things” generous gifts, and in a moment of philanthropy De-Laurey donated £10,000 to a charity for sick children. In 2004, the Queen of Bling received seven years and is Britain’s biggest female fraudster to date.

However, the most famous of all is domestic diva Martha Stewart. Stewart - who owns Omnimedia, a media empire whose reach extends to magazines, TV programs and household products - was typically heralded as one of the most powerful business executives in America.

But Stewart’s reputation was bruléed, when she was accused of insider trading and sentenced to five months in prison and five months of house detention for embezzlement in October 2004.

But just what makes these women steal?

Financial hardship often pushes someone over the edge, however all these women came from middle class families with the exception, of course, of millionairess Stewart. Some feminists suggest that women in employment with a ‘glass ceiling’ might commit white-collar crimes to compensate for their disadvantaged opportunities.

But the majority of people would assume greed is the ultimate precursor to carry out these crimes. However, American economist, philosopher, and social theorist Thorstein Veblen said ‘conspicuous consumption’ of this nature has very little to do with greed. Rather, the accumulation of massive wealth is frequently not intended to provide the person with security or ease, but to enable an ostentatious display of wealth that serves as a means of attaining or maintaining social status. They want to impress friends, colleagues and peers and demonstrate that they belong. Colloquially, they are ‘keeping up with the Jones’’. Veblen claimed it wasn’t greed, it was showmanship. This could certainly be argued in the case of Sharon Bridgewater, dubbed the ‘WAG fraudster’ by police, who stole £2 million from marketing company Hicklin Slade & Partners, to fund a lavish lifestyle comparable to a footballer’s wife. She squandered money on a string of cars, including a £70,000 Ferrari Spider and 6 Porches, a luxury villa in Spain, a buy-to-let property empire in Britain, and five star holidays. Her £100,000 kitchen even featured in a glossy magazine write-up as one the best 25 in the country. Bridgewater’s spending spree finally came to an end in 2007 when she pleaded guilty to 16 counts of theft between August 1999 and May 2005. She was sentenced to five years in prison.

Leading criminologist Keith Hayward claims that women today are adopting more masculine roles.

“Women’s criminality is changing, there is a lot more female violence. Women tend to mirror male traits in society, for example ladette behaviour and female gangs.

Traditionally men have embezzled, yet as more women enter and rise through the workforce, they now have more access to embezzle.” Hayward continues, “Cultures often teach people to value material success, however

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societies do not provide enough legitimate opportunities for everyone to succeed. Therefore some people experience strain which leads to deviant behaviour”. Goals in society that most people pursue are financial and material wealth, power and status, and there are socially acceptable means to achieve these goals through hard work and honesty. Most people conform to the acceptable means to achieve these goals. While some people are able to buy a nice home, designer clothes, and expensive vehicles through legally derived funds, others do not have legitimate means to obtain these things. Deviance results from a ‘strain’ between means and goals, when there is a contrast between wants and means.

An embezzler will accept culturally approved goals but pursue them in ways that are not socially approved.

In the case of middle class embezzlers who do have material success Policy Analyst, Ryan King said, “Different people are going to have different definitions of what constitutes as “strain” in their lives, but to assume that the affluent don’t experience strain is to oversimplify the concept. Even the successful portion of society may feel unworthy of peer acceptance, unless they attain some artificial level of material wealth.

They too may feel that their paths are blocked to this success level and therefore, their lives are laden with strain.” In this case, they may move to experiment with alternative paths of attaining their goals, hence we have insider trading, embezzlement, and tax fraud.

Hayward claims some embezzlers could be simply looking for increased excitement: “Working in a David Brent style office, they feel their lives have become boring and humdrum, therefore embezzling becomes an exciting way to seize control.”

Psychologist Katherine Balla claims the phenomenon of selfishness, inherent in the human condition is at fault. “Selfish in the sense that people ‘want’. They want experiences, they want states of mind and in Western culture, most of all they want things.

From this perspective even the ‘giver’ is getting something in return for his chronic kindness,” says Balla.

Meanwhile, old habits die hard. While in prison De-Laurey continued to crave the highlife, and was transferred to another prison after it emerged she had tried to con a chaplain into smuggling luxuries into her cell. Released on parole last year after serving half her seven-year sentence, an apparently unrepentant De-Laurey jovially told the Daily Mail, “I’ve got an illness only diamonds can cure.”

As the roster of women who have perpetrated professional fraud continues to grow, aren’t we all guilty, sometime or the other, of believing we are owed a ‘little bit more’ for our hard earned work? Like De-Laurey, wouldn’t we all love to have Cartier on speed dial?

We’re just too faint-hearted to dare.

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The “If that wasn’t enough, they now have to endure taunts of ‘ginge minge’, ‘Ronald McDonald’s love child’ and ‘your head looks like Chris Evans’ penis’”

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Red hair is undeniably the most controversial and also the most stunning hair colour around. Emily Hunter celebrates this shade in all its glory and flicks all gingerphobes the V’s.

Let’s face it, redheads have never had it easy.

The ancient Egyptians are thought to have burnt and buried red haired people alive, for fear that they were unlucky. Ginger hair was cited as evidence to convict in 17th Century witch trials. It was argued that the colour resembled that of the devil, which is never a good thing in the eyes of religious folk with pitch forks. And finally, as if that wasn’t enough, they now have to endure taunts of ‘ginge minge’, ‘Ronald McDonald’s love child’ and ‘your head looks like Chris Evans’ penis.’ How lovely.

It’s no wonder then that some redheads aren’t too keen to embrace their roots and go au naturel. Take Marilyn Monroe, for example - underneath those infamous blonde locks were fiery shades just waiting to burst forth. Perhaps history would be re-written if she hadn’t reached for the bleach. But approach hair dye with caution redheads, you don’t want to ruin your naturally beautiful shade and you definitely don’t want the phrase ‘collar and cuffs’ brought up in a conversation.

Of course, red hair is most commonly associated with Britain, or more specifically Scotland and Ireland. Rightly so, as Scotland boasts almost the highest percentage of redheads in the world, with 13% of the population having ginger hair and a whopping 40% carrying the recessive gene. Ireland comes in a close second, as red is the colour of 10% in the country.

However, Britain might have the most redheads per square inch, but as a nation we never celebrate this national hair treasure. But in the Netherlands it is an entirely different story. ‘Redheadday’ is a Dutch festival that honours the red gene in all of its glory. Held every summer in the first week in September, this year will be the fourth festival since it started in 2005. Attendance is almost doubling every year and last September saw nearly 2,000 redheads take part. Attendees of this free festival take part in activities over the weekend including art workshops, individual photoshoots, lectures and a red-haired inspired food menu. The Sunday ends with a climax when the annual redhead photograph is taken, which features everyone from the festival. This coming September organisers are expecting a turn out of almost 5,000. Clearly, the Dutch are onto a good thing.

Photographer Jenny Wicks seems to think so; recently showing an exhibition called ‘Root Ginger’ at the Idea Generation Gallery in London, which accompanies her book of the same name. Her photographs celebrate the genetics of this fabulous hair shade. Wicks explores the biological, geographical and sociological implications of having red hair. The result is beautiful photography showing the true nature of fiery locks.

She has captured images of redheads from around the country, from babies to grandparents. She recruited people to photograph from various online forums and put adverts in magazines, including Time Out. The public response to her photographs has been extraordinary.

“Reaction to my images have been amazingly positive; quite overwhelming really,” explains Wicks. “People in Brazil, of all places, have emailed to tell me how wonderful they think the project is. It’s had a huge impact on

some people, which I didn’t expect and although it’s been quite a personal project for me, people have been able to take from it what they want. Which is what art is all about.”

Originally inspired by the recessive genes within her family (her niece and nephew both have flame red hair, even though her brother does not) and prompted to explore her families past by the death of her mother in 2007, the journey has been a profound one. With hindsight, Wick can now see that she has also gained a lot from it personally: “Having a successful exhibition and producing your own book is a great sense of achievement. At times I didn’t believe the project would ever come to anything, I can now finally feel proud of myself and I’m really glad I carried on. More importantly, the project was about my family and for my family.” Indeed, one of the photographs in the exhibition is of her nephew Jack, but what does he think about his auntie’s exhibition? “Jack and my niece, Lucie, think it’s fantastic. They’ve been taking newspaper cuttings into school. They’re local celebrities now!” In fact, everyone she met while making the book were very positive about their red locks: “Most people I photographed had a strong sense of identity and felt proud to be a red head for various reasons. They obviously hated being teased at school, but who wouldn’t?” The positivity of her models and of Wick herself makes for a brilliant project, one that can’t help but captivate. But now for the most imperative question: who is Wicks’ favourite famous ginger? “Definitely George ‘Red Buck’ Weightman, one of the most vicious outlaws in Oaklahoma. He was a nasty piece of work and had a huge red handlebar moustache.

But for those who don’t know who I’m talking about, then my favourite redhead is Noddy Holder.”

As Wick’s project emphasises, there are very different shades of red hair. Some come in the form of barely-there strawberry blonde, through to orangey shades and finally the deep hues of auburn. This is down to varying pigments, as red hair consists of far more pheomelanin than other hair colours, but lacks the dark pigment eumelanin. In 1997 scientists discovered that red hair consists of the protein melanocortin 1 receptor (MC1R) that means that it is a recessive gene. This is another aspect which Wick’s explores, the idea that both parents have to carry the gene which ultimately provokes questions about our ancestral heritage. Ultimately, red hair is unique genetically and also socially.

It carries sensual connotations for women of beauty and passion; many men are completely fascinated by redheads. They are beautifully bewitching. Think of Rita Hayworth, Lily Cole and Julianne Moore. All oozing sexuality and all sumptuous redheads, there is a preRaphaelite beauty to their looks. Just look at Rossetti’s Ghirlandata or Millais’ Ophelia, they are ethereal creatures with their dewy, pale skin and flowing, flame locks.

Redheads possess an air of mystery, far more so than brunettes. And their sex appeal is much more complex than blondes. Crimson beauties make people sit up and take notice. They turn people on. They make an entrance. Red is the most geographically and scientifically fascinating hair shade ever, proving that not only are gingers unique, but more importantly, they are fabulous.

ginger the better

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eggings “People like Russell Brand and Noel Fielding have both been dressing as if they’ve been vacuumpacked for years”

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Since the turn of the century the male silhouette has got slimmer and slimmer, mostly thanks to Hedi Slimane’s revival of the skinny trouser during his time at Dior Homme.

But 2009, says Katherine Vincent, is all about skinny to the extreme in the form of leggings or the male alternative, ‘meggings’.

It took women a while to get used to the idea of returning to the 1980s and putting it all out there, but now we cannot get enough. But are meggings going to be the next must-have in male fashion, or are guys not really ready to leave little to the imagination?

When Hedi Slimane took over as creative director for Dior Homme in 2000, a revolution of man was reborn that focussed on one thing: skinny. He scouted models on the streets of London and Paris to wear his androgynous look down the catwalks, and Dior Homme re-launched a somewhat forgotten style for men.

With celebrity fans like Mick Jagger, David Bowie and of course, Slimane’s close friend, Pete Doherty, Dior Homme’s slim silhouette was craved for and even Karl Lagerfeld’s weight loss is rumoured to have happened so he could squeeze into one of Slimane’s suits, whereas people like Russell Brand and Noel Fielding have both been dressing as if they’ve been vacuum-packed for years. Harisnya – no last name – founder of e-MANcipate.net, an online homage to leggings and hosiery for men, believes that it might be “the idea of a second skin” that makes skinny garments so alluring to men.

They might remind you of something Superman may wear, but if brave enough, and with the right complements, meggings might just work. And with a diverse range walking down our catwalks, there’s a style for every man. Steve Slocombe, creative director of club culture magazine, Super Super, thinks that, “As jeans get skinnier, leggings are the logical next step, they’ve been huge for girls.”

So guys, are you ready to see what 2009 has to offer in the form of leg-wear for a whole new re-breed of skinny?

It all started this season with Riccardo Tisci’s first collection for Givenchy menswear.

Ruched and wrinkled meggings that stopped just under the knee, beneath wide leg shorts, were barely noticeable as leggings created a layered look that’s much more understated for the meggings novice. Tisci also replicates the look throughout the collection in different materials and colours, including a leather pair that are reminiscent of 1950s rockers.

For the exhibitionist, there’s Martin Margiela’s meggings. As if they have been dipped in sequins, these disco-ball-esque skinnys are perfect for a night out - if you’re brave enough.

Coming in silver or black, you can tone them down with a simple top half: a dark blazer and skinny scarf would give you a dandy edge à la Russell Brand.

And for next season, it seems many designers are following suit. Gareth Pugh’s first menswear collection is very dark and eerie and reminiscent of his past collections for women.

However, unlike his womenswear, he favoured the skinny silhouette. His meggings were mainly leather and ruched, but he also produced a few pairs that were ripped to shreds at the thigh in a very gothic look. The favourites and most wearable, though, are his high-waisted meggings.

All black, with the top having the characteristics of a cummerbund, they’re perfect with a crisp white shirt for a formal event.

For the traditional gentleman, Moschino steps up with a collection of pin stripes and bowler hats. Their meggings were much more formal than the others for Autumn/Winter, but tucked into lace-up combat boots gave them a slightly rawer edge then perhaps some of the other outfits in the collection. Ruched seems to be a big factor when it comes to meggings, and Moschino followed suit with the outfit being reminiscent of an equestrian look on the lower half.

American Apparel have also jumped onboard with their Baby Rib pair. Not quite screaming masculinity, but the overall design is practical and comfortable in a jersey material.

Opt for extra long to gain the ruched effect that so many of the designers have favoured, this makes the meggings far more forgiving.

It is a big step going from skinny jeans to meggings, but remember it was a bigger one going from baggy to skin tight. If you’ve got the legs for it, skinny is the way to go. Man them up with a smart blazer or some heavy boots, it does not all have to be tight and taut; parading down the catwalks are an array of deigns that avoid the ‘Fame audition’ look. Besides, you know what they say about all the best things coming in small packages.

or minging?

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Photography Chris Moore

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Wonder if he’s for sale?

Previous page: Black suit, Cos; Shirt, Emma Willis; Bow tie, Peckham & Rye; Shoes, B store.

This page: Left: Blazer and trousers, Stylist’s own; Shirt, Reiss; Hankerchief, Model’s own.

Right: Jacket, Siv Støldal.

Styling & Make-up - Martina Akrenius Photography - Natalie Eloise David Model - Stephen Kelly

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Left: Blazer, Mjölk; T-shirt, Model’s own; Hat, Stylist’s own; Lighter, Scribbles.

Above: Shirt, Vivienne Westwood; Trousers, Mjölk; Black pattern lace ups, Model’s own.

Opposite: Jacket, Stylist’s own; Shirt, Emma Willis; Silk tie, Milano; Trousers, Mjölk.

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Nuno New Yuka Maeno investigates Japan’s recent trend in feminine care, and discovers why Japanese women can’t wait until it’s that time of the month again...

Apparently it’s no longer an issue of towels or tampons. The question, according to the latest trend in Japan, is to dispose or not to dispose – by converting to washable fabrics. Now, I’m Japanese, I’m a woman, and I’m all for saving that planet of ours. But quite frankly, that region of eco-ville is a little too foreign for me to want to enter. Ever.

Or at least that was my initial reaction towards the apparently increasing demand for cloth sanitary towels in Japan, according to Nikkei - the nation’s largest business newspaper. Considering Japan’s reputation as the innovator of all things hi-tech, it seemed suspiciously peculiar that something so pre-sixties (if not Stone Age) would appeal to the modern-day Japanese.

Hell, we’re speaking of the place where an actual robotic model strutted down the catwalk at their latest Fashion Week. Even so, after only a few clicks on the web, it became clear that Japanese women are, indeed, making some changes.

On Google Japan, the words nuno napukin (cloth towels) generate a staggering 520,000 hits, the first being the website Nuno Napu. Dedicated to enthusiasts of washable towels, over 800 users access this website each day. And contrary to what one might expect, it’s not some sort of morbid eco cult. Although quite possibly, the founder of this website - the woman only known as Razuke - could be the Goddess of all converts-to-be. Her ‘appreciation for cloth towels’ is evident in every corner of the website, as she writes of her lifechanging encounter with a washable towel, and provides numerous tips for other women to follow. She reviews each of her extensive collection of towels, describing their visuals (“this one has cute little lace trimmings”) and rating them based on practicality factors. As you would expect from disposable pads, these towels vary in sizes and shapes to fit every ‘occasion’: wings, no wings, normal, light, day, night, super – you name it, she’s got it.

Razuke has even mastered handcrafting originals pieces using unwanted fabrics. And, unlike disposables, which in terms of design are quite, er, ‘average’ looking, these ones come in all sorts of colours, patterns and materials.

If you’re going to be grumpy, bloated and binge eating for seven days, you might as well do it in style, right?

And what’s truly fascinating about this (apart from Razuke’s over-enthusiasm) is that none of them, handmade or bought, look at all old-fashioned.

Take the products by retailer Baby Hearts, for example. The towels, made of cotton and polyester, come in plenty of pattern choices, be it Japanese cherry blossoms prints, colourful polka dots or little puppies, while still being very similar to disposable ones in terms of shapes and sizes. Their towels with wings attach securely to your underwear with snap-on buttons, and you can add on absorbent pads just to be extra safe.

Sumiko Saito, who runs retailer Lingerieholics, has created the Tsukinuno, which seems a lot more hi-tech than the so-called modern day disposables. After two years of experimentation, Saito finally came up with the perfect combination of absorbent fabric layers that only adds up to a thickness of 4mm, and is easy to wash. Covered

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in bold floral patterns including one in Liberty print, the oval-shaped towels look more like fancy coasters than sanitary wear. On her blog, Saito writes, “I wanted to incorporate traditional comfort to create something new that fits the needs of modern life.”

Practicality, however, is certainly crucial to modern day living, and replacing the bin with manual washing isn’t so appealing, let alone having to carry the mess in your own handbag. Savvy retailers, of course, have their own solutions: lingerie distributor Felissimo sells odour stopping zip-seal bags along with their cloth sanitary collection, while many suppliers of washable towels stock special detergents and buckets for soaking.

But why the need for all this trouble?

Ostensibly, the answer to this is the eco movement, as most of these retailers are environmentally conscious. According to the latest report by Japan’s Ministry of Health, Labour and Welfare, the nation produces an average of eight billion disposable pads a year. And having reusable towels certainly seems to be more economical, so it’s probably true that switching to washable pads would, indeed, reduce the amount of waste.

Yet from the comments left on online forums for cloth towels users, it looks like the majority of these women have other reasons for converting. One that stands out is the ‘comfort’ factor. Compared to disposable ones, many suggest that washable pads reduce, or even eliminate the itchy, smelly symptoms of the monthly visits. On the Nuno Napu forum, a post by username Yashuko writes, ‘There’s no itchiness or burning sensation. I was very impressed. I’m on my second period since converting, and I was surprised that it has reduced pain as well as odour. I’m excited for next month!’ Similarly, on the same forum, Ri says, ‘There are so many positive things about them, but the best part is that it’s no different from putting on underwear. I used to get very tired and ill during my periods. But now I can barely feel period pains, so I no longer have to dread it.’

While not everyone has been lucky enough to feel less pain, many women comment on the improved reactions of their skins. ‘I was hoping that it would help soothe cramps,’ says a post by Piko, ‘but it didn’t. Although they are definitely more comfortable, and I don’t have to worry about thrush.’

If you’re bold or bored enough to explore this slightly odd trend, cloth towels are also available in England, though variations are limited compared to Japan.

Pleasure Puss, which isn’t half as dirty as it sounds (well, depending on what you’re into), stocks a relatively large range of towels, including the ‘Love ‘em Heavy Pack,’ containing pads of all sizes and assorted prints. They may be awful at coming up with names, but who knows, a small purchase might actually buy you lots of comfort.

Breaking the news to other halves, on the other hand, could be a bit more discomforting. Well, that’s especially if you’re transforming his T-shirts into handmade pads without him knowing. In one of the discussions on the Nuno Napu forum, an entry by Ling says, ‘There was a hole in my husband’s T-shirt, so I told him I’d make dust cloths out of it. When he found out that I’d actually been making pads, he was extremely shocked.’ After all, we’re way off male territory here. Which begs the question – why do we call it menstruation then?

V

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t

e bi

In cinematic terms, 2009 really is the year of the vamp. With films like Thirst, Suck, Hello Darkness and New Moon all hitting our screens over the next few months, there’s no better time to unleash your inner Goth and embrace the darker side of cinematic love, reveals Francine Heath.

In comparison to your typical Mr Darcy, the image of the bloodsucking un-dead doesn’t seem too pretty, but recent releases have vamped up their lead’s image so successfully that human boys no longer seem able to compete with the Edward Cullen’s of the film world. Since its very first appearance in Victorian literature, the vampire has always been symbolic of sex and sexuality; yet whilst the latest cinematic trend stays true to the notions of desire and obsession, it ditches those former lustful preoccupations, replacing them with matters of the heart instead.

The idea of hunky vampires is something that first became highly popularised to our current generation by hit TV series Buffy the Vampire Slayer. After all, it wasn’t seeing another vampire get ‘dusted’ that we all tuned in for every week, but rather to see Buffy and dreamboat vamp Angel’s heartbreaking romance unfold on screen. It’s this exact notion of being in love with the ultimate unattainable bad boy that’s appealing to audiences everywhere and taking the world by a storm.

As an audience we’re certainly no strangers to films about virginal girls dating unsuitable guys (think Olivia Newton John in Grease or Jennifer Grey in Dirty Dancing), but the vampire spin on such a classic plot makes the sentence ‘falling for the wrong person’ seem like the understatement of the century. Unrequited love is always a killer, but loving someone who has a stronger desire to kill you rather than kiss you, well that really does just suck.

Yet the obsession with the un-dead began way before our favourite slayer came along, right back to the days of the 1922 German-expressionist classic Nosferatu, a film which had audiences literally fainting at the sight of a vampire. Containing one of the most intertextualised scenes in horror, the viewers who managed to remain conscious fearfully watched as the killer’s shadow lurked up the stairs to his victim’s bedroom, and it was at this point that the obsession began. After being slightly re-vamped (no pun intended), the films were last highly popular in the eighties, when sleeping all day and staying out all night was the hedonistic motto to be followed. What better symbol to reflect those times than that of the sunlight dodgers themselves.

However, back then female vamps such as saucy stripper Grace Jones in Vamp (1986) were equally all the rage. Nearly 20 years on (as we’re still waiting for a sequel entitled ‘The Lost Girls’), it seems that male domination has returned to the genre.

With Stephanie Meyer’s Twilight Saga currently dominating the stakes, the male vampire remains to

es!

be one of the most mysterious and intriguing figures to emerge from classic cinema.

Since the very beginnings of cinematography, literally hundreds of vampire films have been made and with films such as Let the Right One In and The Dead Matter coming up this year, there seems to be no end in sight.

Coming from both mainstream cinema and from the independent circuit, the influx in the revisitations of vampire mythology is no surprise due to the subgenre long being a staple for dedicated followers of both the horror and the romance movie.

Over time it has achieved not only a cult status but also a devoted following all of its own with both festivals and conventions committed to celebrating the supernatural beings.

The idea of the romantic and alluring vampire originally dates back to a short story from the 1800’s called The Vampyre written by novelist John Polidori and has been revisited most recently in films such as The Lost Boys and Interview with the Vampire.

Of all the mythical creatures in horror, the vampire is the only one primarily associated with sex. However the image of the vamp in traditional folklore was not a sexually attractive creature, so where are all these vampire hunks coming from?

Increasing depictions within the modern vampire movies overlook the fanged protagonists as being simply menacing blood addicts, portraying them instead as goodlooking, long-suffering anti-hero’s who are tragically unable to resist their neck-biting urges leaving them confined by their animalistic nature, a reminder that the vampire protagonist comes with that healthy dose of controversy that’s needed to make a good film great. Entirely seductive in their nature, no matter how handsome they may be, the end result is that they will reel you in and then without a second thought they will kill you.

This noticeable contemporary difference stems from images of the earlier vamps who were feared for being terrifying demonic creatures, visually horrific after becoming characterised by long-nails, hairy hands and freakishly pale skin (and not to mention the bad haircuts). Now, the blood-suckers are taking on totally different form despite still possessing that vital killer instinct. Challenging our conventional thoughtprocesses, modern-day vampire films are constantly engaging in the process of familiarisation and de-familiarisation when it comes to the ‘look’ of the monster. Comparisons of the demonic protagonist’s image from the iconic Nosferatu and present-day blockbuster smash the Twilight saga are extremely different. New Moon and Let the Right One In are just a couple of examples in the recent number in vampire films that are focusing primarily on love, reversing traditional visual stereotypes by dropping the all bone, all fang image in favour of tailored clothes and high-lighted hair.

Twilight, the gothic prom movie for the ‘emo’ High School Musical generation, is of course the film adaptation of the best-selling novel by Stephenie Meyer. First portrayed in Claire Denis’s Trouble Every Day, the Twilight saga once again relays a provocative love story in which the fanged protagonist struggles to be intimate without causing his lover any harm. But behind all this un-restrained sexuality, uncontrollable desire and endless obsessions is the excitement behind the flawed love, including guilty pleasures and stolen kisses.

In the same way Bram Stoker’s Dracula mirrored the gender anxieties and cultural fears of the late nineteenth century, Twilight mirrors the height of teenage lust (along with America’s ‘Just Say No’ attitude), framing the murdering protagonist once again as a catalyst of sexual desire. Presenting us with Romeo and Juliet but in a new vein, the movie version of Twilight has grossed over $340 million worldwide since its release last November, debuting number one at the box office with $70 million, making it the highest ever debut from a female director. With New Moon being released in November and Eclipse already scheduled for release in 2010, no escape from the Twilight phenomenon is yet to be seen.

So it’s time to revisit your love affair on the brink of hell’s mouth and sink your teeth into at least one of this year’s vampire flicks. Yum.

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Rubbing Shoulders with

Royalty

The drinks are flowing as the girls prepare for another fun and booze-fuelled night out at Whisky Mist.

With immaculately coiffed hair, and elegant make-up, their mission for the night is – to bag a royal. Kirsty Tribe follows their progress…

Back in July 2006, a national newspaper coined the phrase RAGs (Royals and Girlfriends), a term used to describe young female members of the Royal family. Likened to the well-known phrase WAGs (the wives and girlfriends of footballers), it can also mean the young women who frequent the nightclubs and bars of Mayfair and Knightsbridge and numerous other hotspots, seeking to ensnare an affluent member of royalty. Even Paris Hilton has been witnessed attempting to cosy up to Prince Harry and pals whilst out partying at Whisky Mist, the favoured hang-out of the rich and famous, based in Mayfair. The avid royal lover was also spotted last October wearing a white jumper that bore the slogan ‘Royal Highness’. Something you’re trying to tell us, Ms Hilton? Perhaps she sees herself as the next member of royalty? Now there’s a scary thought.

Emily Nash is a London-based reporter who has previously partied and spent time with the Princes.

She has also appeared in Jacques Peretti’s documentary, ‘William and Harry: What Really Happened’, at the beginning of the year, where she spoke of her surreal experience. Nash is a firm believer that girls frequent certain bars and clubs just to rub shoulders with royalty: “I would say definitely in London, there seems to be plenty of celebrity and royal hangers-on populating the clubs of Kensington and Chelsea.”

The sad fact is that girls are desperate to meet celebrities and royalty simply because of the heady world of glitz, glamour and celebrity that we, as a nation, now find ourselves utterly obsessed with. “I think (the women) are buying into the glamour and excitement of meeting people they’ve grown up seeing on TV and in magazines, in the same way that young girls get crushes on pop stars and actors. There are no doubt a few who really think they might get lucky and end up as the next Queen of England!” Nash says.

A sensible – and almost logical – way of looking at the intentions of these girls is to think of Kate Middleton. “The fact that she, who has no royal connections, has ended up going out with the future King, has probably encouraged other girls to try and do likewise,” Nash confirms.

Even when young women get it into their minds that they will meet and flirt with royals on a night out, it doesn’t mean it will happen, by any stretch of the imagination. The Prince’s very trusted upper-class circle of friends is not a particularly easy group to crack on a typical night out. The Princes like to have a strong ‘ring of steel’ around them when they go clubbing. Simon Dent usually accompanies them, a man whom the royals trust to look after William and Harry, plus a couple of

34 segue

burly security men, who keep any drunken unwanted clubbers away, making it very hard for just anyone to party with them.

Nash even says of the Princes’ strong circle, that anyone already ‘in the nook’ is known to socialise with royalty on some level already: “I think that a lot of the girls who hang around the Princes are actually part of their social set – they go out with minor royals or polo players, because they are the boys they’ve grown up with. But there are certainly others who probably do see it as a quick way into wealth, glamour and fame associated with them.” This can’t be said for Prince William’s current girlfriend, Kate Middleton. From a reasonably well-off family herself, Kate and William attended university together before becoming Britain’s young golden couple.

Undercover journalist Nash got the opportunity to meet the Princes when she was sent to Klosters in Switzerland back in 2005, to observe Prince Charles and his two sons on Charles’ ‘stag-do’ before he wed Camilla Parker Bowles. The initial intention of the trip didn’t completely go to plan, though. Nash recalls, “As it seemed Charles was behaving in his usual low-key way, I concentrated instead on William and Harry. Klosters is a small town and has only a handful of bars and one nightclub – Casa Antica. It was very likely the Princes would spend a few nights of their holiday there, so I went along on the off-chance and got introduced to them after getting talking to Guy Pelly (an old friend of William’s).”

She says that the time spent with them was a pleasant and a once-in-a-lifetime occasion: “It was fun, if a bit surreal. It showed how normal they are in some ways, going out and getting drunk with their friends and larking about. But seeing the constant security presence and the way they are careful – especially William – now to draw too much attention to themselves, was a reminder of how different their lives really are in many ways.”

During her time spent at Casa Antica with William and Harry, Nash did witness other people attempting to get close to the Princes. “I did see two other undercover reporters trying to get alongside them!” she recalls. “The Princes tended to stick to their own circle mainly, although they were polite and charming when local girls tried to meet them. Two German teenagers there on holiday were delighted when William bought them a drink!”

Nash is one of the very few that had the chance to socialise with the Princes. However, just because Nash got the opportunity doesn’t mean that others will be as lucky. Although there are many girls who have set themselves high career opportunities to become doctors, nurses and lawyers, there are others who do aspire to be the next celebrity RAG. So, could we soon see another pretty face on the arm of Prince Harry and co? Watch this space...

rs

Photography Chanel

Brighten up for A/W 2009 Well, here we are again. Another year passes, another leaf falls, but wait...another exciting season of brand new Autumn/Winter beauty trends. Lauren Goward reports.

This is the season to let the sultry, sexy vixen emerge from us all. The catwalks this season have played host to a whole new range of gorgeous delights to tickle our fancy: oozing sex appeal from Milan, metallic, alien-like figures from Paris, a garden party in London and an eighties comeback in the Big Apple complete with a splash of pink and a hint of yellow.

We begin with Alessandro Dell’Acqua, who gave some much-appreciated warmth to the catwalk with his sultry Spanish golden girls. These bronzed sirens were all about protruding full lips, using dark plums and coppers to herald autumn’s arrival. The fullness of the lips was made more of a feature with the contrast of subtle eyes, creating a bottom-heavy look. This look also reflected the 80s influence seen on the catwalk for this season. With hair loose or scraped away from the face, bronzed skin was shown off as a key feature to this look.

John Galliano for Dior made a spectacular comeback for this season in the city of romance, Paris.

His models appeared in a dramatic array of silver, gold, blues, pinks and bronze. Their Japanese-inspired look accentuated the eyes using a smoky effect, which was then outlined with gold for an autumnal look. Others were frosted with silvery white over the eyelids, giving a taste of the chills of winter. The lips were kept simple, using a nude colour and gloss to enhance them. The contrast of dark and light make-up gave a simple but effective look, creating a winter wonderland on the catwalks of Paris.

Ashish braved the infamous British weather to bring us a delightful garden party taster, complete with its very own catwalk of Geishas. Sporting green leafed and flowering headwear, the models showed a sense of typical English tradition through pink lips, but with an Eastern twist. Eyes were almost untouched, allowing the lips to be, once again, the centre of attention. Violets, corals, electric blues and lime greens were just a few colours in Ashish’s paint pallet, giving the long dark days of winter a little lift.

Marc Jacobs stormed the catwalk of New York with his own rendition of an 80s comeback, complete with side ponytails and zipped cardigans.

The all-important make-up was also 80s inspired, with a particular reference to Culture Club’s Boy George.

Don’t panic though: fashion week always brings inspiration from past times we would rather forget, but they do it with class and sophistication, and Marc Jacobs was no exception. Burnt oranges, mustard yellows, gunmetal silvers and charcoal blacks were the backbone of it all. Using the rule of lines, the eyes were the key feature, with block autumnal colours of creating that infamous 80s look.

The leading favourite, however, was Karl Lagerfeld for Chanel. Each model was dressed to impress, but the icing on the cake was their beautifully made up faces. In keeping with the theme of occasion, the models reflected the soft breeze of Autumn/Winter with small sequins underlining the eye, frosted over with grey and silver shadow. Although the clothes asserted power, the make-up softened the look, giving a fairytale twist on a timeless classic.

The beauty trends seen on the catwalk for this year’s Autumn Winter 2009 all reflect the essence of the chilly months during this period. Each one can be adapted to suit your own preference, but all will keep you up to trend this season.

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Why listen to The Smiths in 2009

?

“Fans shared the passion for the issues the band stood for, from vegetarianism to the Moors Murders, through their words and riffs.

The nation had fallen in love”

36 segue

With a sinking economy and a set of politicians that you’d rather spend time rearing pigs in Mexico than hear any more about their exuberant expense habits, 2009 has been left looking pretty bleak. If the year were a hand it would fit nicely into the glove of the eighties – mirroring everything from the recession to the greedy government. If anything saved the Eighties it was a Charming man, his band and their influence. Here Emily Loughlin explains why, in 2009, The Smiths have never been more relevant…

Throughout the 1980’s, The Smiths revolutionised the lives of awkward misplaced teenagers.

Their music reached out to fans hearts, sharing their angst and misery whilst provoking them to question the essence of the society they lived in. But little did they know that their music would remain a torch passed on by fans long after their short cycle. Clearly, some lights never go out.

The Smiths’ Britain was fuelled by the struggle of the ordinary people. Struggles which spoke from the heart, a lack of love life or not having the right clothes. A deeper insight shows a hatred for a sleazy government and a pointless monarchy. This was cleverly disguised by their lyrics and their submersion into cultural influences which ranged from Sixties film to the literature of Oscar Wilde and George Bernard Shaw.

Their lyrics demonstrated a poetical angst. Their ordinary stance gave ‘ordinary’ fans a voice which wasn’t angry, and anarchy cemented like the seventies Punks, nor was it ironically ecstatic like the chemically induced nineties. Smiths’ Britain was the time when to be an outsider - ugly, fat, skinny, blind or deaf was celebrated.

Smith’s fans felt and related to their protagonist’s words.

Fans shared the passion for the issues the band stood for, from vegetarianism to the Moors Murders, through their words and riffs. The nation had fallen in love.

The Smiths believed music should make statements. Flash forward to the dystopian-esque Noughties, where the need for statements is becoming increasingly important. The country has seen more and

more people sway towards vegetarianism in hope of saving the planet. This was Meat is Murder’s ultimate goal twenty years earlier. Morrissey’s protest is slowly getting there with the aid of his loyal fans behind him.

Some Girls are Bigger Than Others has more meaning now in a super-size me world obsessed with body image, proving the issues that The Smiths were passionate about then are even more relevant now.

The Queen is Dead album secured The Smiths place in music’s pantheon of all time greats. Marr had commented in an interview with Q (2007) that ‘Enough people have told me our music changed, if not the world, then their lives.’ The title of the album sparked controversy in a decade which worshipped the monarchy. Twenty-two years later, society has caught up with the ideology that the monarchy is a caricature becoming a tabloid spectacle of ridicule. Simply, the reason The Smiths resonate with new generations of musicians and fans lies in its central contradiction - the records may document times and places, yet it is timeless work applicable to anyone. Especially in a world where the ordinary individual craves to be extraordinary, but in reality the economic climate and society are slipping down a downward spiral. There is a need for a charming man, his band and their influence.

Plenty of bands are praised long after their lifecycle, when their influence touches the hearts of ‘the new generation’. Hats off to The Beatles, The Doors, Lep Zep and co., but The Smiths was something different. They did something different for a generation. Their lyrics may have referenced Manchester and Thatcher’s greed-obsessed 1980’s, but they were witty and insightful enough to transcend that time and apply to the world two decades later. So the Smiths may still live and breathe in a Topshop infused Indie Disco, but the message is still the same. Hearing Moz’s droan on Heaven knows I’m Miserable Now is what every GHD’d, head is beginning to feel. With a bleak present and even bleaker future being drummed into us from all angles, The Smiths have never been more relevant.

The girl behind the decks is getting a lot of attention. The boys aren’t waiting to watch the seamless mixing of two beats – oh no. They’re just waiting for an eyeful of bare breast, bouncing in time to the beat.

Welcome to the world of female topless DJs. Sophie Berry discovers that, if you have a shred of self respect, or a love of a good bra, you should be afraid.

Very afraid.

Girls have been giving new meaning to the term ‘ones and twos’ since the mid 00s. What started off as a few novelty flashes at Amsterdam NYE parties has snowballed. There’s now loads of online agencies promoting the dubious talent of topless DJing, showcasing their artists’ skills with photographs which would make Jordan zip up. In Finland, topless DJs are extremely popular. Nightclub mogal Sedu Koskinen owns most of the clubs in Helsinki and is an enthusiastic supporter of topless DJs. Koskinen is even starting a night called Club Moscow in his Studio 51 venue featuring the crème de la crème of the dubious scene.

Doing a bit of research, it’s all too easy to get hold of some DJ eye candy. One email to a leading booking agency led to offers of seven different acts, with the most expensive, DJ Mari Ferrari, charging €2000 (£1,860) for an hour long set. (In an email to Astrid, her agent, I’m informed she won’t play on vinyl turntables.

At all.)

A quick snoop on YouTube shows you get a lot for your money: Mari is a full-on Russian glamour girl with massive boobs, nipple piercings, and an impressively wide range of pouts. The headphones aren’t plugged in, but the boys on the front row don’t seem to mind.

Last September Mari came under fire after Spanish promoters Class Concept complained to Mixmag that she mimed throughout her two hour set. Although her agent denied the claims and said the promoters had given a ‘false testimony’, her apparent miming was filmed for Fashion TV. Rather than whether DJ Mari can mix, shouldn’t the question be why the promoter booked her in the first place? Lady V Dubz, one half of Feminine Takeover isn’t impressed with the message topless DJs send out; ‘’I think if female DJ’s want to degrade their selves like that then let ‘em crack on. It’s fair enough to promote the fact that you’re a female DJ, but stating, or should I say flashing the obvious is not really my bag maybe it’d be different if I had double E’s!’’

You can’t help but think that these page three turntable minxes are undoing the two steps taken forward by credible female DJs and taking 5 steps back,

Photography Sophie Berry

get your tits out for the lads!

ditching their bras on the way. It’s a total double standard too; as record producer and musician Chris Goss puts it, ‘’DnB isn’t exactly blessed with the best looking bunch of geezers!’’

There are plenty of girls out there who can impress the crowd and leave with their dignity as well as their tunes; If the boys can make it big with a face for radio (no offence High Contrast..,) then girls can make an impression too, and they shouldn’t have to take their clothes off to get a booking.

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46 38segue segue

Bodysuit, vintage; Skirt, Beyond Retro.

Cut off denim shorts, Topshop; Longline Bra, vintage.

Bodysuit, vintage; Skirt, Beyond Retro.

ekat etake lbuod double

Styling, Photography, Hair & Make-up - Emma Hilton Model - Yvette Yarnold

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Hip-hop dancers and R‘n’B artists are filling their wardrobes with the latest design craze in town.

Wearing fresh design label ‘Sabit’ will tick the box for every urban junkie. The relaxed, individual and ‘dressed-down’ urban street wear trend is about to make a huge impact on the dancewear and fashion scene, reveals Dilem Guven.

With it’s baggy jeans, relaxed hoodies and comfortable Jordan Nike Airmax, its no wonder that urban streetwear is addictive. The slouched silhouettes and flamboyant colours of the street have remained, but Japanese designers at the Sabit design house have spun the idea of the stereotypically urban street style, creating a quirkier, almost preppy approach.

The rise in rap music has influenced urban culture, sending New York Yankee hat sales through the roof. However, Sabit has brought this old school trend into 2009 with a twist. Shoichi Amemiya, head designer of the label’s Spring Summer 09 range, claims to have found his inspiration from his Japanese roots, mixing Japanese streetwear style with American Couture influences.

50 Cent, Chris Brown, T.I, Lil Wayne, Ludacris and T-Pain are the trendsetters who have picked up on this infused trend first. Inevitably, once celebrities set the trend, it is only a matter of time before the ‘urban preppy’ style is picked up by every fresh guy’s home styling.

Asked about the trend he has created, Shoichi Amemiya says, “It is influenced by what we call “American Casual’. For 2009, we have a lot of gingham check, (and) big and small patterns mixed together. It makes a kind of preppy street excitement.” Amemiya says the label’s ‘swallow’ emblem “brings good luck in Japanese”, and that the fashion collection is ‘unique’. “We make one-offs, we have friends who are styling people like Chris Brown and Ludacris, T.I, they wear our clothes and forward the trend to everybody else.”

The ideas of preppy vs. urban, and geek vs. cool are reflected within Sabit entirely, from the clothes to the Sabit events held in New York City. Amemiya says of these Sabit Thursdays: “It is a small gathering of Sabit friends, where we share music, art, and fashion.

We chill, drink (and) talk once a month, every second Thursday.”

Is this the rise of the intelligent street man?

The trend and its celebrity following speak for itself.

And, while this trend does not seem to hold the timeless element of previous contenders, ‘urban preppy’ clothing is definitely something to look out for this year. This trend comes as a direct reflection of the multi-cultural and mixed backgrounds of the dancers of NYC, and yet its individuality means that Londoners will also be walking around dressed as preppy G-stars in the near future.

If you are addicted to fashion, hold your hands up and admit: “I am an Urban Junkie”.

40 segue

Mad Hatters

Photography Piers Atkinson

sabit

After developing madness for millinery in the summer months, Autumn/Winter 2009 is set to take hat design to new heights. Alexander McQueen leads the way with lampshades and bin lids, while feathers appear an all round favourite. This season, discovers Yvette Yarnold, the obscure and abstract rule, and hats really get radical.

Earlier this year the master milliner himself, Stephen Jones, joined forces with the V&A and ran a collaborative exhibition showcasing over 300 wonderful pieces and taking us on the journey of a hat, from inspiration through to creation, the workings of a salon and the all important clients. Hats: An Anthology by Stephen Jones took inspiration from Victoria and Albert themselves, both famous hat wearers. Queen Victoria’s distinctive bonnet still inspires styles today, such as the baseball cap, while Prince Albert’s iconic top hat is an all time favourite of milliners, its classic shape used again and again with modern interpretations.

As well as looking at hats of history and veterans in the trade, the V&A gave us a heads up on who are the new kids on the block. Piers Atkinson, for one, who is probably best known as Editor of London Fashion Week magazine, The Daily Rubbish, had two designs in the exhibition and is making a name for himself as a milliner. A fan of collaborations, Atkinson has worked with Zandra Rhodes, Andrew Logan and Ashish and his third collection for Autumn/Winter is another showstopper, all about dollies and frogs. The collection is fun and full of life with Barbie doll heads, googly frog’s eyes, lily pads and bright, beautiful flowers, all “inspired by The Princess and the Frog fairy tale, of love and faith,” explains Piers Atkinson.

Also along the lines of a fairy tale theme, is Louis Vuitton, with their interpretation of headwear: bunny rabbit ears. However, not the white and fluffy kind.

Marc Jacobs’ designs for the Autumn/Winter Paris show saw black, structured fabric protruding out from messy bun hair styles. Less cutesy Playboy bunny and more Donnie Darko. Proving that these ‘ears’ are a wearable accessory, and not just a one hit catwalk wonder, is Madonna. As the face of Louis Vuitton’s latest ad campaign, Madonna was the first to be seen wearing one of the headpieces. She chose an emerald green version to top off her head-to-toe, Vuitton ensemble at the Costume Institute Gala. Organised by Anna Wintour to mark the launch of new fashion exhibit, Models as Muse, what better place to take the hat fad one step further and introduce an abstract, statement creation?

Walking around with giant rabbit ears on our heads might be a tad extreme, but if it’s extreme you’re looking for then Alexander McQueen is your man. With bits of old junk and the contents of a rubbish bin the theme for his latest collection, the hats certainly followed suit. Impressive designs were made of everyday objects stuck to the head, such as lampshades covered in feathers, car hubcaps, melted plastic bin lids and what looked like upside down carrier bags. You can always rely on McQueen to deliver a spectacular catwalk show, and this one was no different. An enormous knitted snake that coiled round the neck as a scarf and then tied in a knot on the head as a hat, was one of the highlights, as well as a huge feather structure. In keeping with the rubbish theme were the aluminum cans; used to form shapes on the head and tied in place with black, plastic bags. A particularly ingenious piece was a mini umbrella, made with printed fabric and a matching suit. What a great idea for those miserable winter months; a hands-free umbrella that matches your outfit.

If you’re keen to join in with the hat trend but haven’t quite got the confidence of Isabella Blow, Lanvin’s feathered headpieces are much more wearable option.

Sculpted to the head as though part of the hair, these designs are understated, yet effective. Amongst the wild and wacky, there are also the subtle and more sensible. Such is the beauty of this season’s hat trend. So don’t be shy, you can leave your hat on.

Photography Chris Moore

Model Replacement We live in a culture where celebrities, or ‘stars’, are ubiquitous by their presence.

The fascination with them has translated into many industries, and in fashion, the celebrity appears to be superseding the supermodel, replacing them as the designer’s muse, an editor’s cover choice and presenters on fashion-related broadcasts. Brittannia Mcleod reports.

This accession into this replacement role came during the 1990s when women’s magazines began developing an online presence. During this time, glossy women’s periodicals began using well-known media personalities in place of models.

Editor of Good Housekeeping magazine, Louise Chunn, identifies that, “The celebrity thing actually happened as a result of InStyle.” InStyle was launched in 1994, as Britain’s first celebrity and lifestyle magazine.

What followed was a wave of celebrity-focused periodicals such as Hello and OK! and in recent times, some of the most beautiful models in the world have been sidelined for presenting positions on fashion related broadcasts, like reality design show Project Catwalk, presented by Elizabeth Hurley and Kelly Osbourne. It seems the fashion world has followed the tabloids into the celebrity consumer-durable stakes, where Kelly Osbourne, Peaches Geldof and Madonna take centre stage at fashion shows - left of buyers and casting directors, and in front of the camera on fashion programmes.

Of course, celebrities have always attended the shows, but these ‘star’ appearances are now a major focus, more so than the models or designer’s collection.

Speaking at the Out of Fashion: The Absence of Color discussion, creative director of Ebony magazine, Harriette Cole said, “This nameless, faceless thing in my view is

coming even more because celebrities have become the model…a few years ago at the time of the ‘supermodel’, supermodels were on every cover, supermodels were driving sales. Now celebrities are driving sales so my point is, I believe in part when the models look the same…they are ‘hangers’ for celebrities or stylists, so we no longer relate to the model, we relate to the dress.”

Replacing or substituting models for celebrities may be due to institutional factors; the industry is having to rethink what it is promoting to get people to buy its products, hence hiring celebrities because they are a commoditised image who, compared with the $10,000 a day price of a supermodel, are cheaper and more marketable.

It is saddening to think that it is harder to become a ‘supermodel’ today - whether it is the fault of magazine editors, or an inevitable consequence of the gossip-obsessed ‘consumers’ who devour the slightest hint of celebrity. If celebrities are taking jobs away from models, perhaps it’s time to go back to the drawing board - where actors act and models model.

Jenny Saville: ‘If they are portraits, they are portraits of an idea or a sensation’ Tits rounded and imperfectly perky, rolls of raw flesh overlapping each other, legs spread wide open: that’s how Jenny Saville likes it, discovers Edith Opito.

When looking at Saville’s work, it is easy to assume that it is produced by a male artist. Saville’s style of painting is not only unique, but also honest.

To the untrained eye, an intimate painting of oversized naked women - sometimes with a penis - sounds disturbing. Yet Saville manages to capture the beauty of the bigger woman and the interesting idea of cross-gender with the tip of her brush.

There are countless artists in the business who paint nudity, but Saville’s work definitely stands out - she happily gives us an eyeful of the areas we like to cover up. Her biography on Brain-juice.com notes that ‘in an age where technology often prevails, Saville has found a way to reinvent figure painting and regain its prominent position in the context of art history’.

Although now living and working in Sicily, Saville is British meat. She was born in Cambridge in 1970, and began studying at the Glasgow School of Art in Scotland in 1988 - where the lack of female tutors encouraged the artist to read feminist text, which later influenced most of her paintings. Her degree show was to shape her career. Spending time with plastic surgeons, she was “interested in the malls, where you saw lots of big women. Big white flesh in shorts and T-shirts. It was good to see because they had the physicality that I was interested in,’ explains Saville.

Saville’s paintings suggest there is something interesting in the things we hide away, or perceive as disgusting. In some of her photos and paintings her subjects appear bruised – almost beaten down by their ‘ugliness’. Their eyes are deep and emotional, sometimes even seductive. The rawness of paint is used to show the rawness of flesh. Although some critics refer to Saville’s work as being ‘emotionally hollow’, it is clear that her work is also intellectually constructed. “They are artistic cadavers being both dissected and reconstructed in a process that links different paintings or parts of paintings to photography, sculpture and abstraction,” says Roberta Smith of the New York Times, “as well as suggesting darker analogies like surgery, deformity and torture.”

Thumbs up Jenny - who said big couldn’t be beautiful?

segue 41

one pill makes it better

“Girls as young as six years old will be able to text a health service to receive the morning after pill.

They can pick the pill up from the school nurse at break time, between lessons and during lunch break“

42 segue

With the recent development of advertising and promoting the morning after pill to females across the UK, Ria Palmer questions: is the morning after pill trying to solve the increase of unwanted pregnancies, rather than educating females on the risks of unprotected sex?

Sex education, unwanted pregnancies, STI’s and underage abortions have always been controversial subjects. Many structures have been put in place over the years by authorities to keep these issues at a low, yet it is repeatedly reported that the UK has the highest rate in all the above issues. Girls under 16 who are having unwanted pregnancies are causing abortion rates to increase by over 4000 a year, a rise of over 4% a year.

The increase in STI’s – in girls as young as twelve - has shot up by 150% over the last ten years.

The recent structure of children at the age of five being taught compulsory sex education within primary schools was put in place at the start of 2009.

MP Chris Bryant and parliamentary aid Harriet Harman believe throughout all the debate, this new legalisation will reduce the increase of STI’s and underage sex, along with unwanted pregnancies.

The latest composition to be put into place to target unwanted pregnancies within the UK is a TV advertisement for the morning after pill. This advert was first aired on 23rd April 2009, after the 9pm watershed.

This controversial topic hit headlines and stirred debate throughout society. Many questions were left unanswered by the government: do children really not watch TV after 9pm? Should we not be teaching children about the risks of underage sex? What are the emotional and physical effects of the morning after pill?

Two leading sexual health charities are complying with this new way of advertising. The Family Planning Association (FPA) and Marie Stopes International have made it public that they are delighted with the prevention of unintended pregnancies. Julie Bentley, chef executive of the FPA has declared to press that, “Ensuring women know where emergency contraception is available to them is important.” Emily James, spokeswomen for Marie Stopes International is also pleased to state publicly to sexual health critics that, “The way people should perhaps be viewing this is very much as a ‘belt and braces’ approach. The morning after pill is not meant to replace daily contraceptive pills.”

Dominica Roberts, from the Prolife Alliance, has challenged this advert and sexual health charities that are agreeing with this new morning after pill campaign, by stating publicly, “It is advertised inaccurately as emergency contraception, when in fact its major function is to cause the abortion of an embryo that has already been conceived, not as suggested by the name to prevent contraception.”

Bayer Scheing Pharma produce the morning after pill Levonelle One Step, advertised to women across the UK to help them make the decision about their unintended pregnancies. The morning after pill will be advertised as effective for up to 72 hours after contraception has failed, although it is more affective the earlier it is taken. This particular pill is priced at £22.43 in many pharmacies, and can be purchased over the counter as long as you’re 16 or over, or free if prescribed by your GP.

Dominica Roberts states, “Young girls will be particularly susceptible to this campaign and it is foolish to imagine they do not watch TV after 9pm watershed.”

A spokesman for Bayer has hit back to the press by saying, “We believe TV advertising plays an important role in informing women about Levonelle One Step and how it can be obtained.” Levonelle One Step has been promoted for many years within magazines, posters and on radio stations, but in 2004 Catholic campaigners protested for these advertisements to be withdrawn, due to the phrase on the adverts stating ‘Immaculate Contraception.’ Five years on, the debate of advertising the morning after pill in the UK is still going strong.

The anti-sex organisation, Christian Aid, have been protesting against the morning after pill being advertised, as well as a new scheme encouraging schoolgirls as young as eleven to request the morning after pill by text message. Oxfordshire County Council and Oxfordshire Primary Care Trust are introducing this pilot scheme, after the county saw a dramatic rise in pregnancies amongst girls aged eighteen and under. This scheme will be established in July 2009, and girls as young as six years old at Oxfordshire secondary school will be able to text a health service to receive the morning after pill.

They will then be able to pick the pill up from the school nurse at break time, in between lessons and throughout their lunch break.

A leading high street chemist, Lloyds Pharmacy has been criticised for launching an online service for the morning after pill. This new service, launched at the beginning of April 2009, allows females to order the pill online, which will then be delivered within 72 hours.

This service will cost from £27.99 to £74.99, depending on the quantity purchased. Women will be asked to fill out an online questionnaire, which is checked by a doctor. If all is successful the prescription will be sent to the address of the cardholder. Steve Marinker, spokesman for Lloyds Pharmacy, explained to the BBC news: “A lot of women have told us that they would find this service very useful. Through the confidential online patient record, we would know when you last tried to buy this product, so if there was anything irregular or anything worrying, the GP would immediately get in contact and ask questions before they’d be prepared to write a prescription.”

Emily James from Marie Stopes International also agrees with this new online service, stating to the BBC, “The morning after pill is not meant to replace daily contraception pills. This isn’t designed to be contraception in its own right, the idea is that people can order this as part of their forward planning in their normal contraception fails.”

Anti sexual health organisation, the Society for the Protection of Unborn Children (SPUC), has declared this service as worrying. Paul Tully, general secretary of SPUC, declared to the BBC news, “We’re very disturbed at this development, and this is a trend that a number of those in the family planning industry have been pushing for.”

This online service along with the advertising for the morning after pill will always keep the debate ongoing, and cause conflicting opinions. There is no right or wrong answer and many authority figures, campaigners, organisations, males and females across the UK will have their say on this topic. However, if these methods help reduce the high rates of abortions and teenage pregnancies, they can only be viewed as a good thing. Society must learn that sex is a critical game, and should be played with care.

What Would Barbie Do? To celebrate Barbie’s 50th birthday, we wanted to interview the fashion superstar, but it would seem that Barbie is more elusive than a certain Mr. Margiela. So Shannon Monteith has compiled our very own What Would Barbie Do? scenarios with the hope of deciphering the perfect Barbie responses. If you were in these situations, could you act with the same grace and composure as our wonderful icon?

Read on and find out.

Barbie walks in on her gorgeous ex-boyfriend Ken in bed with her best friend Midge, legs akimbo. Midge, is married to poor, kind Alan. Barbie was Maid of Honour at their 1991 wedding. What would Barbie do? a) Throw that tart off the bed, shouting obscenities at Ken before swiftly booty-calling Alan, who seems so much hotter now. Revenge sex is best served angry and rough. b) Jump in. If you can’t beat ‘em… c) Walk out silently with your pride and wait for them to contact you. After several weeks of profuse apologies and begging for forgiveness from both Ken and Midge, organise a meeting with them and Alan. Friendship is far too important to chuck away.

Barbie’s little sister Skipper returns from boarding school with a raging heroin addiction, asking for money to fund her next hit. Thus far, Skipper has been funding her addiction by soliciting herself, which is putting her in serious danger. What would Barbie do? a) Show that selfish bitch the door, this could ruin you.

Skipper’s always resented your fame and superior beauty. b) Transfer a considerable donation into her current account anonymously, that should keep her busy for a while and protect you from awful tabloid headlines. c) Stage an emergency intervention with close family and friends, keeping as much as you can away from the press. Call all your contacts in private medicine to gain her the best healthcare in the world.

Issue a press release stating that Skipper has had to go to Promises rehab centre in Malibu to recover from ‘exhaustion’.

You are at a private soiree in Karl Lagerfeld’s Paris pad; he offers to design you a one-off cocktail dress for an upcoming event. The day before your big night, you log on to perezhilton.com and to your horror find that some LA starlet has been papped wearing your ‘one-off’ at a film premiere. What would Barbie do? a) Ruin her. Get all your celeb pals to freeze her out, steal her boyfriend, leak unflattering photos, and refuse to speak to her, or Karl, ever again. Give the dress to the dog as an extra bed sheet. Wear that Versace dress Donatella sent over last week. b) Delete Karl Lagerfeld from your Top Friends on Famousbook. How dare he? Does he not realise who you are? Rock it up in head-to-toe Balmain, that’ll show him. c) Call Karl and calmly enquire about the mistake, perhaps he could suggest something else that you could wear? Accept his apology and listen to the delivery mix-up story, as he puts a Chanel couture gown onto a private jet straight from Paris.

If you answered mostly a’s: You are cold and aggressive, you have low self-esteem and manage this by pushing blame onto others that are deemed superior.

Not the most considerate of dolls, you lack patience and struggle to forgive others. You must learn that oneupmanship will get you nowhere. You are Sindy.

If you answered mostly b’s: You are modern and open-minded, but you lack a sense of responsibility and maturity. You have weird eyes and bizarrely provocative lips. You are a Bratz doll. Probably Jade.

If you answered mostly c’s: You are calm, intelligent and understanding. You’re charm and beauty shines far brighter than most and you truly are an international icon. People covet your every wardrobe choice and envy your compassionate, giving and loyal nature.

Congratulations my friend, you are Barbie!

The Barbie’s we’d like to see…

Redundant Barbie.

Complete with box of office paraphernalia and a three-month supply of Prozac.

Bigger is Better Beth Ditto Barbie. Complete with microphone and a closet full of specially made-tofit designer clothes.

They Tried to Make Me Go to Rehab Barbie. Complete with tattoos, smudged make-up, needles and a packet of cigarettes. Also available in this collection is the Club KoKo stage and rehab centre bedroom set.

Anna Wintour Barbie.

Complete with black Bvlgari sunglasses and BlackBerry. Also available is the Bee Schaffer Doll complete with the keys to the Vogue Cupboard.

44 segue

bare necessities

Styling - Laura Beech Photography - Gemma Brinloe Photography assistant - Jack Davis Make-up - Vanessa Bolivar Model - Ania D. @ Storm Model Management

Cream Top, Sub Couture; Halterneck, Martin Margella; Gold Necklace, Stylist’s own.

Be daring this winter and step out in elegant nude, cream, pale pink and a hint of glistening gold

segue 45

46 segue

Top, American Apparel; Tights, Danskin; Gold Necklace, Stylist’s own.

segue 47

Poncho, MJM -Makin Jan Ma; Tights, Topshop; Shoes, Stylist’s own.

thinking

outside

of the

BOX. “Shoppers found it impossible not to stop and stare... unsure if they loved it or hated it, but mesmerized by what they saw” 48 segue

The sun was beating down on the streets of London and Suzie Dicker were off to meet the coolest woman in make-up. Alex Box, the creative director for the revolutionary make-up brand Illamasqua, is proof that you cannot judge a book by its cover. Her severe liquid liner flicks, threatening blood red lips, Cruella De Vil hair, and a wardrobe that can only be described as fierce don’t correlate with the light northern lilt that spills from her mouth and her relaxed manner.

A Fine Art student from Chelsea Art College, Box made a natural progression from painting on canvas to painting on bodies. ‘When I left college I really needed to make some money, and apart from working clubs and stuff, my friends said, “Well, you’re really great at doing your own make-up and you’re interested in make-up and image – why don’t you work for us at Shu Uemura?”’ and then I started really playing with my more ‘paintily’ ideas on my own face and on punters’ faces at the counter and then it went from there.” She was approached to do her first catwalk show soon afterwards, and hasn’t looked back since.

If you have seen any of Alex Box’s work you will know how intricate and meticulous it is. It’s almost impossible to believe that it has been created by a makeup artist, a brush, and make-up – the fine elaborate lines whirling over the face, always perfectly mirrored on the opposite side. As she talks about doing the android-style smurf-blue faces at Gareth Pugh Autumn/ Winter 08, she lets slip, “I did all of the eyes and eyebrows myself – because I can do it precisely and quickly with both hands – well sometimes with both hands.” This ambidextrous make-up artist has brought new meaning to the term ‘make-up artist’ – turning it from a pretty girl who can create a dewy complexion backstage into an artistic force to be reckoned with.

A few days after our initial meeting, Box invited me along to watch her at work in Selfridges where she had come in to demonstrate the latest looks from the new Illamasqua collection. Sitting model after model down in a black swivel chair she was drawing angled brushes, black lip glosses and red eye shadows out from an ever mounting pile of make-up and expertly applying each product as she deftly dug into the heap of products again to pick out her next unexpected colour to apply.

All the time she would chirp away, “It’s like Siouxsie & the Banshees, yes The Banshees in ‘82…” Shoppers found it impossible not to stop and stare and an audience quickly built up, all staring agog at Box at work, all unsure if they loved it or hated it, but mesmerized by what they saw.

Most of her looks are eccentric and avantgarde; Illamasqua, of which she is creative director, is a brand of make-up meant for your alter ego, after all.

Box comes across as accepting of anyone, even if that

person happens to be a teeny-bopping queen with a penchant for too much mascara or a demure girl next door who only wears a tiny bit of blush. “You just go as far as you dare… and I think that’s the Illamasqua thing, we create something really insane and bonkers and big and you could just like the colour and you take those elements and without telling someone to do something they do it naturally.” Acceptance of image is at the heart of the Illamasqua brand; their Sophie collection is a range of make-up created for the Sophie Lancaster Foundation, a charity started after Sophie Lancaster and her boyfriend Robert Maltby, were attacked by a gang of teenagers on August 11th 2007. They were kicked, stamped on and left unconscious - for nothing more than looking different. Sophie later died from her injuries. The Foundation was started by Sophie’s mother Sylvia Lancaster to help Stamp out Prejudice and Intolerance everywhere and a percentage of every Sophie item bought from Illamasqua is donated to the charity.

‘I kind of need things to have a sense of impending tension – and I actually find that very calming. It’s like theatre (backstage at fashion week), it’s so instant. When you do a show it’s like an amphitheatre: people either go ‘yay’ or ‘nay’. And then, just like that, it’s over and you wipe it all off. I love that. It’s just a really high powered burst of energy that is gone as soon as it arrives.’ Although Box loves creating make-up looks backstage at fashion week, this year, during London Fashion Week, she took a step back to go home for a friend’s child’s christening – and although admitting she could earn big money during this period, she lives her life exactly how she wants to, not ever thinking about making money. Maybe this is part of the reason why she is quickly becoming the golden-girl of make-up.

Although she has also done make-up for Karl Lagerfeld, Peter Jensen, Biba and PPQ, her most conceptual looks happen with Gareth Pugh, including the white and black Perspex eyelashes that she had laser cut for his Spring/ Summer 08 collection. Box says, “With me and Gareth, we know each other really well, we trust each other and he basically says to me do what you like. But I go and look at the clothes much earlier on – like literally months in advance and see the progress. I see what textiles he’s going to use, I put the clothes on.

I love him and I don’t want to turn up on the day and say ‘Hi, what’s new?”

Just as Pugh has shown the fashion world what can be done with clothing, Box has shown the make-up industry just what can be done with the face.

She is regularly compared with make-up great Pat McGrath and it is easy to see why – you get the impression that Box is going to go down in make-up history.

Visit Suzie Dicker’s beauty website at www.lashline.com.

segue 49

“If we look into the history of fashion, examples of its ingenuity and resourcefulness are blindingly obvious particularly in London” 50 segue

If you looked through the pages of history, they’d lead you to believe we’re on the cusp of change. Riding the subsequent wave of prosperity since just after World War II, this recession was long overdue. So even though the short-term effects are those grim, dark clouds ominously looming over us, the change that comes hand-in-hand with a recession could easily be perceived as a silver lining. Ciara McCullough looks at the correlation between crisis and creativity in history and the interesting artistic reactions that were spawned during each period of economic decline.

Fashion has never been one to crumble under the pressure of an economic crisis. Sixteen years ago, when Britain had found itself in yet another economic downturn, the British Fashion Council found itself without a venue for London Fashion Week until Harvey Nichols offered its fifth floor to a dozen or so designers for the weekend. The following season was to see fresh talent Alexander McQueen and Hussein Chalayan emerge, followed by design duo Clements Ribeiro, then Antonio Berardi, Stella McCartney and design aide Pheobe Philo, culminating in Matthew Williamson.

If we look a little further back into the history of fashion, examples of its ingenuity and resourcefulness are blindingly

erately confrontational and threatening aesthetic, SEX sold it all. Punk taught a generation how to take action themselves, drawing from Civil Rights movements that swept the world in the late sixties and a more passive hippie mantra, the punks took their own direction and did it themselves. Influenced by a frustrating inability to be taken seriously, what was originally thought to be a fad, soon became a way of life that forced its way kicking and screaming into mainstream society. Ben Scholten, Head of Design for Zandra Rhodes comments: “I feel that the recession, and all self imposed or general restrictions it brings, can add to the way we think and/or use our creativity.”

Recognising the publicity available through music, McLaren became the manager of punk band, The Sex Pistols, and inadvertently turned punk into the first and most infamous of subcultures. Giving Westwood’s designs notoriety at their first gig, the Sex Pistols gave the movement a soundtrack that would effervesce history, permeating nearly all subcultures thereafter.

Infamously swearing on UK television in 1976, the captivating hype surrounding punk was insurmountable. Out of punk came an ability to think outside the box that inspired New Romanticism, Goths, Cyberpunks, Pervs, New Agers and Grunge. Westwood

obvious – particularly in London.

Perhaps one certainty in life is economic uncertainty. Plagued by recessions since well before Madonna first shocked the world (I know, its been a while) a recession is a very simple equation where either currency, energy or financial crisies, war, underconsumption or overproduction equals bankruptcies, credit crunches, deflation, foreclosures and/or unemployment.

Unfortunately, all of the above have been splashed over the headlines recently.

As the oil crisis-induced two-year recession put unemployment figures in mid-70s Britain at their highest since World War II, a discontented youth launched social backlash against the hypocrisies in the Establishment. In the most eclectic of decades, new trends emerged more regularly than the Prime Minister changed his undies. What resulted was an anti-fashion attitude visible in lifestyle, music and most interestingly – fashion. This was the decade of Ozzie Clark, Zandra Rhodes and Laura Ashley, who were to be accompanied

by Vivienne Westwood’s infamous Punk aesthetic.

Representing negativity in the form of anarchy, destruction of order and the instigation of chaos, punk was the self-consciously working-class movement against politics through the medium of fashion. Initiated in the mid-1970s at 430 Kings Road, in a boutique run by Westwood and her then cohort Malcolm McLaren, this new wave of fashion was characterized by everything that shocked, from bondage to safety pins. In a delib-

broke the rules, and was inspired by taboo.

The eighties was the era of excess sandwiched between two economic crises. Struggling to emerge from the late-70s recession, class-wars were intensified by the strains of mass unemployment. The mining community found itself crippled as manufacturing capacity fell by one fifth, and urban riots and strikes became increasingly punished by government. As Margaret Thatcher snubbed calls to about-turn on her counterinflation policies, society became filled with desperation.

Refusing the blatant anti-fashion statements of their predecessors and ignoring the lifestyle brand marketing taking over America, the New Romantics replaced punk on London’s streets. Originating as a club night in recognition of their idol, David Bowie, 1979 was the year Steve Strange and Rusty Egan opened Billy’s on a Tuesday night. Unable to be pigeon-holed at first, the culture was referred to as Peacock Punks, Blitz Kids and the Cult With No Name before settling, somewhat unenthusiastically at New Romantics. Somewhere between Glam Rock and Disco, New Romantics were primarily London writers, designers, musicians and club-goers who spent their days in the dole queue, and nights as anything from ecclesial nuns to Marilyn Monroe. Princess Julia remembers the melting-pot of creativity that emerged, “The 80’s threw up a ‘fringe’ generation of extremists.

From it’s beginning to its end society changed completely.” She continues, “All this creativity had emerged from a global club life. I think it’s safe to say that a generation

of club land people were integral in defining the 80’s in every aspect of fashion, music and art.” Inadvertently spawning a new era of dandyism, fuelled by feelings of failure linked to dole-culture, they revived fancy dress as a new index of social worth. In a bricolage of what they could beg, steal or borrow, the New Romantics vied for attention through exhibitionism: it was all about the attention.

In a self-consciously sell-out nature, the New Romantics would do anything to get famous. From starring as extras in David Bowie music videos to launching their own bands and style bibles like i-D magazine, The Face and Arena in order to get magazine coverage, the inspiration behind New Romanticism was leap-frogging up the career-ladder. With the majority of Central Saint Martin’s graduates going on to be household names, and even a cloakroom boy called Boy George releasing music with his band, Culture Club, the New Romantics inadvertently tackled the 1980-81 recession head-on.

Boy George even told the Rolling Stone magazine in 2000, “It’s ironic that if you go back to Thatcherism and Reaganism, a lot of cool things happened during that decade. A lot of sexual attitudes were loosened up a bit, and we had some interesting music. So sometimes, within these right-wing climates, you

have an artistic reaction.” Ironically, it was a small band from Birmingham called Duran Duran that took the New Romantic sound and look into mainstream society and forced the UK to take note of the provincial towns.

It was from these innovative fanzines that a new era of creativity spawned. Fiona Cutledge, owner of clothing shop Sign of the Times during the nineties recession, looks back: ‘I think people felt that they had to do things for themselves. There wasn’t a clear-cut career path – that had gone. So they had to make their own way. They had to think for themselves much more than they would have maybe had to do normally.

They had to create their own career.’ Within The Face, a young stylist called Ray Petri and a group of young designers in their own right decided to break from the traditional format of fashion shoots and introduce what we now know of as the ‘stylist’. Previous to this, even powerhouse establishments like Vogue were operating without stylistic direction in their photoshoots, but come the eighties the Buffalo stylists, as they became known, were pioneering a new aesthetic that is still extremely relevant today. At the helm of a new direction of fashion, Ray Petri pioneered the use of black models, namely a young Naomi Campbell and initiated street style’s movement into mainstream fashion by his refusal of power dressing. Introducing various cultural signifiers usually juxtaposed against anything from boxing gloves to Armani suits accessorized with pink bauble hats they created a new genre of street fashion that led the way

for developments like i-D’s creation of the ‘straight-up’.

Anticipating the current recession, people were already coming up with more efficient ways of showcasing work. Fiona Cutledge, summarises the recession well, “A positive thing about the recession is that it can clear out a lot of dead wood. And I think young people have a much more flexible and incentive about new ways of doing things. And I’m sure out of this recession there will be a lot of new thinking about ways to go about business, and indeed fashion – possibly mixed in a lot with sustainability and green issues.” With venues like Chinawhite, Paper and Café Royal fading into a distant memory, it seems strange to think they are being temporarily replaced by pop-up clubs, bars, shops and nightclubs. The epitome of our hyper real society, the pop-up, initiated by Comme des Garcons in 2004 with their London guerilla stores, is becoming the ideal business practice. The pop-up allows businesses to constantly reinvent themselves without having to worry about falling out of favour, being badly received or loosing money. In fact, in most cases the pop-up is cheaper to produce than the television advert, and generates more media attention.

The latest venue is the Double

Club. Created by the same artist that put the slides in the Tate Modern, Carsten Holler, this abandoned Victorian warehouse behind Angel tube station juxtaposes the West and the Congo in a bar meets nightclub meets restaurant meets art exhibition. And it’s around for six months only. Funded by Miuccia Prada’s art foundation, Fondazione Prada, and Guaranty Trust Bank of Nigeria, the space itself has become a piece of art. Another popup, Bistrotheque, which launched in 2006, has already repositioned itself as Flash at the Royal Academy of Arts, where it was home for 80 days – and gone. Other notable pop-ups include Proud Gallery which started as a mere marquee in a car park, and Mary Portas’ hyperpop-up that lasted only one hour to sell vintage clothes.

With ruthless seating cut-backs going handin-hand with the abrupt disbanding of luxury, London Fashion Week found itself defined by travel cards, economizing and the eventual embrace of the internet as a cheap medium of showcasing work. Creeping in at the sidelines, nervous designers and uneasy backers opted to play it safe. As emaciated models graced unadorned, simplistic catwalks clad in fail-safe collections, the underlying consensus was that the catwalk is dead. Exhibitions, installations, film and online showcasing marks a new breed of fashion show rising from the ashes of the catwalk to revive the fashion industry: bringing it soaring into the twenty-first century. So what can we expect from the years to come?

“A positive thing about the recession is that it can clear out a lot of dead wood”

segue 51

NOKI: KING OF KUSTOMISATION The rag-rage-revolutionary has proved that DIY fashion is the most stylish of all. Hannah Dick reports

no 52 segue

It’s a chilly spring afternoon in East London and JJ Hudson is thrashing around the vintage second-hand shop that he likes to call home. Past the headless mannequin and through the curtain, JJ’s studio becomes visible. Scissors held between his teeth, this fashion witch doctor looks like he is just about to unleash a spell upon the unwary browser. Scissors thrown onto a table, the man known as Dr. Noki furiously grabs a T-shirt off the rail and starts hacking at it before carefully placing gaffer tape here and there. He steps back, smiling – the look is assembled.

JJ calls his studio “the fashion abattoir – it’s where things come to be chopped up.”

His fashions speak for themselves. Heavily customised garments hang from every available space in this bizarre workshop – an explosion of shredded clothing thrown perfectly into place. He is currently wearing a little bit of everything, nicely topped off with a rather unnerving surgical mask. In the brief intervals when he removes the mask from his face, you can’t help but be struck by how well this 38 year-old has aged, still holding his fashion heartthrob title.

Glancing around, there are shredded sweatshirts carefully inked with hip-hop graffiti tags, a torn silk evening dress pieced together with tape and amazing vintage denim that’s patched in all manner of pop ephemera. It’s clear that with the aid of punch-holes, stencilling and tape, JJ transforms pieces from labels such as Adidas and Nike into his trademark T-shirts, gladiator-style slashed dresses and gimp-like masks. The pieces look like they have been styled by Edward Scissorhands. “It’s never too much in the Noki world, more the better, minimalism is not the Noki Game. It deals with the frantic random jumble sale of the magpie mind, it tries to clear this up and therefore could be even more hectic, restraint is needed when creating, so there are limits. When these rules are not adhered to or understood, that’s when BAD customisation happens.” In place of the word NIKE, JJ writes NOKI; on an iconic Mickey Mouse T-shirt, he cuts out Mickey. Pre-empting Naomi Klein’s ‘No Logo’ by several years, JJ saw Noki as a way to discuss the culturally brand-obsessed nature of the fashion industry. If you’ve never been to Disney Land, why wear a Mickey Mouse T-shirt?

Famously anonymous, JJ says of the masks he always wears that, “it has always been a part of the Noki aesthetic, it represents the suffocation of branding on us as a generation.” He likes the idea that the mass media can see a man wearing a surgical mask and think “That’s Noki”, when it could be anyone.

At its most obvious, Noki mounts a challenge, a symbolic critique or a form of resistance against mainstream, mass-market, depersonalised commodity fashion. Where sportswear relies on brands and powerful logos to make its selling proposition, Noki abducts these signs, reconfigures them, uses, abuses and reuses them to create something new and unorthodox.

JJ’s fiercely held convictions and obvious intelligence shine though. He rants on about the subjects that inspire and inflame him in equal measure, and while it can get a bit-full on at times, there’s no doubting his sincerity and intent.

If you’re not familiar with JJ and his label NHS (Noki House of Sustainability), that’s probably because his time seemed to come and go very quickly. After being ‘discovered’ in the late Nineties by David Sims, via stylist Anna Cockburn, the Aberdeen-born designer’s clothes were famously thrown onto a 16 year old Gisele for her very first shoot for i-D, and soon caused a ripple through London’s fashion scene. “This kick-started the

Photography image ©morganwhite2009

Noki movement.” After pieces were picked up by Kate Moss and stylist Katy England, JJ was dubbed the “King of Customisation”, thanks to his innovative appropriation of classic sportswear.

A play on ‘icon/ikon’, the Noki label was set up in 1996 as a contemporary fashion visual aid called NOKI-POD (Package of Desire). “I sewed two T-shirts together to emulate the magazine which formed the first Noki frock and Noki as fashion never looked back. I felt that to sew the branded T-shirts together empowered me to visually explain that the modern brand that was once exclusive to itself, fiercely independent, was now bonding to each other to attract new consumerist/client attention. This was made even more apparent when the banks start buying each other up, from 1998 to the present day”.

It was at this time that JJ was working as a stylist for MTV. Having to style hip-hop artists, JJ found himself seeing heavily branded sportswear everywhere. “In the 90s the fashion brand was rising like no other fashion statement, sports brands were becoming fashion brands, taking their established branding and putting it in with fashion silhouettes. Sports brands were my first inroad to the brand statement, so the original Noki pieces were subverted to keep it all contemporary.”

After the closure of Sleazenation and The Face magazines (two of his biggest supporters) Noki seemed to fade into the background, only to burst back again in 2007 with a collaboration with Luella Bartley, followed by a collection for Lulu Kennedy’s Fashion East. “It wasn’t all bad as true talent will always pull through,” he says with characteristic intensity. And he couldn’t be more right, as most of London’s club kids and fashion-curious – everyone from Jodie Harsh to Suzy Menkes – turned out in support of the radical designer. The collection was bold, strong and confrontational.

The models hobbled down the runway, styled and power-wigged to within an inch of their lives. The show forced the audience to sit up and take notice. Alongside the signature customised T-shirts, there was a parade of beautifully reinvented Fifties prom dresses that looked more Dior couture than Hoxton hacking. It was post-modern art as clothing – cultural, tactile and somehow hard to pin down.

A key player in the emergence of the Old Street/Shoreditch fashion scene, JJ’s customised one-offs – without hype or fanfare – became the essence of East London cool. Fondly speaking about his local surroundings, JJ says, “Whoreditch [sic] is an amazing area, I’m very proud to be part of its culture.” And who wouldn’t be? It’s one of the most fashion-forward, inspirational places in London.

When asked what designers inspire Noki, JJ mentions his love of Christopher Nemeth, “the original deconstructor. I would like to create an art installation catwalk show with him”. The list of favourites goes on: “Geoffrey Beene for a high fashion silhouette, Thierry Mugler for futurama drama, and McQueen for future heritage.”

The Noki concept always had a coherent thought process behind it. Although put together with the skill and passion of a craftsman, there’s also an underlying statement of intent in the clothing that scorns consumerism and messes with the notions of ‘de-marketing’. Labels and logos are removed or repositioned, hemlines slashed with playful disregard. His mischevious and aggressive rhetoric is much owed to the writer Kalle Lasen (AdBusters, Culture Jam), whom Noki cites as a major influence on his worldview and work. “It explained modern globalisation and it’s ability to sell us ideas but its regulations created a homogenisation of the consumerist mind.

Culture jamming in the fashion industry is what Noki does; made from a sustainable canvas it’s a unique brand.” Noki is street couture. It is human survival in modern paradox, suffocated by branding. Noki is not about anarchy; it’s about subliminal awareness: “I would say I’m a very reluctant anarchist. Noki was my McDonald’s window to smash.”

From catwalk to the high street, Noki’s ‘customised look’ was suddenly appearing everywhere. “The high street rip off was good. It put out there, in a mass wave, a whole new aesthetic Noki itself would never have been able to achieve. It made the Noki one-off even more uber, it gave it a time and a reason to carry on, evolve, and be noticed.” He actively encourages others to go out and do the same as him. JJ is not in it for the money: the fact that everything is handmade and unique presents real problems in making saleable collections. “The Noki client feels like they are part of a movement that deals with a healthy move forward within the fashion industry.”

Over a decade down the line, and Noki is still flourishing in a small studio on the corner of Bethnal Green Road and Brick Lane. The East London limelight remains inspirational – things are looking good for this charming Scot. “The decade past was just the beginning of a movement that is becoming stronger as another decade looms closer. This is because in the end, the now trained fashion consumer is realising it’s not just about the outfits; it’s got to be more about the originality of it. The unique silhouette. The great thing these days is the general public are more into pushing a look than ever before, opening the flood gates to design and experimentation through DIY, and this follows onto the young being inspired, taking it to the next stage of change.”

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I AM Cannibal.

Ever had the overwhelming urge to munch on your best mate? Didn’t think so.

Sometimes it’s stomach churning enough feasting on a double quarter pounder with cheese let alone someone’s thigh. Becky Honess asks: why is there such a thing as cannibalism? And why are there some sick individuals who like to indulge in it?

Consider the following: A single man places an ad on the internet looking for an “18-30 year old hunk to be devoured”. A radical male masochist steps forward as a willing victim. The (peculiar) pair meet, and exchange wild fantasies of human flesh eating and decide to take their relationship one step further…

The willing victim offers his penis as a tasty entree and the single man is full of anticipation. After slicing his penis clean off, the single man fries it in garlic and sits down to a meal of garnished genitals. Unfortunately, the penis was so badly burnt it was too tough to feast on.

In the meantime, feeling woozy, the (now penisless) willing victim lays in a bath and slowly bleeds to death. Hours later, the satiated host pops in and puts the victim out of his misery and slits his throat. He butchers the body and barbeques the meat. Any left over’s were carefully wrapped in cling-film and stored in a secret compartment at the bottom of his freezer.

This twisted tale is the famous case of the German cannibal Armin Meiwes and his willing victim Bernd-Juergen Brandes. Once exposed in the media, the investigation aroused such ghoulish curiosity. So just how is the world meant to respond to a true story of human weirdness and immoral behaviour? With shock and an overwhelming urge to find out more.

Cannibalism is hardly unheard of and is not a new occurrence, it has been well documented through out society and history. Sometimes through aggression, sometimes through ritual and sometimes through survival. But what is it that makes people want to freely take part in it?

Issei Sagawa is a real life cannibal. In 1981 he shot and killed a female exchange student and then feasted on her dead corpse. Sagawa insisted that he did not want to kill anyone he was just born with a sexual appetite for human flesh. French psychologists found him to be legally insane and therefore he was unfit to stand trial for the murder and consumption of his victim. He was deported back to Japan where he was put into a mental institution. French authorities refused to hand over the necessary paper work and after just fifteen months, Sagawa was able to discharge himself and walk back into society.

Since then he has made television appearances, written multiple books and documentaries and has become a small time celebrity in Japan. In a recent interview with Vice magazine he explains what it is that makes him hungry for humans: “I was physically weak from the moment I was born…It is simply a fetish…For example, if a normal man fancied a girl, he’d naturally feel a desire to see her as often as possible, to be close to her, to smell her and kiss her right? To me, eating is just an extension of that.”

Sagawa also went into gruesome detail about how he gorged on the girls corpse, “ The first thing I did was cut into her buttock. No matter how deep I cut, all I saw was the fat beneath the skin. It looked like corn, and it took awhile to actually reach the red meat. The moment I saw the meat, I tore a chunk off with my fingers and threw it into my mouth.” Wait, there’s more… “ I ended up swallowing the clitoris and some pubes without chewing on it because she had her period and the smell was just horrendous.” Charming, nice to know he has some standards!

Like many cannibals, Sagawa and Meiwes both admitted that they felt a state of euphoria when eating bits of human. It has been reported that cannibals often partake in a little flesh munching to absorb peoples energy and skills. Cannibalistic tribes all over the globe believe that eating human meat isn’t just for a hearty meal, but more importantly to acquire the qualities of the deceased.

Have you ever been tempted to carve a slice of your girlfriends/boyfriends thigh and fry it up for breakfast? Is there something within us all that means we are potential cannibals?

Freud seemed to think so. He considered that we all had cannibalistic desires when we were babies. As a form of infantile sexual attraction, we had the overwhelming urge to want to devour our mothers.

In the bible, God told Noah “Be fruitful and multiply, and fill the earth. And the fear of you and the dread of you shall be on every beast of the earth, on every bird of the air, on all that move on the earth, and on all the fish of the sea…Whoever sheds man’s blood, By man his blood shall be shed; For in the image of God He made man.”

(Genesis 9:1-6). He did not tell him not eat a fellow human being, mainly because man was created in the image of God, therefore God didn’t condone it.

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But what if you are stranded on a desert island? Your best friend dies and there is no source of food, the only way to survive is to eat him. Will you eat him and survive or starve and die? It’s human nature to survive in anyway possible, so you would probably be forced to tuck in.

Some psychologists believe that it is the result weaning a child from off the breast. Separation can lead to anxiety and cannibalistic fantasies, an overbearing mother may bring these urges out in a child later on in life. This was the reported case of Meiwes, who claimed to always have cannibalistic urges, but was desperate to consume a human after the death of his mother.

People are free everyday to choose their preference of food. Meat eaters, vegetarians, vegans and pescatarians all have the right to chose what they eat on a daily basis, therefore why can’t a cannibal chose to eat human meat? Apart from the difficulties of obtaining the meat of a human without committing a crime or being declared as insane, why should it be considered wrong and grotesque? After all, it’s just a matter of taste.

Again it comes down to society standards.

Aboriginal Australians eat the (already) dead bodies of friends and families so that their spirits may live on and tribes through out history have followed the ancient tradition of their predecessors, and indulged in cannibalism. However, this would all be frowned upon should it be happening overtly in the streets and restaurants of London. Although you could probably find a dodgy restaurant somewhere in Asia that may serve up a dish of human limbs…

In western society, cannibalism is immensely disregarded and considered to be the stuff of films and past time of sadistic individuals. However, in many countries (including western ones) eating human flesh is not illegal. This was the case in Germany, which meant that Meiwes was charged with “murder for sexual satisfaction” instead of “murder for cannibalism”. But Brandes was willing, and Meiwes killed and ate him with his consent, so is this even murder? Isn’t it more Euthanasia? Either way, Western society was disgusted with his actions and locked him up for 8 years.

In regards to cannibalism being considered a sexual fetish, it maybe understandable. There are so many weird fetishes out there used to fulfil sexual desire, why can’t cannibalism be one of them? Again, sexual orientation is something we are born with and it’s human nature that makes a person want to satisfy that hunger (no pun intended).

But what about the flip side? What about those freaks that want to be eaten? According to Meiwes, Brandes had fantasised about being killed and eaten since he was a child. You really would have to be a sadistic masochist to get a kick out of being eaten alive.

In the case of Brandes, really what was going through his mind as his penis was being fried with garlic? Did he regret it as he lay bleeding to death in the bath? Maybe he died a happy man, unfortunately we will never know…

We can’t help our creed or colour. Nor can we help our personal tastes and sexual desires. Having the urge to eat a fellow human being is undoubtedly a bit messed up, but unless you are eating human flesh for anything other than the will to survive, the modern world will still regard cannibalism as wrong. It will continue to remain a taboo.

interpret Styling - Ciara McCullough Photography - Agnieszka Maksimik Make-up Artist - Angela Deviatova Model - Stephanie Cordoba @ Storm Model Management

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Previous page: Blue knitted top, borrowed from Laura; Poncho, Stylist’s own; Cardigan, borrowed from Dave; Grey and blue hats, borrowed from Hannah.

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This page: Navy knitted jumper, borrowed from Stylist’s flatmate’s boyfriend; Silver and grey knitted top, borrowed from Stylist’s mother; Chunky-knit scarf, Stylist’s own; Knitted hat and patterned trousers, borrowed from Hannah.

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Cardigan and tights, borrowed from Becky; Sequined top, Stylist’s own; Hand-warmers, cut socks from Topshop; Grey scarf (worn as belt), Stylist’s own; Pink scarf, knitted by Stylist.

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Cardigan, vintage; Baseball hat; flat cap and knitted hat, all Stylist’s own; Grey scarf (just seen), borrowed from Stylist’s brother.

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In disguise Martin Margiela — man of mystery or master of marketing? Louise Hansson discusses.

Most fashion brands are all about creating an image, making a name for themselves, establishing a biography and, ultimately, a face that will be instantly recognised. Maison Martin Margiela is not one of them.

In a market where image means everything, he remains faceless. What is the difference between an anonymous label like Maison Martin Margiela and the likes of Marc Jacobs and Tom Ford, who have even starred in their own photoshoots? What difference does a face make?

The intrigue associated with staying away from the limelight is not a new phenomenon. The most obvious example is Greta Garbo, who adopted a secretiveness as fame made more and more jarring impacts on her painfully retiring nature. The relationship between the star and the media became an evil, seemingly endless circle: the more famous she became, the more her fans and the press hassled her; the more she hid away, the more hotly she was pursued. Moving onto the Internet, ‘Popbitch’ is one of the longest running websites posting mystery gossip about celebrities. There is an obvious contradiction about the idea of celebrities and the limelight, ‘shall I or shan’t I parade myself in public’, and the ones not looking for more publicity won’t be caught flaunting their knickers, or the lack of them, on a Saturday night.

The most intriguing thing about Maison Martin Margiela is probably the anonymity the label has managed to maintain over the years. Maybe it is the faceless image, where the man behind the name doesn’t make personal appearances, doesn’t have his picture taken and conducts hardly any interviews. This can almost be seen as a marketing ploy, and one to argue this is Gert Jonkers, editor-in-chief of Fantastic Man

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magazine. “Of course I don’t know this for sure, because part of his secretiveness is that he was secretive about the reasons behind it. But I’ve always thought it was a mix of being shy and not enjoying the spotlight on one hand, and on the other hand doing it so rigorously and strictly that it became a great press story and marketing tool in itself. Don’t forget that for years he was Gaultier’s assistant: somebody who was very good in selling himself and his glamorousness, and his friendship with Madonna and everybody else to the press. I’m sure Gaultier had a perfect communication plan and it worked. In a way Margiela did the same by doing the absolute opposite.”

However, in the beginning of his career, Martin Margiela used to answer questions and allow photographs. The last known photograph of Martin Margiela was taken in 1997. But soon after, he started resenting the media and the changes it could do for a label. He didn’t want to be a part of the growing celebrity culture that was emerging, with fashion designers and supermodels each bigger and better than the rest. For Margiela, it was never about him as a person but about the clothes, the philosophy behind the label and ultimately the Maison. Freelance fashion journalist Andrea Berghall agrees with that the design has always been the main focus of the label. “Martin Margiela has always said that he doesn’t want to become a public fashion personality.

I think this has been very successful for him because it does mean that the focus is on the collections rather than the face of the designer like so many other labels.”

Incognito, which means faceless or nameless, has therefore been the trademark of Maison Martin Margiela. During his catwalk shows there is always an empty chair on the front row, where Martin Margiela is meant to sit. He is normally in the room, but never seated on the chair. Since no one knows what he really

Photograph of Martin Margiela...allegedly looks like he can view his catwalk shows quietly in the background. In 2001, when Maison Martin Margiela did a photoshoot for Vogue, once again there was an empty chair, waiting for the invisible man of fashion. Will we be waiting forever?

A designer’s celebrity might be short-lived but by stepping away from the limelight, the focus and concentration can lie fully on the product itself, which stands as a refreshing vision towards designing. When a fashion designer does something different, some might think it is meant as a marketing strategy. This might be true. But he could have chosen to have all eyes on him, he could have had the fame of being in the limelight, but he made the decision to step away from all of this. What it does show is someone caring about the inside rather than the outside - the inside being the design and the clothes - and that is ultimately what a label should be about.

“Gaultier had a perfect communication plan and it worked. In a way Margiela did the same by doing the absolute opposite�

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sex & the city From strip clubs to peep shows and rent boys to sex toys, Soho is infamous - a place where you can lose your inhibitions and sex becomes sexy again. But with the closing down of so many of these sex trades, Georgia Williams asks, are the council set to take the lust out of London once and for all?

Tucked just around the corner from one of the most famed and busiest shopping streets in the UK is a little community known as Soho. Each side of the road, lined with pub after café after bar after sex-shop, plays host to a bustling array of people - gay, straight or bi-sexual, male or female, famous or infamous, but all with one thing in common: a mutual love for London’s oh-so-unique entertainment district, where culture and sleaze unite.

Stepping through a colourful curtain into an unnamed sex shop, a political broadcast is being played out over a small portable radio – perhaps not quite the introduction one might be expecting. The bare walls are lined with a few small chrome racks displaying a mix of nylon, PVC and polyester suspenders bra’s and crotch-less knickers in all manner of garish colours (silver sequins included). On the other side of the shop, several boxes encase dildos in a kaleidoscope of colours in a whole range of shapes and sizes. There are the typical top shelf lads’ mags, exposing naked breasts and bondage kitted out men, normally kept hidden away at the back of an underwear draw. A man enters to get his ‘usual’ bottle of poppers, parts with a crisp tenner and makes a hasty exit; another man looks around the door, blushes furiously and swiftly departs after seeing the shop is full.

“The council are the gangsters,” Mr X behind the till says, “whereas the council used to be the council. They’ve all got together and are trying to push anyone they don’t like out.” He is referring to Westminster Council’s recent shutting down of over 51 sex shops in a bit to ‘clean up’ (or shut down) Soho’s historical image. They have plans to close 15 more over the next few months, with council leader Colin Barrow saying the district needs to have changed in the time for the Olympics. But is the council really improving Soho and London? Or, are they, in actual fact, changing the face of a district whose heritage and reputation as a famous gay and sex scene has attracted visitors for the last 300 years?

Admittedly, it is not a sight for sore eyes. Everywhere you look in Soho, you are invited inside for a free peep show or greeted with signs depicting the words,

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‘Strictly Over 18s Only’. The neon lights of ‘The French Pussy Cat’ are hard to miss, standing boldly next to a shop called ‘Prowler’. Even the frozen yoghurt shop has an added touch of seediness, as it is called ‘Snog’. An old man sporting a rather dashing maroon velvet suit sidles past the unconscious man on the street, slipping into yet another peep show labelled ‘free entry’.

Maybe it is not quite what you are used to.

After all, in this country talking about sex is a massive taboo - you would probably be better off trying to start a conversation on drug taking. Yet not one person on these few streets, neatly tucked out of sight of innocent tourists and passersby, looks remotely unhappy. With a couple of people even sporting T-shirts emblazoned with the logo ‘I heart Soho’, they actually seem to be enjoying themselves - a lot.

Nevertheless, it seems the council is determined to overlook this and take away what has been described by Marc Almond, a former member of Soft Cell who both frequented and lived in Soho in the 80s, as, ‘a very bohemian place, full of outsiders and artists,’ in Time Out magazine in 2007. And he’s not the only famous face to put their name to the area. Oscar Wilde, Mozart and even Casanova all once walked the streets of W1. In the 50s and 60s it played host to famed artists such as Francis Bacon who described 1960s Soho to The Independent as “the sexual gymnasium of the city…It is a place where you can lose your inhibitions. It’s different from anywhere else.”

With the credit crunch already making life difficult for some of the businesses in the area, causing higher rents to push even the oldest and most success-

Photography Rory DCS

ful of businesses out (including advertising agencies), the council looks set to make things even harder for struggling industries in the district. The home of London’s sex industry it seems to be losing it’s lustful appeal, as tougher laws are making it near impossible to keep the area booming. Where several years ago there were independent shops, all night cafés and video stores, there can now be found chain supermarkets, Italian restaurants and, worst of all, dull and conventional office blocks – and let’s face it, there is nothing sexy about that.

Even the sex shops and characteristic independent stores that have survived are suffering, as - if the council have their way - lack of strobe lighting and neon signs will make these desperately sought out shops far more difficult to find. Add to this the fact that those that remain now have to be emblazoned with the sign, ‘sex licensed’, and somehow it just takes the fun out of it.

However, it seems to be 1-0 to the council as yet another system has been put in place to warn people away from the area in the form of Bluetooth text messaging, soon to be received on entering the sex district when you near a Soho club. The message, “£5 to get in and £500 to go out”, is described by the council as a warning to save people from rogue sex bars which they see as one of the biggest issues with the area. The council’s stance is that illegal and illicit sex clubs is ripping off too many people, and this is why over 50 have been closed in the famous red light district.

Despite this, the opinions of the residents and locals – surely of utmost importance - is that the council

is slowly ruining Soho’s famed character. No one minds abiding by the law, but they feel the council are taking it a step too far. They also say that the main part of the appeal of Soho is it’s sinful lustre, which keeps people coming back again and again. As Bernie Katz says in his new book ‘Soho Society’, “It has remained party central with lots of deviant behaviour – a very naughty but honourable place. There’s a special energy, a buzz that the streets give off, so people come to Soho to be who they can’t be during their nine to five lives.”

For 300 years prostitutes have been publicly trading in Soho, but - away from the public gaze - it is has never caused problems before. What is more, when it comes to these women, Soho is a place where they can work relatively safely. Cari Mitchell of the English Collective of Prostitutes says, “I think the council need to recognise that Soho is a unique place full of character, and a part of that character is the women that work there.”

One of Soho’s most popular drinking dens, the bohemian ‘Colony Room’ Club, is also in crisis despite it’s popularity among the rich and famous, including Damien Hurst and Tracy Emin. Owing to higher rents, the smoking ban and trouble with licenses, its owner Michael is considering selling up after already having to save the club three times before. And it is not the only one in trouble. Another pub, ‘Endurance’, is losing character because its residents are no longer licensed to drink outside.

It is in times like these that the council should be stepping in for support, but instead it seems they are intent only on crushing what is left of Soho’s fighting spirit, making it bland and unoriginal – anything just so long as it doesn’t dirty up London’s image.

The news is not all bad for some local traders though. Ella Miles, shop assistant in Soho’s branch of the well known lingerie franchise Ann Summers, says, “Yes, I knew there were illegal strip clubs around here. If they shut down sex shops though, it is good for us because it means we will get all the business.” Other Soho fans will have to accept the near-inevitable onslaught of chain supermarkets, restaurants and coffee houses that are unaffected by the global economy, unlike the rest of us. But what’s sexy about another branch of Starbucks?

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From free running, to diving, to street luging, these highly risky and exciting sports should inspire you to try something new.

While these activities can be highly dangerous, when mastered, they can be the greatest source of adrenaline.

Three adventurers talk to Sally Clayton about their exciting careers

Joel King Racing down a hill at speeds reaching up to 70mph on a luge - a hybrid of a skateboard and an ice luge may not be the safest way to get around. For Streetluger Joel King, however, it’s one of his favourite hobbies.

An award winning Streetluger, King has been entered into the Guinness Book of Records for his efforts on a powered Streetluge in 2007, as he reached speeds of up to 114 mph.

The idea is to race downhill as quickly as possible in order to win, using just your bodyweight to steer by sitting up, rotating your body and even hanging off the board. A luge sits just inches off the ground and has no brakes, so motorcycle leathers and helmets are a must as a fall or two are almost guaranteed.

How did you first get into Streetluging? I used to be really in to Downhill Mountain bikes and even raced a little. I enjoyed the speed, danger and skill of the sport.

While I was at university my garage was broken into and bike stolen. I couldn’t afford a new one so needed a new way to get my kicks. I had seen Streetluge on the TV a few times and always thought it was crazy, but now decided to give it a go. A neighbour and I started building a luge and I went to a Streetluge taster day. Ever since then I’ve been completely hooked.

What’s the best thing that’s happened to you since you started Streetluging? I have achieved a lot that I’m proud of; I don’t think I can really pick any one thing out as being the best. The big highlights have to be winning my first race, winning the UK Series in ’06, coming 12th at the ’07 World Championships in Austria and breaking the Guinness World Record.

What advice would you give to others who want to take up the sport? We are a really friendly group, and always welcome new people into the community. If you want to have a go, just get in touch with one of us and arrange to give it a go. Once you have your own kit, find somewhere quiet to ride. If you and a car collide, you are not going to come off best.

What does adventure mean to you? Adventure is all about challenging yourself and broadening your horizons. Whether I’m canoeing in the Canadian wilderness or racing down a hill on my back at 70mph, the common factor is that I feel more alive doing these things than at any other time in my life.

“Motorcycle leathers and helmets are a must as a fall or two are almost guaranteed“

Kie Mckeever-Willis Free running has been taking over our screens in recent years, featuring in adverts, documentaries and films including “28 Weeks Later” and “Casino Royale”. The idea is to run across a town or city with the intention of getting from A to B as quickly as possible, using the landscape as your playground. Anything you can use to jump off, flip, dive or spin over, you use.

Kie is part of a team called Urban Free Flow, the biggest team of free runners and parkours in the world. They offer classes for individuals or groups who want to take up the art, and also offer their services to the media for films, adverts and events.

How did you first get into free running? I first got into free running after a documentary called Jump Britain

was televised in England. Me and a few other friends who saw it were inspired and tried it out the next day!

What’s the best thing that’s happened to you since you started free running? The best thing is probably the huge boost in confidence it gave me. I basically feel it has made me a much better person, both physically and mentally.

Why have you decided you want to teach people free running? Because I appreciate that it is a potentially highrisk sport. Through my experience I have knowledge of how to prevent injuries occurring - though there is always a risk.

What advice would you give to others who want to take up the sport? Take care! It is a potentially life threatening sport, so start small.

What does adventure mean to you? Adventure just means life to me. I try to treat everything like a new experience and enjoy it; even if it isn’t necessarily a nice experience, such as breaking a bone, I try to make every second count.

Chris Lowe Chris Lowe owns a diving business ‘Atlantic Diver’ in Newquay, Cornwall and provides once in a lifetime opportunities and experiences, including the only shark cage diving in the UK, where you can snorkel in a purpose built cage and swim with blue sharks.

Lowe specialises in finding wrecks off the Coast of Cornwell. He set up his diving business as a result of successfully finding several remains of boats under the sea, mainly from the first and second world wars. Other activities run by Lowe include fishing, shark watching (from the safety of the boat) and swimming with basking sharks.

Unsurprisingly, the tours and diving experiences sell out quickly, so it is usually essential to book well in advance.

How did you first get into diving? I started by finding wrecks off the North Coast of Cornwall and was approached by some divers interested in diving to them. This eventually led to more wrecks and more divers. I specialise in finding un-dived wrecks and have had a lot of success.

What’s the best thing that’s happened to you since you set up Atlantic Diver? There have been many high points. Finding four German U boats that were not supposed to be there, or finding two hospital ships the Rewa and Glenart Castle, and only last year the white star liner “Armenian”.

Why did you decide to set up your diving business?

I realised that I was quite good at finding wrecks and putting divers on them, and they were usually very pleased at the end of the day, so they kept coming back again and again.

What advice would you give to others who want to take up diving? I would say take it slowly and do lots of diving. It will eventually come as second nature, so that if you should have a problem while diving you can handle it without panicking.

What does adventure mean to you? It’s the thrill of doing something that gets your heart racing but may be just a little dangerous; like our basking and blue shark trips.

m et the adventurers e

Enamore is an eco-fashion label based in Bath. The clothing, lingerie and accessories are all made from hemp, organic cotton or vintage materials, and it’s all manufactured right here in the UK. The designs are based around quirky, playful styles with inspiration taken from the 1950s. Sophie Overment investigates more about this eco-fabulous fashion brand.

Enamore’s founder, Jenny Ambrose, started the company to feed her passion for printed fabrics and vintage patterns. Her dream was to produce unique, elegant and vibrant designs that were eco-friendly and made using organic fabrics and vintage textiles.

Enamore’s collections include beautiful dresses and separates, not to mention an accessories range consisting of bags, headbands and jewellery. But most notably, Enamore has created celebrated lingerie collections of knickers, bras and camisoles that have been hugely popular amongst women who are interested in a more organic lifestyle. Unlike most fashion brands that create lines with a particular theme each season, the designs are part of a continued collection, so you can rest assured that your favourite frilly French eco knickers will always be available.

The ongoing inspiration behind the designs is 1950s pin ups mixed with modern shapes, and each collection also has a vintage lace theme running throughout. The designs are manufactured in the UK, in a small production unit in London, as well as in the Enamore

studio in Batheaston and by outworkers in their own homes. The fabrics that are used to create the vast range of products have a minimum of 55% recycled or organic content, including hemp, cotton and recycled polyester. The company strives to use the most sustainable fabrics and experiment with innovative materials - recently they have been working with bamboo.

Not only is the company dedicated to their products being organic and planet-friendly, Enamore is also committed to reducing the amount of waste produced in the studio and office, so it’s a simple ethos of ‘reuse and/or recycle’, wherever possible. Unwanted excess fabrics and materials are also donated to local institutions for art and educational purposes. Furthermore, the company is investigating going into production in India. This way, the range of organic fabrics available within the country can be used, which will in turn minimise transportation and make their carbon footprint another size smaller.

Enamore is aiming towards the certification of its sustainable and eco-friendly status in the next couple of years. The brand is also looking to expand its ranges to include more structured bras, corsets and other essential pieces every girl needs in her lingerie collection.

In addition to this, they are exploring new gift ideas such as organic pot pourri to keep those eco-undies fresh in their drawers. There may also be a possible launch of an eco boxer-short, to keep the boys eco-happy.

Eco-Fashion Passion

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baby DOLL

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Model Oscar at Oxygen Photographer Adam Durrant Stylist Lauren Richardson

Styling, Photography and Retouching - Georgina Langford Hair & Make-up - Lauren Goward Model - Lucy

Previous page: Left: Babydoll, Beyond Retro; ‘Constance’ brief, Lepel at figleaves.co; Knee-highs, Pamela Mann at Mytights.

Right: Vintage slip, Dirty Harry’s; ‘Constance’ bra, Lepel at figleaves.com; Knee-highs, Pamela Mann at Mytights.

This page: Babydoll and shorties, Ophelia Fancy;Socks, Pamela Mann at Mytights; Ballet shoes, Stylist’s own.

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Chuck D, part of infamous rap group Public Enemy, has decided that 2009 is going to be the year of the female MC. Making it his crusade to find female talent, he says, “In 2009, my fighting the power is for women in hip-hop, especially groups, song writers and label heads. There are very few women rap groups, less than what we had twenty-five-yearsago.” Janine Francois charts the success of women in hip-hop.

Apart from pointing out the obvious, Chuck D, rapper-turned-label-boss, is making a valid point. Female rappers have virtually disappeared into hip-hop oblivion.

Let’s takes a quick test. Name your top three rappers of all time. How many were female? If all three - you were clearly guilt-tripped by the previous sentences. One or two - well done for applying positive discrimination. Zero - you might as well call yourself Snoop Dogg, and show how your “pimp-hand is way strong.”

The contribution that women have played in the progression of hip-hop is pivotal, but has now been forgotten. Tanya Winley, daughter of Paul Winley - the founder of Winley Records, the first record label dedicated to hip-hop music - released “Vicious Rap” in 1980.

It was the first commercially recorded hip-hop song to feature social commentary, rather than just party rhymes. Such records would remain a rarity until the success of “The Message” by Grandmaster Flash & the Furious Five.

However, the true female pioneer of hip-hop is Roxanne Shanté, considered by many to have made the first answer song in hip-hop history. In 1984, a then fourteen-year-old girl brought out “Roxanne’s Revenge”.

It was in response to the U.T.F.O. track, “Roxanne, Roxanne”, in which the group dissed the protagonist of the song for spurning their advances. Roxanne Shanté hit back by saying: “So, if you’re trying’ to be cute and you’re trying’ to be fine, You need to cut it out ‘cause it’s all in your mind.” The long and the short of it was that these grown men had been told off by a teenage schoolgirl. Lauryn Hill was the first rapper to be awarded ‘Album of the Year’ at the Grammy Awards in 1999. The role which women have played in advancing the genre is akin to a witness giving evidence in a Mafia murder case: silenced and never heard of again. If this is the unfortunate status quo for female rap, how can this moribund genre be saved?

The once conscious genre of hip-hop has regressed to the maturity of a teenage boy on heat.

Both male and female rappers are recycling the same old clichéd sexual braggadocio and gangsterism. It seems light years ago that hip-hop had something intelligent and remotely cerebral to say. The present capitalist nature of the genre has resulted in it being stripped of authenticity, with the female voice reduced to a ‘jezebel’ image. Female rappers of the Golden Age of Hip-hop had more poignant things to say, from female equality to safe sex. But their contemporary sisters seem more concerned about receiving oral sex. Queen Latifah’s lyrics advocated a positive feminist stance.

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Photograph ‘The Breaks: Stylin and Profilin 1982-1990’ by Janette Beckman

the POWER of a SISTER

Her song, “Ladies First”, featuring UK female rapper Monie Love, championed respect for women.

In the late 90s MC Lyte showed that female rappers did not have to compromise their sexuality to get their voices heard. Sha Rock, part of the first rap group from the Bronx, Funky Four Plus One More, provided intelligent lyrics that proved her worth. These rappers were a product of the zeitgeist; the post-black power generation was still in tune to Afro-centric ideas and the real roots of what hip-hop was all about.

By the early nineties, the mood of hip-hop was beginning to change. The brutal attack on Rodney King in 1991 by the LAPD and the murder of Latasha Harlins by a Korean shop owner were both catalysts for the LA Riots. The many ‘hood’ films, such as “Menace to Society” and “Boyz in the Hood” brought South Central LA to national attention. Along came Warren G, Snoop Dog, Dr. Dre and Nate Dogg - all of whom were from the G-Funk (Gangsta Funk) era that was unique to the West Coast. With this area experiencing poor housing conditions, low educational achievement, high unemployment and continuous police harassment, what was the black male supposed to aspire to? These artists provided an alternative to the erosion of black male masculinity, with their brash lyrics that advocated violence, misogyny and the pimping lifestyle. Rap was the perfect tool for these male rappers to promote their hyper-masculinity, of which women were an extension. This naturally provoked a female backlash. Salt ’n’ Pepper, a trio from New York, espoused lyrics which focused on sexual competence - preaching safe sex and the values of finding a good man. The female rappers from the West Coast also adopted a brooding style. YoYo told us, well, not to mess with her YoYo, and Lady of Rage informed us not to annoy her because: “I rock rough and tough with my Afro Puffs.”

Women in hip-hop have been subsequently cheapened and reduced from the majestic, intelligent female rappers to the status of booty-shakers in male rappers’ one dimensional music videos. The gangster lifestyle determined what rap was going to be about: sex, drugs, ‘the hood,’ misogyny and materialism. If female rappers wanted to be part of that picture, then they had to fit into the already-decided male paradigms.

The famous ‘hip-hop intellectual’ Michael Eric Dyson, a Professor at George Town University in DC, has written: “The success of female rappers has suffered as a result of the prerogative of men, who set the standards for what’s acceptable in hip-hop and set the lyrics, the styles and what genres will be most popular.”

This is where female rap went seriously wrong by compromising the femininity of its protagonists.

The simultaneous emergence of late 90s female rappers like Foxy Brown, Lil’ Kim and Da Brat set the first agenda for female rap. To get into the spotlight, you must be the first and only lady of an all-male rap crew. Most contemporary female rappers have stemmed from male groups, such as Rah Digga from Flip Mode Squad, Eve from Ruff Ryders and Remy Ma of The Terror

Squad, to name but a few. Once these females made their debut as solo artists, their careers were dependant upon the success and popularity of their male counterparts. Secondly, as a contemporary female rapper, your sexuality and braggadocio must “out male” the men.

Andy Cowan, Editor of Hip-Hop Connection magazine, says, “The female rap cause was put back immeasurably by the brief reigns of Foxy Brown and Lil’Kim. By reducing the whole female experience to mere sexuality, in Lil’ Kim’s case near porn, they played into the hands of chauvinistic stereotypes the world over.”

Although these two females subverted the roles of women in hip-hop, they also conformed to hackneyed stereotypes of black female sexuality. It was rare for females to be so sexually crass in their lyrics and to reduce men to sexual objects. But they reinforced the negative and erroneous image of the black woman as sexually lascivious and deviant, which has plagued black women since the days of slavery. Mimi Valdes, the former Editor of Vibe magazine, once said: “It seemed like the female artists were mentored by male MCs to look and sound different. Biggie developed Lil’Kim and Jay Z was working with Foxy Brown. I think they are strong women and took advantage of America’s obsession with sex.”

The plight of the female rap cause has been extensively ridiculed by VH1’s ‘Miss Rap Supreme,’ which was supposed to find ‘the new queen female rap.’ The show ended in April 2008, and the winner Reece Steele is exactly where she started off: with no record deal.

Female rappers now have to contend with R ’n’ B artists who are literally stealing their act. The revamping of R ‘n’ B music in the last couple of years has taken on a much harder, more street, persona. Ebro Darren, Music Director of the US hip-hop radio station Hot 97, said in an article: “Fergie and Gwen Stefani do not have street or MC credibility. But they are selling the hip-hop lifestyle and that is what is getting them the audience.”

If the boundaries between R ‘n’ B and hip-hop are becoming increasingly blurred, where does this leave female rap?

Whether you have realised it or not, there are no females on the same level as Jay Z or P Diddy. There are no female hip-hop moguls who are influencing the genre for the commercial gain of women and overseeing how they are represented. If we had more women in rap doing the controlling, instead of being controlled, things would be much better. Ice T, one of the most famous rappers from the West Coast Gangster Rap era, once remarked: “Rap is very aggressive, testosterone based, hard-core music at its base. To rap, you’ve got to stand on the stage and say I’m the best and that is what’s up.

It’s very narcissistic music. It takes a special woman to be able to pull that off.”

However, contrary to Ice T’s comment, there are plenty of ‘special’ women who are ready to change the chauvinistic face of hip-hop. Let’s hope they come forward, because hip-hop urgently needs them.

“The role which women have played in advancing the genre is akin to a witness giving evidence in a Mafia murder case: silenced and never heard of again”

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cat walking “Advances in technology, as well constant enthusiasm for innovation and change, have also fuelled a desire for alternative ways to present designers collections”

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London Fashion Week for AW09 was staged in March, and seismic shifts in fashion presentations were evident. As an industry that is recognised for its costly fashion extravaganzas, now, more than ever, is a crucial time to see how high fashion can sustain its longevity in such a low financial climate. Whilst a plethora of designers remained undiminished and staged yet another theatrical catwalk show, a selection of expedient designers expelled the concept and opted for less extravagant showings. In this downturn it remains possible that catwalks may become obsolete, but is the recession the ruling impetus for this? Becki Whitford investigates.

Since their inception at the turn of the century, fashion shows have always aroused excitement.

Manage to haul yourself through the entrance melee and you are assailed by the sights and sounds of a circus of fashion moguls. A mass of journalists, buyers and photographers engulf the raised platform - eagerly awaiting the next wave of sartorial fetishisms.

According to a report made in the Guardian, the ‘average’ ostentatious show can mount to around £3.4 million consisting of stage sets, famous models and credible fashion coordinators. When you consider the cumbersome expenditure of an average catwalk show you begin to fathom why the shift in catwalk scale is occurring.

Some question the need for attention to showmanship and say that the real intentions of a show should focus on the products of the designer’s craftsmanship. If this is the case, why are we so fixated with the artistry of a catwalk show?

Any bona-fide fashion maven will relish being perched before a cavalcade of designer clad models. The anticipation before a show ripples through the crowd.

Witnessing next season’s trends, first hand, is a moment treasured and an opportunity not to be neglected. “The whole build up to Fashion Week is brilliant, from the invitations arriving, seeing where you’re sitting (front row is obviously maximum thrill!) people watching in the queue, the lights going down, the music coming on. I love it,” explains Helen McDermott, Fashion Executive of Distill Magazine.

Watching the procession of expertly crafted garments, in particular couture gowns, which can be

worth up to £100,000, presented on an erected themedstage makes clear the unrivalled hysteria for catwalk shows. Whether the shows are fun, sinister or enigmatic they are all undeniably entertaining.

Alexander McQueen’s shows have previously perpetrated the very essence of a fashion spectacle, but even he has resorted to toning down his showcases, which are now more subdued. For Spring/Summer 09 the ingenious designer channeled an animalistic vibe. A herd of stuffed zoo animals congregated on the catwalk, paving the way for a succession of models wearing animal inspired garments. For Autumn/Winter 09 his show remained just as exhilarating but the dramatics were toned down.

The backdrop for Chanel’s Spring/Summer 09 show was a Chanel shop front emulation, erected in the Le Grand Palais, in Paris. Such crowd-pleasing exhibits like these add to the grandeur of the famous catwalk presentations, and no doubt the cost.

The British Fashion council states that London Fashion week alone is worth £20million on direct spend, and worldwide media coverage on the event is worth over £50million. The event receives media coverage, which exceeds most major news and international sporting events, making it a worldwide phenomenon.

British designer Betty Jackson, who has shown at London Fashion Week since 1984, said in an article published for the Times online, “It would be terrible if the catwalk show disappeared. There’s nothing like seeing clothes moving right past you to understand the spirit of a collection.”

Advances in technology, as well constant enthusiasm for innovation and change, have also fuelled a desire for alternative ways to present designers collections. After all, London has remained the epicentre of new ideas and boasts creative optimism. However, would it be a shame to loose the eccentricity, conveyed through a fashion show - something London is so notorious for?

Creative stalwarts Victor and Rolf led the way for Spring/Summer 09 with their unique idea of an online show. The design duo shunned the catwalk and opted for a virtual catwalk that was screened through the internet. As this was an unconventional way to present a collection, much of the fashion industry was

?

in a new direction astounded. Some embraced the benefits like avoiding the huge travelling circus of international press and buyers and watched from the comforts of their own home.

Others pined for the conventional interaction of people and products and the general exhilarating experience of a catwalk show.

The British Fashion Council confirms that over 5,000 visitors, buyers, radio and TV crew, journalists and photographers attended this season’s shows. “The BFC aims to support designers. This season it offered designers the option to do presentations rather than catwalk shows. However, the responses were of the notion that catwalk shows are one of the most important elements of designer’s marketing and communications strategies,” says Kate McGee of Crush Communications.

Images generated from shows are indispensable for designers, to be used in look books and other marketing material. Staged shows are imperative for gaining recognition, especially as an emerging designer, and for acquiring the limelight through the worldwide media. Dolly Jones of Vogue.com shares her opinion of viewing the collections online: “The images and videos online act as a fantastic reference but nothing beats seeing the clothes in real life - and often the designers are as imaginative with their set, their music and the hair and make-up as they are with their clothes, so each show is a real experience”.

Showcasing collections in such an innovative way does reflect modern times and initiates progression from the past within the industry. Other designers who have followed suit with the idea of an ‘installation concept’ are reacting to modern developments that inevitably evolve within any industry. If enough designers forego the catwalk and bring the idea of a multimedia show to fruition on a much larger scale, then London Fashion Week could cease to exist.

Fashion photographer Nick Knight expressed his feelings for the new movement to the Times online, saying, “What is the point of showing the clothes to just 300 jet-lagged press and buyers when you can reach millions via the Internet?” Speaking about the current financial climate he added, “The recession is vile, but if it’s going to force people in the industry to stop being held back by the past, then I welcome it.”

Projecting shows in this guise is an ideal way

to limit excessive costs, especially at a time when the economy is in freefall. It also catapults designer’s one step ahead of the masses and subjects them to modern technological advances – something all designers strive for.

Temperley London has settled upon the idea of filming its clothes on mannequins and having the footage watched via the internet. New York based designer Vera Wang also shifted her usual catwalk show to more intimate viewings at her own store. Elsewhere at the menswear shows in Paris and Milan, Valentino, Fendi and Marni have all dumped the traditional catwalk formula. In New York, smaller labels Betsey Johnson and Carmen Marc Valvo have grasped the trend. It doesn’t take a mastermind to work out the advantages of more intimate appointments of showcases in showrooms or online.

Since fashion shows have become more known for their extravagance and ability to entice the best celebrity to the front row, sole attention to the clothes has been surpassed in favour of media attention.

There is also the mania of attempting to view as many shows, as is achievable, over five consecutive days. Alexandra Shulman, Editor of British Vogue, insisted that change was vital. She says, “Even without the economic down turn, to present so many shows in so many different cities seems an anachronistic way of doing things.”

There is a need to rekindle an appreciation for precision cut, quality tailoring and to recognise impeccable artistic pursuits. This is only truly noticeable and celebrated through direct access to the clothes and the designer in their studio. The downside to online viewings is that it can be impersonal, with no correspondence or one to one interviews with the designers themselves – albeit something that is achievable.

London has maintained an enthusiasm to explore unique ideas, which continues to accentuate the capital as the linchpin of fashion’s most intriguing stories. As many designers are forced to reconsider their showcase motives, the future of the catwalk show looks bleak. Will catwalk shows be able to sustain their place as a huge fashion spectacle, or will a catwalk’s longevity be suppressed and evaporate into just another fad: out of fashion?

“Images and videos online act as a fantastic reference but nothing beats seeing the clothes in real life”

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Listen

You can be anything you want to be.

Be careful.

It’s a spell.

It’s magic.

Above: Blazer, Vintage Camel; Vest, Primark; Tracksuit Bottoms, Primark; Watch, Stylist’s Own; Necklace, Stylists Own Opposite: Jacket, Vintage Army Surplus; Shirt , GAP.

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Styling - Cressida Meale & Tony Cook Photography - Tom Muddimer Production Assistant - Olly Griffin Models - Francesca Meale & Joseph Patrick

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Photograph Claire Blythen

Doin’ It Vegas Style As Las Vegas weddings grow more and more popular with each passing year, Celia Butler reports on why Vegas isn’t just for Britney Spears…

In 2004, the nation was shocked to hear that pop sweetheart Britney Spears had married her lifelong friend, Jason Alexander, in a whirlwind Las Vegas ceremony. Wearing a baseball cap and jeans as she walked down the aisle, Spears’ record company confirmed that the wedding had been a joke that had gone too far. Forty-eight hours later, the wedding was annulled.

“What happens in Vegas, stays in Vegas”. Or does it?

Last year alone over 120,000 marriage licenses were issued in Las Vegas. That’s an average of 330 wedding ceremonies being held per day. It is the only city in the world that offers you the choice of 300 plus wedding chapels to marry in. With hundreds of deluxe hotels, parks and nearby landmarks (the Grand Canyon, Lake Las Vegas and the Valley of Fire), in Las Vegas you can have any wedding you want, where you want.

The Bellagio fountains at night are a perfect setting for majestic romance as classical music blasts alongside the spectacular displays. You can wed at the top of the Paris hotel’s very own Eiffel Tower or by the tigers in the Mirage’s Siegfried and Roy Secret Garden and Dolphin Habitat.

What’s more, weddings in Vegas can be put together for a fraction of the cost, and time, of an English ceremony. The marriage license alone only costs $55 from the Nevada Marriage Bureau and can be obtained on the day that you want to get hitched. Just bring your passport along and you’re all set.

With the average wedding package ranging between $250-$550, there is no overlooking the fact that getting wed in Vegas works out as a reputable deal.

When you consider that the average wedding costs £30,000+ in England, it is easy to see why so many are choosing to get spliced abroad.

But it’s not just the cheap and cheerful ceremony prices that bring the masses to Las Vegas every year; the excitement of the bright lights is enough to get you on the plane. Add in the fun attractions to keep your family and friends entertained and the fact you can have the most unique wedding of anyone you know, there are a hundred of reasons why Vegas is the place to get wed.

The big plus point of marrying in Las Vegas is the ease of preparation. With wedding planners and organisers as standard with each package, the edge is greatly taken off of the bride and groom allowing them to enjoy their engagement. Brides can focus on their perfect gown without having to worry about hiring a photographer, arranging flowers or sourcing a minister as they come as part of the arrangement.

“The bride and grooms that marry at our chapel come from vast backgrounds and they all have their own reasons for choosing to marry in Vegas.

Whatever the reason, they all leave with their marriage license in hand, ready to start their lives together as a married couple,” explains Brandon Reed, Manager of the Graceland and Storybook Wedding Chapel.

Unlike in England, it is much simpler to marry in Vegas, which is why you don’t see other ‘Britney’s’ marrying their friends after a drunken bender over here.

Instead you may encounter couples that have met that

same day, paying $40 at the Tunnel of Love Drive-Through Wedding Chapel, being united in the passenger seat. That’s not to say Las Vegas weddings are all a Rachel and Ross fumble. King of Queens actress Leah Remini married her 7-year sweetheart, Angelo Pagan, by the famous Bellagio poolside in July 2003. Michael Caine married his love at first sight lady, Shakira Baksh, at the Little Chapel on the Green in January 1973. Their marriage is 36 years strong.

“Most of our couples plan about 4 months in advance. We specialise in elegant and traditional weddings and renewal of vows and most couples like to take time to work with their personal wedding planner and customise the perfect wedding for them,” explains Whitney Lloyd, Sales Director of The Chapel of the Flowers.

If spur of the moment isn’t your style and you’re looking to pre-plan your wedding before flying out, there are many packages available; Vivalasvegasweddings. com offers a wide range of choices. For those who want to follow in the footsteps of Elvis ‘The King’ Presley, who wed his wife Priscilla in the summer of ‘67, the Elvis Pink Caddy Wedding Package could be for you. Have Elvis sing you three of your favourite hits as you ride down the aisle in an authentic ’64 Vintage Caddy. The package includes a wedding planner, chapel fee, photographer, courtesy limo service for the happy couple and even live internet broadcast for anyone who can’t physically be there for your day. Las Vegas caters for all.

It’s easy to have an intimate, more traditional ceremony too. The Garden Chapel wedding package sees you exchange your vows in an ornamental French garden. Enclosed by Italian cypress trees and tall statuesque white pillars, this private garden is for 15 guests or less.

To celebrate in the conventional style of glitzy and glamorous Vegas, the Hartland Mansion Wedding and Reception package could be ideal. The mansion, which has hosted Elvis, Frank and Ginger Rogers to name but a few, can be yours for $9,500.

The ceremony is held in the exquisitely appointed Grand Entry Hall, where the bride can sweep down a circular staircase to meet her groom. You’ll declare your love surrounded by family, friends and a gorgeous setting that can accommodate up to 200 guests. After the service you’ll adjourn to the Grand Ballroom, dine with your guests at beautifully dressed tables around the central pool and share a romantic first dance to kick off your party. Make sweet memories as you cut your prepared wedding cake together. You even have access to a very full and very open bar.

There are also a number of themed packages for you to re-enact if you want something really off the wall: you can feel a bit magical at a Camelot wedding with Merlin as your minister; King Tut can marry you if Egyptian is your thing. For the more gothic, The Tomb package lets you address your inner vampire/werewolf and marry at the hands of the dark lord Dracula. You’d even be surprised at how easy it is to have Spock give you away. If you’re a bit more adventurous, marry above the strip with Heli USA’s helicopter deal: bungee jump at the Grand Canyon as you say ‘I do’ or wed underwater at the Silverton Casino Lodge.

“My wedding was great,” confides Lee McGarrigal who wed his wife Rachel last year. “It was totally fantastic. The wedding wasn’t themed though everyone asks ‘Did Elvis marry you? Ha ha!’ He didn’t - he’s dead!”

“Do we regret getting married in Vegas?” Asks Lee, “No way! It perfectly summed up who we are as a couple and the money we could have spent on the wedding day we spent on a 3 week holiday travelling the west coast of America.”

Whilst many people share the views of Lee and Rachel these days, there are still many that want the traditional trimmings for their Vegas wedding.

In 2004 Cara Blackshaw married her husband Denis at the Candlelight Wedding Chapel. Though Cara had wanted a traditional church wedding back home, she doesn’t regret their choice to marry in Vegas:“I loved the day and all of the people I was with (there were 36 guests) and from talking to others the people that came to the wedding loved it also - and I’ve started my mum and dad on the Vegas bug, they go every year now.”

At the end of the day the wedding you have can be whatever you want it to be. If you want your dad to walk you down the aisle, it’s your call (Elvis attire optional, of course). If you want an outdoor reception to enjoy the Sin City sun as it sets, have it. If you want to marry in a diner à la Sandy and Danny, there’s no doubt it can be done (check out the Do Wop Diner package).

All of the things on offer in Vegas are there to make your day that little bit different, that little bit more unique and that little bit more memorable for you.

You make the wedding, Las Vegas just provides you with a blank canvas to build your dreams upon.

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the

an We cultivate ourselves by taking influences from around us – mainly by reading. But what happens if you don’t quite comprehend where the fictional world ends and real world begins? Martina Akrenius speaks to London Preppy, a fan of author Bret Easton Ellis’ work, who leads a lifestyle that is straight from one of his novels…

Should the fictional world be taken seriously sometimes? The nihilistic, violent and even sadistic settings of Bret Easton Ellis (BEE) are certainly not something you would call ‘self-help’ books: Bret Easton Ellis’s books are mostly about violent characters that are in the condition of being ‘nothing’. What they all have in common is a lack of empathy, life goals or anything that is considered to be decent or pure. In 1991, when American Psycho was to be published, Mr. Ellis’ publishing company, Simon & Schuster, decided to pass on the project because of the substantially violent content of the book and due to external pressure from Simon & Schuster’s parent company, Gulf & Western. By tossing the book aside, they missed the chance of publishing one of the most influential works of our time. Or was it a miss? The amount of criticism levelled at Bret Easton Ellis for his books, and from portraying such violent monsters as American Psycho’s main character, Patrick Bateman, cannot be concealed. So, has the ‘avant-garde’ mastermind created an army of real beasts?

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Photography Marion Ettlinger

“Being dead inside will certainly help, so try to kill your spirit as early as you can”

Meet London Preppy, 29, from London (who wishes not to be named). Preppy is a fan of Mr. Ellis and validated his true dedication in 2007 by tattooing ‘Bret Easton Ellis’ on his bulging left bicep. London Preppy is known for running a blog on the Internet, which he calls “Nihilistic 21st century urban stories”. In his own words, it’s “a combination of world-weary, over-educated disgust at the shallowness of the world and lots about self abuse and pumping up your body so it looks real nice. Is it all fact, is it fiction, who the fuck knows.”

Preppy started his blog over five years ago as a diary that he shared with friends and “as it grew bigger and bigger I started writing less personal stuff and it became an amalgamation of fiction and reality.”

Meeting London Preppy in real life is nerve-racking. He is wearing a blue sweater by Ralph Lauren, blue jeans, white sneakers and a huge designer bag that is filled with his gym clothes. Preppy takes a seat opposite a mirror and it is noticeable that he can’t take his eyes of his Greek-like build with sparkling eyes and a chiseled jaw line. His demeanor is collected, mysterious and you are drawn to each word that comes from his mouth. But who really is London Preppy? Should his blog be considered just as vanity or an end result of taking BEE’s world too seriously?

The content of the ‘London Preppy’ blog follows the ‘Ellis style’ with Preppy popping copious amounts of different pills: “a comprehensive list of: 96 tablets of Tylenol PM, 32 Nytol QuickCaps, 26 Zopiclone (7.5mg) and 12 Valium (10mg)” (contacting his doctor friend for more prescriptions) and showing his obsession with his looks by going to the gym every day. Working as an accountant (“Where you’re such a boring fuck I don’t even need to find a way to put you down”) and modelling for gay magazine covers, it is obvious that he is interested in the upscale and conceited lifestyle in all aspects of his life. Also, “being dead inside will certainly help, so try to kill your spirit as early as you can. Everything else will fall naturally into place.”

Evidently, Preppy appears to be numb about his presence and the life around him; listing his designer outfits for the day, getting bored at nightclubs and, as Preppy enlightens in his blog, “plodding through life in a pointless manner.” Everyday life to him is “performing repetitive tasks day after day (in) the edge of complete and utter indifference”, and warns his readers about ‘happy’ people: “Those people have been born with a complete lack of cognitive ability – stay clear of them”.

The notion of ‘life is short’ and ‘you only live once’ apparently makes Preppy nauseous: “What I say to those people is that if they like life so much, they can have mine too”.

Have the limits of facts and fiction come too hazy or open to flexibility for some people? As London Preppy asked earlier, “Is it all fact, is it fiction, who the fuck knows?” London Preppy does apparently ensure that he is just ‘fascinated’ by the world Mr. Ellis creates in his books, and therefore maintains he is not a stalker.

“I appreciate his philosophy as it comes through his writing. I share similar concerns. Therefore, I don’t consider myself ‘a fan’. I don’t want to go through his

rubbish or get his autograph.” But is his blog all evidence to the contrary? His latest blog entry is an excited note on an interview with BEE by John Flynn in Fantastic Man no. 9 in Spring 2009, mentioning his name. Preppy writes: ‘So there we have it. Bret Easton Ellis’ Mum has seen this blog. Bret Easton Ellis has seen this blog.

If this doesn’t mean London Preppy has come full circle, I don’t know what does.’ The worrying fact is that the mentioning of London Preppy was in connection of talking about ‘crazy’ fans. Paul Flynn writes in Fantastic Man: ‘How does it feel to know that there is a stranger wandering about with your name tattooed on him?

BEE: “It’s strange, you know?” This time there is a longer pause than usual’.

London Preppy decided to have another tattoo done as another milestone to Mr. Ellis’ work, which is carved on his back: “And this is how I ended up here, a secondary character out of Less Than Zero”.

The evidence speaks for itself…

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stylecase

1. ‘On My Mind’ Styling: Nathan Menary Smith - Photography: John Francis Bowyer & Nathan Menary Smith - Model: Dominic Wilkinson Clothes: James E. Tutton

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2. ‘The Beast Loves Beauty’ Styling: Michelle Amoakohene - Photography: Emerzy Corbin - Models: Nathaniel Richards & Terri Wood Make-up: Sophie Medhurst & Michelle Amoakohene - Illustrator: Susan Paisley

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3. ‘Baby I Saw You Sleeping in the Flowers’ Styling: Gemma Treherne - Photography: Julie Janes - Model: Sophie Sheen (a) Floral dress, vintage from The Affordable Vintage Fair in Nottingham; Belt, Stylist’s own; Sheer chiffon blouse, vintage; Knee high socks, H& M; Shoes, The Nottinghill Charity Shop in Richmond. (b) Waistcoat, vintage; Beads, Stylist’s own; Blouse, H& M; Bracelet, Stylist’s own; Skirt, Urban Outfitters; Tights, Topshop; Boots, Stylist’s own; Headband, Diva at Miss Selfridge.

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4. ‘Cardboard Couture’ Cardboard dresses and Styling: Yvette Yarnold - Photography: Amy Catherall Make-up: Sarah Catherall - Model: Hollie McAlpine segue 81

5. ‘What Will I Wear Today?’

Styling & Photography: Akitoye Sunday

(a) Top, Jasper Conran; Scarf, Claire’s Accessories; Trousers, Jasper Conran; Sandals, Zara. (b) Jacket, Matthew Williamson; Top, H&M; Jumpsuit, Next; Shoes, H&M, Hair bobbles: Model’s own.

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6. ‘Diesel Powered’ Styling: Anna Wright - Photography: Scott Segrue - Model: Catherine Lynn All shoes, Office.

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“We are being over exposed to seemingly perfect celebrities who we try to imitate”

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Let’s start with the facts. Almost half a million syringes of fillers and Botox are plunged into willing British men and women every year. Facial fillers are commonly assumed to be safer than invasive surgery. Rebecca Henwood discovers, however, that Britain has become the testing ground for many unproven products.

Once considered a Hollywood secret, skin fillers are now as easy to buy as a new pair of shoes. The UK market for cosmetic treatments is now worth an astonishing £900 million. More and more people are looking to transform their bodies, with 42% of teenagers wanting cosmetic surgery, and another 7% of women considering a facelift. But be warned, if you think that because fillers are readily available everywhere from the high street to Harley Street they must be proved safe, you’d be wrong.

Although most Botox and dermal filler treatments are considered safe when administered by trained professionals, they are never without risks. Poor selfregulation within the industry means that patients can be vulnerable to poorly trained practitioners. The British Association of Aesthetic Plastic Surgeons (BAAPS) have criticised the Government for not imposing tighter regulations. Its president Nigel Mercer says, “There is no doubt that non-surgical treatments are safer than surgical intervention but in the wrong hands patients can be left with unexpected problems”. With an increasing amount of patients falling victim to botched treatments the question is being asked - why are non-surgical cosmetic treatments not regulated in the same way as invasive surgical procedures?

Injectables such as Juvederm and Restylane are used to smooth facial lines and to add volume to lips. They have a reputation as being quick, simple and relativity pain-free procedures that give immediate results. Psychologists believe that we are being over-exposed to seemingly perfect celebrities who we try to imitate in an attempt to feel more confident, look more attractive or be more successful. Stereotypically, beauty and success go hand in hand. Celebrities like Teri Hatcher and Katie Price both freely admit to using skin fillers to retain their youthful appearance. These factors all add to Britain’s increasing obsession with cosmetology. This all appears to be acceptable at first, but with many unregulated fillers appearing on the market it is essential that the flaws within the industry are exposed.

Fillers are not categorised as medicines and as a result are not tightly regulated. Juvederm, Restylane and only a handful of others have years of safe use and research standing behind them. It is alarming that something designed to be injected into the body can be placed on the market without proper scrutiny. What’s more, there are corrupt and under-qualified practitioners who could cause permanent damage.

The high-profile story of Leslie Ash brought the matter of unregulated procedures to the public’s attention. After finding fame in ‘Men Behaving Badly’, Ash was seen as the ultimate girl-next-door, so why did a successful actress with a thriving career feel the need feel to succumb to cosmetic treatments? Ash’s agent says, “After Men Behaving Badly came to an end Leslie realised that the parts she was being offered had changed. With actresses needing to stay youthful in order to get work, she simply could not afford to refuse to conform.” In 2002, she infamously had silicone injected into her top lip, a procedure that she had experienced before. However, this time she suffered an allergic reaction and her lip swelled up to twice its normal size. The

silicone fused with the muscles above her top lip and caused them to permanently harden. Her humiliation was public and images of Leslie’s ‘trout pout’ were plastered all over the media. The government were called upon to makes changes to prevent others from a similar fate. Ash’s point was that she alone wasn’t to blame for what happened to her, but that the unregulated state of cosmetic procedures should take some criticism too.

However, this was six years ago and still nothing has changed.

In Leslie Ash’s ITV documentary ‘Face to Face’, she re-awakened the debate around tighter regulation of the dermal filler market and called for them to be changed. Ash has publically stated that she desperately does not want people to make the same mistakes she did. She wants to show how unregulated the industry is and how people can make a decision in a heartbeat that might potentially ruin the rest of their lives. A lip-full of dermal filler or a syringe of Botox could be injected by a local beautician after just a few hours’ training. With people’s looks and health being put at risk, the government needs to put laws in place before the industry gets out of hand.

James McGrath, a registered nurse, owns the Skintechniques clinic in Doncaster. He runs the UK’s only day-course teaching NVQ3 beauty therapists how to inject fillers - currently the subject of great controversy within the industry. So does James feel the need for stricter regulations in the beauty industry? Regulations that, if put in place, could possibly put his course in jeopardy? “Yes of course I agree we need better regulations.

However, we need standards that cover doctors and surgeons as well as therapists, and doctors must adhere to these rules. I sometimes feel that they think they are above them.” The decision to allow beauty therapists to inject both Botox and fillers has been met by fierce criticism by doctors, who feel that medical knowledge is a must-have when carrying out such procedures. Dr John Curran of the British Association of Cosmetic Doctors says that he has “great concerns about a beautician’s ability to select the right patients on the basis of their medical history. They definitely do not have the knowledge to deal with the potential side effects which can range from severe life-threatening anaphylactic reactions to simple over-correction”.

The structure of the face is complex and the risk of injecting into an end artery is very real. The Skintechniques day-course allocates only three hours of teaching about the facial muscles and the injectable substances themselves. In worst cases injecting in to the wrong area of the face can cause partial paralysis which can often be permanent. 37-year-old Jai, a nightclub owner from Essex, knows this fact all too well.

He experienced facial paralysis just minutes after being injected with Restylane. Like Leslie Ash, Jai previously had this procedure with no problems. He says, “The first time I had this treatment I felt a little apprehensive so I went to a specialised clinic in Central London. However, I found a clinic closer to home where the treatment was carried out by beauticians. As everything had been fine before I did not give this a second thought.” Unfortunately, the beautician injected the filler into a facial muscle near Jai’s left eye. Recalling the incident he says, “Almost immediately I lost the feeling down the left side of my face. It took months for the feeling to completely return. After my experience I really believe that medical knowledge is vital when carrying out these procedures.”

A spokesperson for Q-Med, manufacturers of Restylane the leading hyaluronic acid dermal filler on the market

today states, “Patient safety is paramount and medically qualified practitioners must receive the appropriate training. All medically qualified persons are required to adhere to the guidelines formulated by the relevant governing body.” Our Government’s drug regulating body, the Medicines and Healthcare products Regulatory Agency (MHRA), controls only substances that have a medical use and are prescription only, such as Botox.

This doesn’t apply to most fillers and the only checks are minimum safety and efficacy ones for a European “CE” mark.

Britain has been described as the Wild West where dermal fillers are concerned. Safety regulations are flimsy and knowledge of long-term effects can be virtually non-existent. So lax are British filler regulations that safety-conscious American authorities are using us as a testing ground for products before allowing them to be used in the US, according to consumer body Which?, who are campaigning for tighter regulations here. An increasing amount of registered clinics inject a new permanent filler called Dermalive. Dr John Curran says that permanent fillers concern cosmetic doctors. “The evidence behind them isn’t there. If I saw colleagues using products like Dermalive I’d say that they fell below the standard required of a doctor.” The website of one such clinic states that Dermalive “satisfies all safety, reliability and efficiency requirements in accordance with European standards and is EEC approved”. This may sound reassuring but “European standards” are currently so ill-adapted to fillers that British cosmetic doctors deem them virtually worthless. Shockingly, 87% of women would still go ahead with the treatment.

Unfortunately, as aesthetic procedures become more popular an increasingly amount of scare stories come to light. Sara, a 41-year-old hairdresser from Kent, experienced severe side-effects from a permanent dermal filler treatment. After having the controversial Dermalive injected into her cheeks to smooth out her laughter lines, she developed swelling, hardening of the area and small lumps appeared near the injection site.

Sara says, “Several of my friends have had treatments in the past so I didn’t really worry about the potential side effects.” At first everything seemed okay but just two days later Sara began to notice little lumps around the area where the filler was injected. To correct the problems in Sara’s facial tissue that had caused the red lumps, she had to endure surgery which left her with permanent scarring. She is now campaigning for stricter regulations in the industry. Nigel Mercer, a consultant plastic surgeon, says that surgeons are already aware of the problems of using permanent implants as fillers for facial lines. He believes that if we are to continue using Botox and fillers more frequently then we must ensure that the public is suitably protected through a combination of self-regulation and government involvement.

Overall, dermal fillers are a cosmetic medicine, so medical qualifications when using them must be vital. The first step in correcting this problem should be to follow the US’s standards in only allowing medically qualified individuals to use Botox and dermal fillers. With growing concerns about the inaccurate use of injectables, the Government has recently asked the Independent Healthcare Advisory Service (IHAS) to look at ways in which it could regulate the use of these treatments. IHAS is currently developing proposals for recognised standards, required training and a code of practice for practitioners. In world obsessed by image and with rise of celebrity culture, the number of people choosing to get cosmetic surgery and treatments will continue to rise.

the botox backlash

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We’ll

slide down the

surface of things Styling, Make-up and Hair - Martina Akrenius Photography - Sam Kemp Editing - Fredrik Lindblad Model - Zydrune Seskeviciute

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Photography - Tom Fallon Styling - Laura Whiting Hair/Make-up- Nadine Pyke Dress, Hussein Chalayan.

Model - Tess at Model Plan

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Dress, Stylist’s own; Gloves, Topshop; Necklace, Accessorize.

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Bracelets and rings, all Accessorize.

Dress, Stylist’s own; Bracelet, Fendi; Shoes, Marc by Marc Jacobs; Lace mask, Stylist’s own.

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Dress, as before; Necklace, Chanel.

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Shirt, Vivienne Westwood Red Label.

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Are you Uneek?

With summer not far off, everyone will be looking to update their wardrobe with stylish attire - ready for late night raves, barbeques and party holidays. Step up Uneek Garmz, the brainchild of Twisted Micky and Rajohan. Nicknamed the Neeks, these two creative individuals definitely know what’s hot this summer, discovers Sophie Fry.

Uneek is a new streetwear label launched this year, which specialises in unisex limited edition T-shirts. Bright pink, yellow and purple bunny skulls, paintbrushes and spray cans are just a few of the eye-catching designs in their current collection you will definitely be noticed when rocking an Uneek creation.

The design duo only creates clothing that they would be happy to wear themselves. “By catering to people like us, we have created a brand that appeals to the most successful and stylish of youth culture,” say the designers. Uneek also aim to work with unsigned music acts and have a personal space for their fans on their website where they can upload photos of themselves in Uneek Garmz, creating a online community that embraces UK style.

“Our inspiration comes from the things we love. We’re heavily influenced by 80’s retro, Japanese street style, geek chic and Graff…we love colours that are big enough to make your nose bleed!” The creators of Uneek know what the youth culture of today want - being in their early twenties is definitely reflected in their designs, which are fun and colourful, yet chic and stylish.

Uneek is all about being individual and standing out. “Uneek is accessible to all in the way that it’s affordable, but by making all of our garments in strictly limited quantities, our customers don’t feel like carbon copies of each other.” Uneek is attention grabbing and striking all rolled into a big ball, or T-shirt, of fun and style.

How to get Ahead without a Hat Back in the day, headwear was used as a tool to measure social status. At the beginning of the 20th century, women of high social standing would grab every opportunity for a hat change, which could occur several times daily. Nowadays, says Leah Maillard, headwear is saved for special occasions - weddings, funerals, fancy dress parties, and swinging events where identity needs to be concealed.

As one of the most noticeable fashion items available, head adornments are a perfect way of making a statement (or if you’re into swinging - hiding) so it’s lucky that options are ample for the coming winter. Fascinators, headbands, hats and facemasks offer the opportunity to completely transform your appearance and make you mysterious to the masses. John Galliano chose an eclectic range of era-spanning

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headwear to accompany his show, and McQueen recycled empty drinks cans and bandaged them to the models temples for a recycled alternative. But perhaps Louis Vuitton’s sophisticated twist on the bunny ears is more your thing? Fortunately, subtler variations on headpieces are around if attracting attention isn’t your motivation.

Ginta Siceva is an accessories innovator, mastering the unique to bring her customers wearable designs that can’t be imitated. Carnival masks are her speciality; carved from leather or sprinkled with feathers, there is something for every occasion whether it’s subtle or extravagant you’re after. Hiding behind a mask can be liberating in the sense that your ‘real’ self is hidden and you can be whoever you want to be, or it may be that suddenly you feel safe enough to exhibit your true colours. Alternatively, Ginta offers fox-fur headpieces decorated in fluent chestnut curves if facemasks are too formal for your requirements.

If you lack confidence or don’t have a fancy dress party suitable for a Carnival mask then Deepa Gurnani provides everyday headwear in the form of headbands. Beautifully handcrafted, each piece is individually created using the finest quality materials and crystals by highly trained and skilled craftsmen. Deepa began her career beading couture pieces for respected names like McQueen and Fendi, so you can rest assured that you are investing in a work of art.

Fascinators (a delicate, slightly frivolous decoration worn on the head made from feathers, lace, flowers or beads) are traditionally associated with weddings and funerals, but were seen on the catwalks for spring and are ready to hit the mainstream for autumn.

Black should probably be avoided unless you’re a grieving widow but aside from that allow your imagination free reign. Uncomplicated and easy enough to rustle up a DIY job, there really is no excuse not to use your head.

Super Shoulders Autumn/Winter 09 is a blast from the past as exaggersted shoulders take over Lauren Goodwin-Grafton reports.

Glitz, glamour, greed and Pat Butcher earrings are the first words that pop into mind when flashing back to the eighties. The decade is undoubtedly one of the most distinctive; its extravagant trends scream ‘I love fashion’. If it wasn’t big, bold or glistening you wouldn’t wear it, and quite rightly too. Although the 80s gave birth to a host of powerful and somewhat shocking fashion statements, there is one in particular that stands today as the most iconic, one that was to alter the shape of a women’s body for a decade: the shoulder pad. In an array of shapes and sizes, ‘the pad’ was sewn into suits, dresses and blouses. Of course, with it being the gaudy 80s, the bigger the shoulder dimensions, the better.

Women adopted the American football player look in their thousands, thanks to popular TV programmes like Dynasty, which attracted an outstanding 250 million viewers. The eccentric costume design became one of the main reasons for tuning in as female characters dripped in frills, jewels and more importantly sported rather large shoulders. Soon after, and to the nations delight, these fashions were being filtered down to the mass market.

At the beginning of the decade power-suit pioneers such as Ralph Lauren and Armani laid heavy emphasis on the shoulders. It was revolutionary; for the first time women were given the chance to play with masculine proportions. The shoulder growth didn’t stop there, as female identity in the workplace grew so did the pad size.

These power-padded women eluded confidence, and showed the male dominated work place they meant business. Shoulder pad fever spread like wildfire, with even famous models, singers, actresses and royalty supporting the look. Well, let’s face it, if it was good enough for a princess, it was going to be for the paupers too. Princess Diana became a 1980s fashion icon and avid fan of the shoulder pad phenomenon. Sporting the trend after the christening of Prince William in 1982, she fuelled the nation’s desire further by wearing sharp, square-shouldered suits. Grace Jones also flew the shoulder pad flag, embodying the ‘power-dressing’ fashion of the 80s with her androgynous style, boxy haircut and square shouldered oversized suits, which influenced both men and women.

The years following have seen designers revel in love for 1980s fashion and it seems Autumn/Winter 09-10 is no exception. All four of the fashion capitals have once again paid tribute to the eccentric era. Yes, better get the champagne flowing, the shoulder pad is back with a vengeance. Forget swamped shoulders in layers of eyepopping polyester frills and think cleaner cut, structured shapes. Yes, you heard right, shoulders have just got sophisticated. The designers have pulled out all the stops to

prove that the ‘scary’ 80s shoulder pad can be flattering. Appearing on the catwalk in various sizes, shapes, colours and fabric combinations, there was a shoulder style for everyone to embrace this autumn. At Topshop Unique and Julien MacDonald they rocked a sci-fi edge with sharp pointed corners. House of Holland played homage to the broad rugby player with square mannish pads in shaggy overcoats, whilst Jonathon Saunders gave his cape-like shoulders a more feminine rounded edge. At Jean Paul Gaultier the models had grown angelic pleated chiffon wings, giving their little black dresses some subtle 80s glamour. Shoulders were girly and embellished on the catwalks of Erdem and Christian Lacroix with pretty frills, bows and corsages.

But the beautiful shoulder award must go to Marc Jacobs at Louis Vuitton, who demonstrated how to make the shoulder look a million dollars. It was a sexy but sweet combination of puffed and poufy shoulders on 80s taffeta mini dresses. The collection most definitely reassures that any sinister thoughts of shoulder pads should remain firmly in the past. There are key things to remember, however, when tackling the tricky the trend.

For example, keeping the lower half of the silhouette streamlined means the shape remains highly flattering, and choosing a shoulder shape to suit your figure is essential.

The shoulder pad resurrection is also good news for vintage lovers who now have an excuse to rummage until their hearts content in the hope of finding an 80s original. But keep an open mind when poking around: alterations can always be made to these vintage pieces to keep your shoulders far from looking like that American football player. Remember, it was acceptable to wear in the 80s, but certainly isn’t today.

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Described

by Henry Holland as “a star”, Jessica Fletcher is the secret ingredient in the House of Holland mix that everyone knows about apart from you…Cressida Meale meets this mystery woman.

You can’t seem to open a free paper in the capital these days without seeing something about the London club scene. Continuous images of cool young things seem to follow you around the packed carriages making your previous night at the pub seem just a tad inadequate. The group most commonly featured could read like a Mexican novella minus the swine flu, guest star and fashion matriarch coming in the form of queen bee Agyness Deyn, supported loyally by her faithful platonic husband slash designer Henry Holland and with interchanging roles coming in the form of Nick Grimshaw, Pixie Geldof, Daisy Lowe, Alexa Chung, Jaime Winston and Lily Allen. Often seen gallivanting on ‘Primmy Hill’ of a weekend and doing the conga in ‘Bungy 8’ on a Wednesday, there is usually another face in the photographs that is rarely credited. A V.I.P in the true sense of the word that manages to live the life of celebrity without the pap bollocks; she can get into every club and party without so much as a by your leave, usually adorned with something gorgeous and free from Luella. With a name already resonant with celebrity it seems that Jessica Fletcher was born to circulate with the fabulous. She is the unspoken addition to fashion’s most famous friendship; when Aggy and Henry did the Brit Pop-inspired Grazia cover emulating the iconic Liam and Patsy, she might as well have been hiding under the covers in the middle, she is that much of a central figure

in both of their lives. But whilst Henry and Agyness have to face the increasing glare of flashbulbs, here is one woman enjoying the benefits of A-list status, whilst managing to run an international business and have a normal life free from scrutiny.

Growing up with Aggy, who was then known as Laura, and Henry in Ramsbottom, Lancashire, Jess was always part of the in-crowd. Holland affectionately describes her as “the queen bee at school who had boys, and teachers, flocking round her constantly. She was a cool laidback girl with a dirty sense of humour.”

When her two best friends left for London in the pursuit of stardom at the age of 18, she remained at home, working in a shoe shop, with a boyfriend and a little car with leopard print seats. Increasingly jealous of the big city life her friends seemed to be living, things came to an end with her boyfriend and she left her job heading southbound without a second thought, and walked straight into a job at Select models.

“I literally came down with a little suitcase and was sharing a bed with Aggy, she took me with her on the second day to all her castings to show me how the tube worked and stuff and I got chatting to some people at the agency. They said they really liked me and offered me a trial on the spot and I ended up there for four years. I gained a lot from that time. It was a great starting ground for me.” Anyone with a little nouse knows that an agency of such high calibre as Select is not one of the easiest places to be, as Jess remembers: “It’s really tough. Some people are complete bitches. This one woman used to push stuff off her desk, sit there, and say to whoever was beneath her – pick it all up.”

Nevertheless, she built up great respect and a name for herself within fashion, living a jet set life some can only dream of, chaperoning underage models all over the world for shoots, citing the often visited Williamsburg in Brooklyn as somewhere she’d love to live one day. At the same time both Henry and Agyness were ploughing through to the media spotlight, and when it all kicked off with a humorous range of world-renowned slogan tee shirts, Jessica was the first point of call. When asked of

his decision to start up the business with her, Henry has nothing but glowing sentiments: “I love her and would trust her with my life. I trained myself for this company and knew that Jessica would do everything she could to make the company work for me. I’d be totally lost without her.” He also adds that without her, there is “no way” he’d be where he is now, “her support and advice are as important as anything else and the closeness we have is so real. Her nature is so perfect for dealing with buyers and they all love her. The majority of communications for the company go through Jess. She is the face of the label as much as anyone.” The feeling is reciprocated wholeheartedly by Fletcher who states, “I knew working with Henry would be a great opportunity, I really believed that he would do well; and he has. We have a great time together and coming to work is fun, like it should be.”

Given a role ranging in title from Head of Sales to Assistant, Jessica Fletcher is pretty much the foundations of the House, as it were, and has settled into a nice routine walking through Regents Park from her home in Chalk Farm to work everyday, sometimes with the family sheepdog, Woody, as company – which is a slightly surreal sight on Charing Cross road. She is as laidback in person as she sounds on paper, yet somehow manages to get everything done. “I’ve learnt everything as we’ve gone along but my experience at Select gave me the confidence to do so, as well as Henry believing in me. We work very closely together so we guide each other.”

Based in a small studio in the legendary rock quarter of Soho she manages to secure deals, shipments, invoices and press, all with the help of only one or two people at most: “House of Holland is an up and coming business, we get a lot of press and we’re slowly building up stores to sell to. We currently stock to 23 stores worldwide.” Worldwide is a key term, as an everincreasing proportion of the work is client based abroad, mainly in Paris.

“Paris and London are very similar. The same crowds hang out in both countries and as the places are

so close together they split their time between the two.”

Fletcher’s look is as changeable as the industry itself, her hair when we first met being long and chestnut with a sweeping fringe – it has morphed (with thanks to close friend and stylist to Noel Gallagher, Mel C and the Sugababes to name but a few, Adam Reed) to a cute bright red 20’s bob and now a choppy short crop, fiery in colour. A signature part of her style is a much-coveted Chanel 2.55 bag given to her as a surprise bonus by Henry last summer for all her hard work. Watching her open it and cry, then immediately phone her mum to tell her was almost as gratifying as receiving the gift oneself, as no one could have deserved it more yet expected it least. The bag in question is always to be found adorning a cute dress, some fierce boots and a statement jacket, bopping around this place and that sorting things out late at night. When asked about the ‘party’ image of the brand Jess marks some valid points in regards to business strategy: “Its very important to schmooze your client. So wining, dining and partying is very much part of the job, it helps you build up relationships and trust which are key.”

The celebrity angle of the company is hard to ignore, from having their own parties to being seen at many others, the press is something to be embraced – in all its forms. But what of the fact that both best friends are now household names? Doesn’t she find it a bit odd?

“To be honest I haven’t really got an opinion on the celeb thing, as I’ve known Henners (as he is affectionately called) and Aggy for over 10 years now. I don’t see them as celebs, just normal everyday people.” But surely you must feel a little jealous at all the media attention they get? “No! I much prefer keeping behind the scenes, I’d hate to be in front of cameras. I’m far too shy! When I see pap pics it just makes me giggle! I feel proud of them both when I see an article about their work.”

There seems to be no downsides to Jessica’s hectic lifestyle, as she continues taking House of Holland from strength to strength, but how would she sum it up herself? “I’m just glad that I’m always happy.” A sentiment not heard very often from a desk in grim London on a Tuesday morning, but a good one nonetheless.

“I don’t see them as celebs, just normal everyday people”

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“The addition of facial hair replaces soft feminine skin, and the addition of male gestures replace feminine qualities like smiling and being friendly“

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In America, particularly New York and San Francisco, the Drag King world is thriving. Previously, the UK was dragging its heels, but now their numbers are on the up. Is the addition of some facial hair and a swagger in your walk all it takes to be a dude for a day? Gayle Griffith investigates the growing trend of ‘Kinging’.

There are many idiosyncratic stereotypes that hover around the subject of Drag Kings. While typecasts of butch lesbians and sock-stuffed knickers are in abundance, many do not even know of their (much cooler) existence. Forget the glitter-incrusted drama of the Drag Queen world - there’s another man performing and he is in fact a she. Although they have been around since the 1800’s Drag Kings have always come second to their glamorous counterparts: until now that is.

With more and more King-friendly venues, nights and competitions, Kings are really making a comeback, and hopefully this time for good. Ladies have been channeling the ‘lad’ aesthetic for a long time now, from the beautiful Marlene Dietrich to everyone’s favourite androgynous queen Agyness Deyn. Unlike their moment in the spotlight in the Victorian Music Halls, this time Kinging shows no sign of stopping.

First things first: what is a Drag King?

Like Queens, Kings are parodies - parodies of men, sometimes famous men, who employ the characteristics and outward appearance of men for a variety of reasons.

‘Kinging’, as it is known, can be a way to express an alter ego. England, although lagging behind America and Italy, has had a steady increase in the number of Kings both performing to audiences and embracing their inner masculinity on a day-to-day basis. Think you’ve never seen one? If you’ve been to a pantomime you sure as hell have. Carrying on the 18th Century traditions of having a lady lead, pantomimes are still bringing Kings to the crowds. We’re not just talking about Peter Pan in tights here: we’re talking about handsome chaps with secret baps. A Drag King is not simply a woman in men’s dress - in the same way that a man in women’s clothing is not necessarily a drag queen. It’s time to uncover the mysteries and meet some real Kings.

For starters, drag can mean many things to many people; a stag in an ill fitting borrowed dress, a pair of size ten glitter platforms, or a diva in a foot high wig. But there’s more than just drag to being a King.

Some could argue that what you take away is equally as important as what you are adding. For every part that is added, something just as important is removed. Some things are more obvious than others; the addition of a penis (or packing as it is known) is married with the removal of the breasts (not literally - think Shakespeare in Love), the addition of facial hair replaces soft feminine skin, and the addition of male gestures replace feminine qualities like smiling and being friendly.

If you were asked what a Drag King was, what would you imagine? A short back and sides? A faux deep voice? Like any style, it is individual and more about a whole idea, a package, than one particular element.

It is important to add here that, contrary to

popular belief, Kings are not always women; a man performing as a male stereotype can also be a King in the same way that there are trannies with fannies out there.

Something that the majority of Kings have in common is their desire to perform. Drag King competitions are becoming more and more common and their numbers are on the increase. Lenna Land is the founder of King of the Castle Drag King competitions and a Drag King performer herself. “I generally play one of two characters depending on the occasion. My default character is Leon DaLuva. He’s the smooth, strong, silent type who likes to dress to impress. He’s comfortable with himself and confidant. The other character is Uncle Lenny.

Everything about Lenny is loud, from his expressions to his clothes to his voice. He thinks that he is God’s gift to women and never has any reason to doubt himself,” says Lenna, who reveals that her characters are exaggerated parts of her everyday personality. “I have found Leon in my everyday life, usually when I’m out in public. He’s becoming more integrated into who I am. I don’t think it’s possible to say that I’m ever wholly Leon but he is a part of me. Both characters are completely made up but I don’t kid myself into thinking that I exist in a vacuum and that those around me haven’t influenced me.

I definitely took some initial ideas from thinking about my brother.”

So where do others find their inspiration?

And how is a character developed once the initial seed is sown? “My first time as a Drag King was my first time in drag back in 1999 - it was both unintentional and undesired. I was terrified of the attention but my friends dragged me on stage and I was accidentally at the ‘Winter is a Drag’ ball in Vermont. I saw the launch of a drag king book in London and after that I stared gender bending and performing as a King.”

Emma, who likes to ‘drag up’ in everyday life, rather than for a performance, sees her character simply as a male version of herself: “It depends on where I’m going, who I’m with and what I’m doing but usually I’m called Freddie and I’m the kind of boy I hope I would have been if genetics had gone the other way. A lot of him is based on myself. When it comes to the posturing and other physical masculine traits, I’ve observed my male family and friends and how they move and act, especially in group situations.” But does she like who he is? “I think if I met him I’d think he was a bit arrogant but we’d get on eventually.” Emma doesn’t see her self as a King per se, but thinks that her character is a great vent for her masculine side. “ I mainly do it just for a laugh. I’m quite androgynous anyway so ‘full drag’ is just an extension of that and a way to express my alter ego.”

Like the majority of Drag Kings Emma is a lesbian, and while Drag King performers are certainly a large part of the lesbian community there are some heterosexual females who enjoy walking a few miles in the other sexes shoes. Although a vast majority of the scene prefers not to copulate with those whom they impersonate, some kings are simply an expression of an alter ego. Elliot Tabernacle, the alter ego of Hayley Griffith, still has eyes for the guys.

tom dick & sally

“When I began living in London I began socializing with a lot of gay men who would always tell me that I should have been born a boy. Not wanting to undergo any kind of surgical gender transitioning, I sought to experiment with some gender blurring of my own. It didn’t really occur to me that I was different to other kings being heterosexual. I think that Elliot is the kind of guy that I would secretly like to date but I know doesn’t exist, not in the circles I move in anyway,” Hayley explains. “He’s very smart and charming and has something very Noel Coward about his demeanor.” Treating yourself as your very own Ken doll may not be the best way to meet a guy, as we humans have not yet mastered asexual reproduction, but it can be a way to enrich your life. “Elliot is nothing like the real Hayley. I can’t channel him unless there’s the tweed, the moustache, and the pocket-watch. It’s all part of a process that releases him and puts me away.”

In contrast to Hayley’s personal enjoyment of Kinging, Daniela More uses her drag King persona solely as part of a performance. Daniela has been performing as King Alberto, a smooth Latin charmer, since 2002 and says of her character: “King Alberto is a figure, a

personality, an entertainer, an actor. I don’t need him for my personal life. He is, in a way, an expression of my art. It is an outlet for my performance. When I perform I become someone I have created.”

From performance to pleasure, the simple fact is the numbers just don’t add up. Why aren’t Kings and Queens a bit more even, like a pack of cards? Could it be as simple as the glass ceiling affect? “Maybe woman don’t feel the need to cross dress, or make a point in public. Or maybe because men were on stage since the 1600s performing well before women were allowed to,” says Daniela. Lenna agrees, suggesting that there are more queens simply because men dominate this world.

“I think that Drag Kings have more places to perform, their figure is more common publicly and their scene is more straight and mainstream. Drag Kings are latecomers to the scene; they lack much of the gay community tradition that Drag Kings enjoy as a result of their connection with gay bar culture.”

Whatever the reason, and with Kinging on the increase, we can only hope that the ceiling will start to crack and Kings will gain the worldwide popularity they deserve. Perhaps if more of you guys joined in…?

“Elliot is the kind of guy that I would secretly like to date but I know doesn’t exist”

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If you are lucky enough to live in New York City, or perhaps had the pleasure of visiting the area for a week in April, you may have noticed a group of 10 girls, recognisable by distinctive physical characteristics.

Their facial expressions would have alternated between wide-eyed exhilaration and mouth-gapingly dumbstruck. Their heads would be set at an upwards 90° angle, transfixed by skyscrapers along 5th Avenue, illuminated billboards in Times Square, and the bright lights of the Manhattan skyline. Their bodies would be alert, almost on edge; attentive to everything New York offered them. These were students from the University of the Creative Arts in Epsom, and every one of them felt like they belonged.

It was a trip to be remembered for this gaggle of swans - so named after an ingenious hand signal that saved all of us from getting lost at various points of the trip. Put your hand in the air, bend your wrist and purse your fingers together to make a swan head – you will be spotted and rescued (if you ever find yourself crushed in the middle of a horde of people stampeding off of the Staten Island ferry, it may even save your life). Not only did they hit all of the usual tourist haunts, they also ventured further – walking over the Brooklyn Bridge, absorbing the graffitied streets of Queens, wandering all over SoHo, taking cab rides the length of the island.

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NY:LON

As fun as running all over Manhattan was, however, there was the serious business of fashion to attend to - the purpose of the trip was to fully experience New York’s fashion industry. And where better to do that than at Parsons The New School for Design, situated on the aptly named Fashion Avenue.

Having visited Parsons during the collection pitch days – and being staggered at how cool, calm and collected they were while exhibiting their work (although several students later admitted that they were terrified – one even confessed to vomiting before his presentation) – the visiting Londoners each interviewed a Parsons student. They spoke of their collections - the inspiration behind them, the inception of designs and construction of the garments, and how The New School had shaped them as artists. Not only were the UCA students suitably impressed by their American counterparts’ obvious talents, they were also immensely relieved to discover that they were in fact very nice people. A bonding soiree at a hip Downtown bar resulted in fast friendships, shared stories of both cities’ industries, and even the promise of reunions, with several of the Parsons’ students revealing a longing to visit London. So how does this tale of two cities end?

To be continued… Cat Tsang

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The craftsman Meet Edward Lorenz Tan – the New York menswear designer tipped as One To Watch.

It’s baffling but true: there are some people who simply don’t ‘get’ fashion. They can’t fathom the surrealist minds of Viktor & Rolf, believe that Yohji Yamamoto is a television manufacturer, and couldn’t care less that Hedi Slimane transformed the landscape of menswear (and at the very least would pronounce his name incorrectly). So, for the purposes of educating these people, let me put this simply – Edward Lorenz Tan is important. Very important. Recently named Parson’s Menswear Designer of the Year 2009 for a beautifully executed collection inspired by the work of Russian Soviet architects Alexander Brodsky and Ilya Utkin, Lorenz Tan is on the cusp of something big.

Things could have turned out extremely differently for the 23 year old Los Angeles native, however, who harboured dreams of acting in his youth. Thankfully for Parsons, this evolved into an interest in costume design. “I applied to a fashion design college in Los Angeles,” reveals Edward. “But before you could go into costume design, you had to get an Associate’s Degree in fashion design first. During those 2 years of training, I met and worked for people that were really inspiring, (such as) Scott Sternberg of Band of Outsiders, and that’s when I realised that I could do this - and that I loved it. So I applied to Parsons.”

It was a calling in the true sense of the word.

Aside from his first designing experience at Band of Outsiders, he has also interned at Chado Ralph Rucci in women’s haute couture and ready-to-wear - “refining my craftsmanship and taste” – as well as a stint at Perry Ellis, learning how a larger-scale, accessible label worked.

These amalgamated internships have produced a young designer who understands not only how important good design is, but also the business of fashion. “I think the industries in every fashion capital are business-centric,” says Edward. “Every brand, whether in Paris or New York, is a business. However, as with every designer, you have to question whether it is going to sell or not. I just have to know when to tell myself to stop thinking that.”

A look through Edward’s collection (designed for a customer who is “intelligent and savvy, and who buys fashion for the right reasons”) should quieten any thoughts of ‘not selling’. Brodsky and Utkin’s old-world style etchings of Russian slums and “romanticised depictions of deteriorating city life” lend a mature thinking to his garments. “(They) made stormy slums an almost beautiful place to be,” Edward explains simply. “The idea of taking something undesired and imperfect – clothes that have gotten wet in the rain, falling off scaffolding, and stacks of old newspapers – gave inspiration to the clothes.”

The collection mirrors the bleak environment the architects communicated in their etchings.

Predominantly black, charcoal, navy and deep plum, Edward’s talent for tailoring is evident. The super-fine Merino wool cardigan, cashmere peacoat and shoes created in conjunction with Cesare Paciotti are standout pieces, but the entire collection – which includes wool and tweed trousers, handpainted shirts and cashmere waistcoats - smacks of quality.

Naturally, Edward is proud of his achievements, but he does have a personal favourite - the line of exclusive ‘Craftsman’ pieces. The designer dipped

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his hands in black paint during the construction of each piece, illustrating where he had touched the garments, and how much work was put into the creating process.

“Most men who buy clothes now don’t necessarily understand how much work actually goes into a button-down shirt or a pair of pants,” says Edward. “I think (The Craftsman pieces) brings craftsmanship to a much more tangible place for a newer generation.”

The Parson’s judging panel obviously agreed, naming a “beaming” Edward Parson’s Menswear Designer of the Year 2009, resulting in press exposure in Fashion Week Daily and The New York Times (who described Edward and the other two award winners as “outstanding”). It would be easy for a budding designer to rest on his laurels after praise from fashion powers-that-be, but Edward won’t make that mistake. “I think the most important thing I’ve learned was discipline - that I needed to do things in order to do what I wanted to do. That has prepared me for the rest of my life, not just the industry. It’s important for a designer to approach their work with their own personal tastes, ideas, and understanding, and then to question it. I think every good designer in this generation does that.”

As for his very bright future, it is clear that Edward’s loyalty lies with the city that nurtured his creative mind. “The best thing about the New York fashion industry is that it is in New York City,” he enthuses. “New York, in my opinion, is the most global city in the world. People from every village, city, country, and continent come here - and they bring along many points of inspiration for everyone to see.” Cat Tsang

Topographic Maps - That’s Geography Right?

The contours exaggerate the shoulders, emphasise calf muscles and bring definition to the waist line; it might be an unlikely and somewhat dull sounding subject for a fashion collection, but topography has never looked more appealing.

She lives in the heart of arguably the most fast-paced city in the world but it is surprising to learn that for country girl Lauren Jennings, a small town in North Carolina is where she calls home. Her thesis collection is a reflection of the free-spirited nature she developed here, as are her methods for gaining inspiration. Jennings explains, “Most of the time I don’t use just one thing to inspire a collection, usually it’s ten or fifteen things that have been on my mind that somehow come together”. So this time around, we see “topography, a Radiohead concert, Dan Flavin, Bridget Riley, Heatherwick architects, and Stephanie Schneider’s photographs” - subjects not usually considered cohesive, yet here they are in a graduate collection – it works.

An inherent love for travel is certainly evident in Jennings’ thesis collection. A heavy knit wool jacket, folded seamlessly around the body, is an imitation of Japanese Origami, a comfortable knit Bolero pays homage to Spain and a pleated mini dress is inspired by the set of a London concert.

In New York - or as Jennings describes it the most ‘high strung fashion capital of the world’ - her multitude of inspirations would appear down-right hippy, which is why Jennings has concluded she is really, “quite the Anglophile”. Although recognizing “New York has so much to offer”, having travelled Europe, it is Central St Martin’s where Jennings found “creativity, self expression and freedom” which she feels unable to achieve state side – score one for us. For this reason, after graduating Jennings plans to make the move to London, where she can truly find “freedom in design and expression”. Anna Wright

Organic Vision New York is renowned for it’s new and fresh talent within the fashion world. One up and coming graduate who has not let that status slip is Ashley Kurose, who has an intriguing eye for creativity.

American-born Ashley Kurose is passionate about art and fashion, and she has combined the two to create an imaginative eco-friendly collection. Ashley particularly stood out to the panel of fashion expects within the well-established Parsons The New School in New York.

Many people thrive for their dream career and to be successful within that field, so it came as no surprise to me to see how much time and effort Ashley had put into her collection. Nervous and excited about the outcome of her showcase, Ashley took the opportunity with both hands to show off her flair for fashion design.

The dark haired beauty flaunts her sophistication through her sustainable inspired thesis. Her outgoing and feminine personality is reflected within her designs.

Her love for different fabrics allows the garments to flow beautifully around the female form. This unique collection of cocktail dresses and draping silks in gentle cream, beige and earthy tones will please even the most critical of eyes.

Ashley’s enthusiastic nature to fashion is shown through her illustrations within her portfolio. “My whole idea behind my collection is to have the designs as the most important thing.” Her garments consist of feminine draping sleeveless tops, fitted trousers, shorts and innocent white long sleeved, puffball dresses. “I’m happy with what I ended up with, I learnt so much and surprised myself with what I could create.”

Ashley’s inspiration and guide for this collection came from artist Julie Mehretu, who is know for her densely layered abstract paintings and prints. Each piece is beautifully hand crafted creating an unblemished surface, with thoughts of ecofriendly elements hidden behind organic fabrics. These classic designs are a breath of fresh air to fashion.

Following the likes of Katharine Hamnett, Marc Jacobs and Stella McCartney by bringing eco-friendly to fashion, Ashley Kurose will be the one to make green the new black. Ria Palmer

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Eri and light in black and white.

Eri Wakiyama is the pint-sized Parson’s gradate that’s a living testament to crotch-less trousers, mermaid hair, bespoke white-platform lace-ups…and cheerleading. Well, maybe not the latter - anymore.

Eri is an enigma: and so is her collection. A monochrome Autumn/ Winter collection with flashes of hot pink, that she encourages to be worn ‘all year long’, its delicate, light, bold, dramatic and playful simultaneously. ‘It’s for the girl who is vulnerable, sensitive, and romantic on the inside but destructive, hardcore, and confident on the outside,’ she explains.

‘She’s in a bilingual mess and doesn’t know how to show certain sides of her personality.’

With an international clientele that loves ‘experimentalism and things done wrong’, the collection exemplifies dual-personalities, with multi-functional jackets that can be worn back-to-front, upside-down and round-the-right-way. It’s attention to detail at its best. Primarily cotton and cotton blend, denim, wool suiting and wool coating, there is a definite move away from luxury and towards utility. ‘I think me and luxury fashion aren’t in the same world, but we are next-door neighbours. I’ve never really died over a pair of Louis Vuitton shoes, but I certainly respect them,’ she says.

She continues, ‘I believe we all want clothes that will last forever and at the same time are interesting enough to keep as well. Fashion can become so crazy, vain and disposable – but at the end of the day they are clothes. We need clothes.’

Ambiguity and playfulness go hand in hand with this collection of subverted wardrobe staples. ‘I didn’t want to follow rules for certain clothing,’ she explains. ‘(The looks) are all interchangeable with each other and not one look belongs to another. The proportions of my clothes are peculiar: too long, too short, asymmetrical and unbalanced.’

Stemming from Eri’s own ethos towards clothing, the versatile collection is hinged on her innate understanding of styling. ‘People think I have a million things in my closet, but here’s a secret. I really only have a few things I wear,’ she explains, ‘but obviously I wear them differently. I definitely think about these things when I design.’

A high school honour class ex-cross country runner, ex-cheerleader, ex-girl scout who studied piano for six years, saxophone for four years, karate and abacus for eight, you wouldn’t expect her affinity for The Beatles, Yoko Ono, the 60s-70s, and illustrations for magazines like Nylon Mexico. But there you go: I said she was an enigma. Ciara McCullough

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ex oh xo Chicago-born Samantha Sleeper showed an effortlessly elegant eveningwear collection to an anticipated audience at Parsons The New School. Design has always been her dream, and from the age of just eleven the young designer decided Parsons would be the place where she would spend her years learning the art of design. It was the right choice: here, the designers create pieces that are ready for industry. There are no loose threads of unfinished pieces of work. Everything is priced, labelled and ready to be sold. It really is an eye opener for British wannabe designers.

Sleeper’s thesis collection was born out of frustration at her three-year relationship with her boyfriend, Michael. The demise of this turbulent relationship inspired her to create a collection truly close to her heart, from a dress similar to the one she worn the night they met, to one symbolising his hold over her. However, he was still her partner when she presented the collection to the panel; he watched in dismay from the back.

The first piece shown was a micro-fitted peach coloured dress. Sleeper, who is also an established illustrator, hand-dyed the fabric and spent hours beading the dress herself. Following from this eye-catching number was a selection of evening attire ranging from jersey jumpsuits to lace tunics, all hand-beaded showing Sleeper’s dedication to perfection. The final dress gave a feminine yet powerful silhouette. Made with a tulle mesh base, this floor-length gown used over 50 yards of organza to create the swirls of romance. When asked how much the collection cost, Sleeper simply smiled and said she was one of the lucky ones – her entire collection’s fabric was sponsored by textile company Solstiss Bucol.

Although in the future Samantha Sleeper would like to have her own brand, she would settle for working with design icons such as McQueen, Dries Van Norton or Lanvin. She has proved that with a lot of work and very little play she can make a name for herself. Having already held her own exhibition showing her illustrations, Sleeper’s hand-made jewellery has also featured in Teen Vogue and GQ magazine.

It just goes to show what the “city that never sleeps” can produce. Hannah Dick

With a Goddess in Mind The London girl in New York, Bessie Afnaim, left the big smoke to study in the big city. A dedicated worker and lateral thinker – the young designer fits in perfectly with the students at Parsons The New School, a bunch of talented, businessminded and down-right charming designers.

Afnaim’s collection is an assortment of dirty brown and cream layering that wouldn’t go a miss in a store like All Saints, although she doesn’t look particularly happy about this comparison. “The collection is a story of extreme emotions,” explains Afnaim, “the emotions act as friends to a character that I have in my mind when I design”.

These emotions range from confusion to freedom, and the goddess-like character Afnaim speaks of is undergoing a range of emotions whilst being lost in the wilderness. Due to this, the collection itself has no defining season nor does it refer to any trends. “It’s a collection to live in,” insists the talented young designer, and that it is. From cozy hoods lined with fur, trousers lined with cashmere jersey and almost every piece complete with extra long cashmere sleeves, the idea is chic comfort and protection for the wearer. This idea of protection is particularly important within the collection and is reflected through a surprisingly wearable leather effect jumper. Created by soaking wax through the reverse side of the leather, the jumper reflects the colouring of a stone and the outer shell of the ‘goddess’ that Afnaim likes to refer to.

Afnaim, who interned at Donna Karen, secured a deal with Saga Furs earlier in the year when she travelled to Hong Kong. Picking out sheered mink and silver fox for her collection, the fur is used in the lightest way in order to reduce the cost.

Afnaim inherits her business-mind from her mother, a successful entrepreneur back in London, who lends her mind and eye to such stores as The White Company and River Island. It was her mother who suggested Afnaim made the move to Parsons as apposed to studying at Central Saint Martins. But despite this, Afnaim believes her collection will be more of a success back home, imagining her clothes would be sold in such stores as Dover Street Market and Browns.

It is clear this designer hasn’t forgotten her old London town roots. When asked about her opinion of New York, she smiles, “The glamour goes in New York, my boyfriend and I always joke that the city is like a pair of fake boobs, you love them in the beginning, but after a while you just want the real thing”. Laura Beech

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Anna Zwick The film adaptation of French journalist Jean Dominique Bauby’s memoirs ‘’The Diving Bell and Butterfly’’ was the inspiration for Anna Zwick’s recent thesis collection. The film documents the life of Bauby as he copes with living with ‘locked-in’ syndrome, a stroke side effect which leaves sufferers aware and awake but unable to move or communicate due to paralysis of muscles.

Anna took ideas of swathing, enveloping, and constricting to reference the film in her collection. The pieces have a softness and delicacy which mirrors the beauty of the human body. Details such as the long cable knit scarf with attached gloves, or the soft grey of the base bodysuit paint the collection’s dark beginnings in a fresh, positive way.

‘’Grey is my base colour,’’ says Anna. ‘’I don’t like black - it’s too harsh.’’ The palette of muted flesh tones, dove grey and rich creams worked effortlessly within the collection. Fabrics such as jersey, wool knits and chiffon are used to build texture and depth to the emotionally charged pieces.

‘’All my ideas come from emotions, feelings.,” says Anna. ‘’The human body and the human mind are what inspires me in my work.’’ Before studying at Parsons in both Paris and New York, Anna spent a year studying medicine in her home country of Germany. Her twin is still studying medicine and it is obviously a huge source of ideas in Anna’s work. The cropped grey padded jacket came complete with dove grey chiffon sleeves and a heart, and the ‘Tornado Vest’ expressed Bauby’s inner tornado with the use of padding intertwined with chiffon and a creamy knitted waistband. ‘’Medicine and the body always inspires me,’’ says Anna. ‘’My previous two collections focused on blindness; the relationship blind people have with their body, and ‘the human stain’ - how humans are human and can fall apart.’’ Anna’s work is given a real sense of depth by the considered way she approaches design. Every piece is another part of the bigger picture of her collection, which she painstakingly builds with layer upon layer of beautifully crafted clothing.

‘’I’d love to come to London and study or work, definitely. I think you can be so much more free in what you do over there.’’ Anna is a perfectionist and hasn’t stopped working since presenting her thesis collection. She was recently nominated for designer of the year and featured in the show, attended by Anna Wintour. “It felt good to finally show the Americans some fresh fashion!’’ Sophie Berry

What Women Want

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With his thesis collection inspired by conjoined twins, Parson’s graduate Shawn Reddy was set to cause a stir.

When the theme of conjoined twins was mentioned, the abstract concept I had envisaged was far from reality. After watching a documentary on the subject Reddy was “fascinated with [the twins] relationship and how they had to overcome all these obstacles in order to function as one.”

Reddy, a Boston-born designer, wowed the panel of industry professionals at the Parsons The New School thesis week, with a collection that had a distinct inspiration.

Having caught the creative bug from an early age, it was not until Reddy started making clothes that he realised he wanted to literally “affect women through clothing.” After taking extra evening classes and a summer course at Rhode Island School of Design, he built up his portfolio and was accepted into Parsons. With a desire to dress and empower females through his designs, Reddy’s collection is exactly what women want - classic pieces with a twist. “I took concepts based on (the twins) relationship: dependency, balance, connection, separation and unification. These ideas were mainly explored through the construction of the clothing.”

Soft tones run throughout his collection teamed with the subtle nods to his underlying reasoning. From the suit jacket with a waistband to the tailored trousers with a double waistband, Reddy is delicate in the way he portrays the story of the twins onto his designs; the two piece suit has the ability to function as one, the lapel and the pocket share the same stitch, the waistcoat and the fly-away coat combined into a single design.

Then there is the literal: the hospital bracelets sewn into particular hemlines and used as straps on shoes, the PVC tubing scattered onto the collar of the ‘Pill Dress’ to represent the dependency of medication and his finale piece, a dress with four arm holes, simply one piece of fabric – again the idea of unification – wrapped around the wearer’s body.

Reddy is passionate about the female form; not caught up in the glitz and glamour of the fashion world, his goals are simple but his vision is unique. Functional fashion and fresh takes on the classic cuts: “I want to design suits that make young women feel powerful without feeling stuffy. I think it’s a challenge to design suits that empower the wearer and also look approachable. I’d like to imagine she depends on me to offer her updated versions of button down shirts.”

Kay Vincent

A ‘Real’ Designer For American born Kirsten Geiger, fashion has always been the only way forward. “My mom bought me a Crayola fashion designer kit when I was about three years old, and I’ve been hooked ever since. She claims that she bought me a microscope too, but I wasn’t very interested in that.” For Kirsten Geiger, a New York designer born and bred, being a fashion designer has always been her childhood dream. However, unlike the millions of little girls determined to be ballet dancers and most young boys who are adamant they will be professional football players, there is nothing amateur about this collection.

Inspired by the print making artist Leonard Baskin, Kirsten has successfully created a thesis collection that is eye-catching and full of texture yet still incredibly wearable and, more importantly for Kirsten, for real women. ‘I think that my signature is definitely femininity and girliness with a certain punch of masculine power,’ and she is not wrong.

Opening with a highly structured navy cashmere coat, the blend between femininity and masculinity is startlingly obvious. Whilst the structuring screams professional businessman, the bottom of the jacket kicks out, creating a feminine skirt. Similarly, throughout the collection structured straight leg trousers are paired and contrasted with draped tops in loose flowing organzas. The skirts are designed to sit naturally on the waist and emphasise the natural body shape and feminine curves, with one particular piece, a silver sheered mink vest, being specifically designed to replica the human rib cage. The tops are often revealing and show a lot of flesh yet in contrast to all of this, the colour palette of blues, greys and blacks is far more potent and one that is more often associated with males.

But the favourite piece of the collection is more obviously targeted at the daring but conservative woman that wants to take chances with fashion that Kirsten designs for. The black, hand-beaded dress with organza overlay has a lot of hidden depth: ‘It’s so simple but extremely chic and could work on a variety of body types. I worked really hard on it, and it just looks so effortless.’

Having always been determined to make it big in the industry (as a child she took sewing lessons and spent every Saturday taking classes at FIT to ensure her acceptance at the Parsons The New School) this girl is sure to one day have her own design label as she hopes. She has already interned at Three Asfour, Abaete, Behnaz Sarafpour and Marc Jacobs, so already has her foot well and truly in the door. And what does she consider to be the key to her success? “I always knew what I wanted to do and I feel that I’m very lucky for knowing that.” Georgia Williams

One Step Beyond There’s more to Parsons design graduate Charlie Chiang than meets the eye.

As a firm believer that first impressions count for everything, fashion design graduate Charlie Chiang has passed the test with flying colours. Sharply dressed in a clean-cut suit with slicked back hair, Chiang instantly comes across as both charming and professional. In this somewhat traditional attire, he also appears a guy with traditional values as he talks of good fathers and good men being influential in his life. With all this in mind, it’s fair to say that his senior thesis collection takes me by surprise.

Whilst other students took their inspiration from waiter’s uniforms and the military, this refreshing new designer named his collection a ‘Mission to Mars’, creating feminine and sexy garments for the working girl in space. Why? “Because the Hamptons is too close, the islands too well travelled and the moon, I see that damn thing every night.”

Chiang’s character-driven thesis contains garments such as a playful romper suit, a flirtatious cut-away sequin gown and feminine tailored trousers combined with other pieces to create a collection not only visually stunning but also highly technically impressive. Conceptual by nature, Chiang impressively veers away from being too commercial at this crucial stage, with strong intentions to go out and stun. The Hussein Chalayan influence is apparent through his use of LED infused clothes, LED shoes and fibre optics and despite now undoubtedly being sick of the sight of carbon fibre all his efforts have all paid off as he presents the fashion world with something unique, fresh and exciting.

As we get chatting about his collection he oozes charisma, intellect and passion, traits that no doubt won over the panel of fashion experts, journalists and PR’s that he presented his senior thesis collection to. With so much more to him than meets the eye, this former US Marines Captain is most certainly destined for success.

Charlie Chiang is a true star of the future. Francine Heath

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A Perfect Nightmare Nanette Thorne has a dream. “I live a motionless, non-vocal existence.

Frozen, I scream but nothing comes out as I stare at the ceiling. I feel so alive but like a statue of a saint, I do not move or cry; existing like a wooden table as we both no longer grow.” This is recent Parsons graduate Nanette Thorne’s darkly alternative world. When I visited her in New York over Easter, she was busy with her thesis collection showings, but found time to sit with me to discuss her final collection.

Growing up in Harriman, New York, a leafy town just an hour north of the city, she always knew that, one way or another, she’d end up following an artistic direction. After taking a three-year career break and contemplating a menagerie of career paths “from video editing to designing cars”, she settled on her long-time love of fashion design.

The fall 2009 thesis collection, entitled Scissors Pressed On Dream, so named because of the direct translation from the Korean term that describes this type of nightmare – a friend of Nanette’s from Korea confirmed that this kind of dream is commonly discussed in Korean culture – is a testament to her talent and passion. Fusing the dark, brooding imagery of her dream with the angelic stillness of statues and incorporating fabrics like leather and fur to create a collection that echoes the dark, beaten-up but elegant work of Rick Owens. Make no mistake, though, the designer is very much her own person: “I tend to put a lot of myself into my designs. All I know is what I do and the more of ones self is put in the more likely to be original and meaningful. As we are all so different and comprised of our own individual surroundings, ideas we take from everyday life can’t be duplicated from one person to the next.”

Beginning with a sharp ivory suit - Nanette’s personal favourite the collection is a lesson in contrast, ranging from strict tailoring and perfect fur coats

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to a loose, languid evening dress with a beautifully effective print on silk. “It plays with the idea of motion and motionless… Fabrications such as transparency play a big role in developing the concept; being able to see out but with a wall between. Fur and leather also alluded to the dream with their now un-growing state. Fabrics that move such as long fox hair are sometimes confined in a chiffon encasement.” Indeed, the clothes are as considered and conceptual as they are desirable, something that seems so natural to her design aesthetic.

So how has Parsons shaped her approach to design? The young designer compares the world famous institution to boot camp: “Such hard work and I couldn’t be happier. Anyone that survives Parsons walks away with hardcore work ethics, and a drive to be the best.”

And you can certainly see it in both the finish and the sheer volume of her work; as well as the eight elaborate and technically challenging looks of her thesis collection, she has been involved in numerous competitions (“Saga Furs, Remix, Swarovski”…she reels off nonchalantly) and high profile internships. It is this hard work and absolute dedication to both her craft and the world she inhabits that has seen her hauntingly disturbed nightmare transformed into a true fashion fairytale.

Shannon Monteith

the graduates2009 Martina Akrenius (Fashion Editor) A passionate girl from dark cold Finland came to London to test her wings in fashion journalism. Martina Akrenius found beauty in the city, people and parties, simultaneously scribbling down notes for her lifelong dream of writing a novel. Fashion journalism became a true calling for her and after familiarizing herself with PR work at Sergio Rossi, she became a intern at Vogue and GQ magazines, where she hopes to work again soon. An elegant combination of hard work, loyalty and creative mind will get this girl far – but never too high to lift her high heels off the ground.

07909 895 134 martinaakrenius@gmail.com Michelle Amoakohene Michelle grew up on Style street, in Style town on the outskirts of Styledom. Causing mischief with her friend Hip-Hop, the pair ran a colourful riot. “When I grow up I want to be a stylist,” Michelle thought to herself. So over the years she began assisting music video stylist on shoots with Grime artists like Skepta, and she hopes this journey will continue.

07792958548 michamo@hotmail.co.uk Laura Beech This West Country born lady has never looked back since she started working and studying in the Big Smoke. After graduating, Laura will move more centrally into her favourite city and flaunt herself at all available fashion PR jobs. With internships at Sergio Rossi, M&M Management, Escada and Brower Lewis PR under her belt, Laura is more than sure that PR is the way to her success in the fashion industry.

07815 727 221 ldbeech@hotmail.co.uk Hannah Berry Hannah Berry is a focused and determined character who likes to make an impression by looking good. Creativity and style are her fortés, along with a desire to succeed in life. A love of clothes, photography, accessories, shoes, make up, jewellery and so on, have all helped shape her direction in life. So goodbye Epsom, hello London.

07852 770 683 hannahb999@hotmail.com

Sophie Berry (Parsons Editor) I’m a good writer, honest – except when the brief is 100 words about me. I love fashion, music, gin and tonics and all that comes between. I have perfected my phone manner after working with several busy PR firms, and flexed my political knowledge as a runner on Question Time. Journalism and photography are where my passions lie though, and I work as a spotter for the online forum Dontstayin.com. I have also contributed photographs to the Night Times, a free clubbing newspaper, and recently photographed a shoot and front cover for the EFJN magazine Bespoke. Contributing articles to Bespoke affirmed my love of writing, and I can’t wait to put my journalism studies into practice.(Just don’t ask me to write about myself.)

07809 442 874 sophie_elixabeth@hotmail.com Rebecca Black (Picture Editor) Becky is confident and outgoing with an open mind, ready to attack any new challenge thrown at her. Though she has a keen interest in fashion, art direction is where her interests and experiences lie, with work experience in both Elle and She magazine as part of the art team.

07828 827 054 beckyblack17@hotmail.co.uk Celia Butler Celia Butler, 21, came to Epsom to find her niche. Having dreamed of being a journalist since she was a young girl, Celia could almost taste the shiny white walls of Vogue, she wanted it so badly. Three years into her course, Celia discovered her passion for wedding fashion and plans to take a course in bridal consultation over the summer to kick-start her business, P&H Style. Vera Wang had better be prepared. As for Vogue, there’s always freelancing…

07969 737 061 celia.butler@hotmail.co.uk Sally Clayton I would like to become a sub-editor, as I am very picky about grammar. Passionate about making a piece of work read and sound as perfect as possible, I always ensure that the punctuation, style and language of a written piece is exemplary. I am enthusiastic, and am keen to embark on a career in the media.

07715 285 253 salbob_rocks@hotmail.com Emily Cowburn Emily has applied a professional and consistent attitude not only to her studies, but to many challenging experiences she faced within the workplace. Having developed a burning desire to fulfil the role of a Fashion Buyer, Emily has already catapulted herself into the retail industry.

Working in Harrods’ buying office gave her a vital insight into the invigorating world of luxury fashion. With the additional experience in handling UK wholesale accounts for international labels like DSquared and Martin Margiela, Emily was able to attain both perspectives of the buying and selling division within high-end retail. With a driving passion to excel in this field, Emily believes she holds all the key attributes for a successful future in fashion.

07736 473 235 emilyjanecowburn@yahoo.co.uk

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Hannah Dick With an innate ability to amuse and impress, Hannah Dick secured a number of internships during her time at university. While interning at Asos.com as a copywriter, her natural flair for style was noticed and she changed roles to studio assistant. She moved onto a six-month stint at Sergio Rossi as a PR assistant. While there she grasped two more styling placements with Mary Fellowes and Sinead McKeefry, who kept her busy with the celebrity clientele (like Fearne Cotton and George Lamb). After flirting with the idea of journalism and styling, Hannah decided that Fashion PR was the place for her. Always enthusiastic and early, Hannah is already on her way to a successful career merging her two loves, people and fashion.

07500846970 hannahdick@hotmail.co.uk Suzanne Dicker Always armed with 20 lipsticks ranging in colour and texture, naturally Suzanne has pursued a career in Beauty Journalism. She has worked as a beauty intern at Flare, Harper’s Bazaar, Grazia, and The Sunday Times style. She currently runs her own beauty website LASHLINE.co.uk.

07772 646 221 suziedicker@gmail.com Janine Francois Janine Francois once wanted to become a fashion designer but after realising her skill in drawing and conceptualising ideas was rather limited, she turned her hand to writing.

A rather unexpected love affair blossomed and Janine has not put her pen down since picking it up at the adorable age of eighteen. Being able to write about anything from skin bleaching within the black community to disabled sex, Janine writes about taboo subjects that we love to keep hidden under the carpet.

07940 487 611 j-francois@live.co.uk Sophie Fry Sophie has always been interested in all things creative and after studying Art and Design at college she realised that being creative with the written word was her next step.

Never one to shy away from a challenge she jumped feet first into the magical world of Fashion Journalism.

However Sophie’s biggest passion lies in the world of music.

Always exciting and evolving, Sophie would love to be the editor of her own music magazine one day and is currently developing her own underground music website that showcases all the things she loves.

07989 019 097 sophie_fry@hotmail.com Lauren Goodwin-Grafton Lauren Goodwin-Grafton has an addiction. This addiction has only taken a stronger grip in her three fulfilling years of being a student. Fashion is the culprit and Lauren needs a dose daily. This is why she does not just want to be a Fashion Journalist, she needs to be. Now that her passion and enthusiasm for the industry is publicly known, she hopes to use her acquired fashion journalist skills by working for one of the country’s leading fashion magazines. Past work experience on The Daily Mirror’s busy fashion desk has only cemented this longing further. Lauren is excited by new challenges as well as meeting new people, and hopes to join the wonderful world of Fashion Journalism asap.

07843 441 733 loz27@hotmail.com

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Lauren Goward Shoes, strawberry flavoured shoelaces and the good old South have led to my personal branding as a shoe loving ‘country bumpkin’. Although the bright lights of London seem a million miles away, when I hear them call I come running with my arms open, ready for the whirlwind world of London fashion.

07825 321 430 blonde_n_blue@hotmail.co.uk Gayle Griffith After a brief encounter with music journalism - interviewing the likes of Trevor Nelson in Ibiza and Rob Da Bank at Bestival - Gayle realised she was more interested in their garments than their gloating. After a stint as assistant editor of DV8 magazine Gayle headed to UCA to learn the tricks of the trade.

07921 820 438 griffith.gayle@gmail.com Dilem Guven Dilem Guven was always a dreamer. The girl with the bright future. The girl who wore her Converse with everything. In three years, she’s mingled with the fashionistas, written thousands of words in her journalists’ notebook, and has saved up for her very own pair of designer shades, debuting Summer 09. She has laughed and she has cried. She has fallen in love and has tried to fall out again. She has met friends she will keep forever and has lost some that she never thought she would. She’s learned the words to every Dizzee Rascal track and has taken advice from Captain Jack Sparrow. At the end of it all, Dilem still believes in her dreams. One day, everyone will know the name of the girl who dreamed big… and still wears her Converse with everything.

07725 859 586 sweetie_dilem@hotmail.com Natalie Hammond Having escaped the barren fields of ‘Pasty-land’, Natalie Hammond now resides in an environment more suited to her needs. Two charity shops, a hairdresser, one bakery and a Woolworths (R.I.P) were all that lived in her hometown, and university could not come soon enough. Having worked part-time as a Stylist’s Assistant since 2007, Natalie can navigate a fashion shoot with her eyes closed.

Known for her unwavering shopping habit, she would like to turn her addiction into something more constructive – a career in fashion buying. Natalie’s determination to succeed can only lead her to the top (where ‘alright me ‘ansom’ is not a part of the dialogue.)

07955 967 423 natalieh18@live.com Louise Hansson With a Swedish passport, this 20-something girl has developed a love relationship with fashion and no matter how clichéd it might sound ‘eats, lives and breathes’ this industry. Moving to London made this faraway dream of becoming a fashion journalist a reality and Louise can’t see herself living anywhere else (unless she got the perfect job in Paris that is). She loves dressing up, and if that means wearing sequin knickers for a Vice party, this girl likes to stand out of the crowd. Louise has previously worked for Matches and Browns’ Fashion, and whatever the future holds, one thing is clear: fashion is the main ingredient on the menu.

07913 442 395 louise_hansson@hotmail.co.uk

Francine Heath This girl is a must-have item for the creative industry. The queen of research, Francine is a girl who loves fashion and films, and loves the history of both subjects even more. Embodying the essential traits of creativity, ambition and determination, this newly trained fashion journalism graduate is bursting with enthusiasm and fresh ideas, hoping to gain employment and valuable contacts by freelancing to both fashion and film publications.

07824 466 403 francine.louise@hotmail.co.uk Rebecca Henwood After three years of fashion journalism, 21-year-old budding buyer Rebecca Henwood is ready to begin work in the hectic world of fashion. She hopes to land her dream job as a fashion buyer for Topshop after a planned 6 month trip travelling around Australia, New Zealand and Asia in 2010. Her time spent with the fashion team at Closer magazine was a personal highlight of the course and helped her realise her passion for trendspotting.

Rebecca hopes that her skills in this area will take her from journalism to buying.

07872 442983 rhenwood@hotmail.co.uk Emma Hilton Ever since, fashion has been her greatest ally & Emma has tailored her educational choices to point in that direction. Working at Topshop’s flagship store allowed Emma to immerse herself in all things à la mode. A short lovers’ fling with Wonderland and a slightly longer affair with The Observer made Emma realise that a piece of her heart will always belong to print journalism. While at The Observer she was also given the opportunity to assist on a number of shoots, which sent her adoration for styling skyrocketing. Emma has homed in on Public Relations as the path she would like to follow, as she believes that the job description incorporates a number of her strengths.

07786 540 149 portionsforfoxes@hotmail.co.uk Rebecca Honess Crazy, confident, ambitious, hard working, determined, loud, open minded, curious, passionate, loves the written word and hates pretentiousness: Becky has always had a lot to say for herself and believes that all her opinions should be heard. One day Becky would like to be an investigative journalist and expose injustice in the world.

07890811896 fishcake51@hotmail.com Emily Hunter Emily Hunter has never been one to do things by halves.

Determined to become a fashion journalist, she moved from Aberdeen to Epsom aged 18, despite not knowing a soul south of the border. Fast forward three years and her perseverance is still unwavering. Having presented briefly on a podcast called Lipgoss, been a runner for both ETV and Silver River, an assistant for model agency Samantha Bond and also Assistant Fashion Editor for Sense magazine, Emily has a very varied work experience résumé under her belt. Although not entirely sure what the future holds for her, Emily is keen to gain more experience in hair and beauty PR or further her knowledge of talent scouting as a model agent.

07729325734 ehunter88@hotmail.co.uk

Suzanne Kelly Blending a passion-slash-obsession with glamour, beauty and the written word, plus an unrivalled interest in nittygritty investigative features, Suzanne Kelly has found her niche in lifestyle journalism, albeit of the dark chocolate variety; intense yet gratifying. Fun, feisty and compassionate, Suzanne writes with determined ferocity on all things female, in the hope of enlightening fellow readers.

07859 829 506 suzanna.london@gmail.com Georgina Langford (Features Editor) I am the sum of my obsessions; beautiful lingerie, film photography, red lipstick, adjectives, impossibly high heels, new notebooks, green apples, charity shop LPs, Marilyn Monroe, Nylon, i-D, Vogue, Lula, vintage dresses, false eyelashes, Agent Provocateur, perfume and diamonds.

PS. Watch out Wintour - I’m coming for your job.

07703 742 459 georginajones_2@hotmail.com Emily Loughlin An enthusiastic and passionate individual, Emily Loughlin is ready to embark on the industry with her creative thinking and innovative ideas, which have already been exercised through her work experience placements at H&M PR, Super Super and Clash Music magazine. She is currently reviewing bands for online magazine Ideomag.

Emily thrives on constantly having new challenges, and works well to tight deadlines. She wishes to pursue a career either working as part of a fashion PR team or to continue creating superb sentences for music magazines.

Watch this space.

07966 579 130 emilyloughlin@hotmail.co.uk Yuka Maeno Born and raised in Japan, Yuka has ventured to the UK in 2005 hoping to join the creative minds of London.

She soon found herself captivated by the beautiful language of fashion and quickly became enraptured with the delights of producing lifestyle journalism.

During her happy days at university she has worked and written for Urban Junkies and Distill magazine. Yuka is determined to continue her love affair with writing for as long as she lives.

Mobile: 07525650933 yuka.maeno1@googlemail.com Leah Maillard Adaptable and ambitious Fashion Journalism graduate who has unstoppable determination seeks entry-level buying position with a respected and well-established company. Looking for long hours in pressurised environments and endless grief for little in return.

Although buying is the path I’ll ultimately succeed on, freelance writing or photography offers would also be welcomed as adding strings to the proverbial bow, as they are two of my favourite pastimes. Industry placements and paid employment have ensured a strong commercial awareness while interpersonal and communication skills have been honed to perfection.

Skip the rest, just put me to the test.

07890 006 708 lea_m85@hotmail.com

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Ciara McCullough (Deputy Editor) From a seaside town in Northern Ireland to the metropolis of London via UCA, Ciara is packed and poised, ready for a foray into the world of employment. Suitcase jam-packed with experience stockpiled from short stays at Alberta Ferretti, Brower Lewis PR and Tank magazine, Ciara is hoping to navigate herself into a career founded on PR or journalism. She’s not quite sure which yet.

07816 246 983 ciaramccullough@hotmail.com

Edith Opito The decision to study fashion journalism was not a difficult one. For Edith, fashion has always been her first love.

After three years on the course, Edith has realised that true love never dies, it blossoms. Her past relationships includes Psychologies magazine, Stephanie Churchill PR, Harrods magazine and specialist health and beauty image library urbanlip.com.

07956 253 970 edithopito@ymail.com

Brittannia McLeod Describing her self as interesting and ambitious, Brittannia Mcleod fell in love with fashion before she knew what being ‘in love’ was. Her confidence and style caught the eye of personal shopper Alain Mehada, who encouraged her to join his team of stylists, leading to her dressing Dame Shirley Bassey. She went on to meet stylist Gok Wan, and worked Miss Naked Beauty. While working with his team, Brittannia realised a career in fashion broadcasting was what she wanted to pursue. Following in the footsteps of Caryn Franklin and Louise Rowe, Brittannia is optimistic as she iterates her creed for life, “Live, love and give.”

07904 616 824 brittanniamcleod@hotmail.co.uk

Sophie Overment Sophie has worked with many different companies including The Gucci Group, Matthew Williamson, and House of Holland as a PR intern. She hopes to gain more experience in this field in the future by organising events and becoming a noted PR figure in her hometown of Bath. She has also worked at Wallpaper* and Harpers Bazaar, learning impeccable editorial skills. This is something she hopes to pursue as a career and will hopefully be working as an editor at a magazine or online publication. Sophie enjoys most aspects of fashion journalism and would ultimately like to shape her career around many different areas.

07979150563 sophieoverment22@hotmail.com

Cressida Meale Cressida Meale has a preoccupation with big words and a desire to write a lot of them. Having interviewed everyone from Immodesty Blaize to those affected by HIV, she explores all journalistic styles. Passionate about books, films and fashion, Cressida has produced an independent guide to cinema, her own literary magazine and various fashion features. Having spent 8 months at House of Holland and with recent stints at Love Magazine and Mulberry under her belt, Cressida is adept at working in all ranges of the industry, from PR to running errands. She secretly enjoys writing to a short deadline. Ideally looking to join an inspired Press Office or write for the continuously brilliant Guardian, Cressida is determined that whichever field she lands in, she’ll leave a lasting mark.

07890 965 172 cressidameale@gmail.com

Ria Palmer (Picture Editor) Having a love for fashion and networking, bubbly blonde Ria Palmer did not start out with a passion for creative writing but feels she has grown into a fashion journalist.

She has found different elements of journalistic skill to inspire her and developed a love for art direction. Wanting nothing more than to get hands on experience within fashion, Ria spent her spare time working for Paul Smith Ltd, Handbag.com, Impulse Pr, Closer Magazine and being a fashion assistant on This Morning. Ria can’t wait to be part of the fast moving and innovative fashion industry, whether it is in London, New York, Milan or Paris.

07826 850 791 palmer.ria@googlemail.com

Nathan Menary Smith After years of turmoil and indecision Nathan decided it was time to chase a dream. That dream was to become influential. Nathan has assisted the stylist Emily Barnes on numerous occasions, secretly influencing the world through fashion, while undertaking his degree in fashion journalism. His dream is greater than ever and his powers of influence could be endless. Do you have a dream for him to chase further?

07850 855 252 nathan_ms@hotmail.com Shannon Monteith I am constantly engaged, enthralled and enticed by fashion and its many guises and manifestations. After graduating, I plan to spend a year travelling, writing, and interning abroad while getting as much magazine-based work experience as possible. In terms of styling identity, it’s all about high fashion rock ‘n’ roll. For writing, it’s succinct and smartly written copy with an appreciative sense of humour and unique angles.

Also on the long term hitlist: Write a book, run a boutique, become a French woman and have at least 5 dogs, 2 children and a Rick Owen’s leather jacket.

07867 552936 miss@missmonteith.com

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Yasmin Shilling A humble girl from Brighton, Yasmin Shilling joined UCA after an exciting year spent travelling the world. Her adventures continued when she started studying fashion journalism; each assignment (from trend reporting to styling) was something memorable and creative. Yasmin already has experience in the industry, as she was offered a temporary role as fashion assistant for Eve’s luxury accessories supplement last summer. She would like to continue down this route once she graduates. yasmin.shilling@googlemail.com Akitoye Sunday It has been an exciting experience being a fashion journalist student at Epsom. However, I have decided to enter into the more hands-on aspect of fashion, as it’s an obsessive passion which has led to the shift in career to aim towards visual merchandising and fashion merchandising. Nevertheless I’m enthusiastic, reliable and willing to learn wherever I go, and have strong verbal and written communication. My work has personality, uniqueness and creativity, with an ability to adapt to any form of project I might work on in the future.

07961 741 091 akitoyesunday@yahoo.co.uk

Lauren Swanborough Lauren Swanborough has a distinct passion for writing and wealth of enthusiasm. With a keen interest for discovering the new and unique, she is constantly on the lookout for innovative trends. Looking to the changes in culture and society in the world outside her bubble to inspire her writing, she is on a quest for a career in an interesting, creative fashion publication and is prepared to succeed.

07876593375 lauren.braquet@gmail.com Gemma Treherne When choosing her field of study, Gemma Treherne had to decide between many creative choices, one of which was to be an artist. Yet, with a life long love affair with fashion she chose this to be her new canvas. With an exuberant enthusiasm and passion to succeed, this Surrey-bornCarrie Bradshaw cannot wait to work alongside fashions’ finest. Previous work experience includes styling, assisting the buying department at EAST and stints at ELLE Girl and Sugar magazine.

07738 276 768 gemma.treherne.87@hotmail.co.uk Kirsty Tribe A great love of fabulous clothes and all things ‘news’ lead Kirsty Tribe to a stint of work experience at the Daily Express. Schmoozing over the phone with surprisingly friendly PR’s (not the terrifying fashionistas she had expected), helped Kirsty make up her mind that PR is where her future lies.

07708 039 240 kirsty.tribe@hotmail.com Cat Tsang (Editor) Work placements at The Times, The Independent, Esquire, Wallpaper* City Guides and a contributors role on various fashion websites - as well as her current internship at Plastique magazine - have led Cat Tsang to a very definite conclusion: she was born to write, whether concerning fashion or her other love, music. Editor’s roles on the UCA’s Fashion Journalism publications Bespoke and Segue have suited her surprisingly well - a sign of things to come, perhaps?

07917 877 047 cat.1985@hotmail.co.uk Katherine Vincent Styling and visual merchandising is where her heart lies, but Kay Vincent has flirted with the idea of broadcast journalism whilst working as a researcher, producer and guest host at Future Radio. Loves loud music, big hair and garish jewellery. Aims to meet David Bowie and own a 2.55 Chanel bag.

07787 409 269 kvincent700@hotmail.com

Rebecca Whitford (PR) A typical Virgo who aims high in life and is fiercely ambitious. An idealist, who expects the best and hopes for the best. After acquiring knowledge of fashion design at the London College of Fashion she solidified her niche in fashion journalism and high-end fashion. As she relished the role of fashion assistant on the Daily Mirror, she went on to secure similar positions with prestigious fashion magazines Grazia, Vogue and Distill magazine. A monthly fashion columnist in the Evening Herald Plymouth evidences her passion for writing about runway looks and seasonal trends. She aspires to a management position within the luxury fashion market.

07841 640 265 beckiw84@hotmail.co.uk Katie Whysall Katie is a social butterfly, with an infectious laughter. If a butterfly is seen as the personification of a person’s soul, then she would be a bright and shimmering yellow. She stands by this famous quote by Donna Karen: “Fashion is really about sensuality and how a woman feels on the inside”. Katie has a dream of becoming a journalist who makes a reader light up with excitement and enjoyment.

Her previous work experience includes The Daily Mail, More magazine and Fearnhurst PR. Her passion is to write, so to have a career within this innovative industry is her dream.

07966 683 767 k8_whysall@hotmail.com Georgia Williams After finishing college, Georgia found herself deliciously tempted into the world of fashion and all things creative.

Determined to be a success, work experience at the head offices of New Look and Animal, and the thought of constantly being surrounded by style, has left her with a thirst for more and a craving to work in PR for a fashion retailer.

07511 560 774 georgiaRwilliams@hotmail.co.uk Anna Wright It began with a love of shopping and a thirst for knowledge. After three years of learning (and spells in interior design and Arena magazine), the love for shopping remains but an appreciation and understanding for this diverse industry has developed: an industry which I look forward to becoming a part of.

07840 162 297 anna_wright87@hotmail.com Yvette Yarnold At the young, sweet age of eighteen Yvette went straight from sixth form to University, desperate to fly the nest and pursue a career in fashion writing. With little initial experience, the past three years have allowed her to develop as a person and as a writer. After a taster of the industry, working for Men’s Health magazine, Wallpaper* City Guides and writing for online fashion and beauty magazine AZBMAG.com and msn.com, Yvette has gained experience in a range of fields and wants to extend her training in fashion to other areas of journalism and try her hand at newspaper writing.

07795 117 138 yvette93@hotmail.com

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NEW BA Hons & MASTERS’ COURSES AT UCCA EPSOM 2009/2010

General Statement about Epsom

MA Fashion & Lifestyle Journalism

When it comes to studying, Epsom offers a range of courses centred on the cutting-edge world of fashion, graphics and new media at undergraduate and postgraduate level. We have introductory courses in art and design together with specialist qualifications in fashion, music and lifestyle journalism, digital new media and graphic communication, our academic courses are kept relevant and up-to-date through strong connections with industry. Our links with employers - ranging from small, niche players to large and well-established multinationals - add real value, giving our students access to influential individuals, to the challenge of live projects and to London-based work placements. At Epsom, you will find would-be fashion stylists working alongside budding graphic illustrators, menswear designers and web developers. Students really flourish in this melting pot of talent and, over the years, have regularly scooped major national awards, including Graduate Fashion Week, D&AD and RSA Design Direction prizes.

Some key facts:

What modern, culturally conscious individual doesn’t buy or browse through a copy of magazines like Vogue, Vanity Fair, i-D, Wallpaper or Rolling Stone at least once a month?

Through an explosion of glossy lifestyle magazines, readers today subliminally explore the contemporary blending of fashion, music, design and popular culture. This course allows you to enter this rapidly expanding world, contributing to new models of journalistic dialogue and criticism providing commentary which triggers and reflects today’s debates.

You should have critical writing and analytical skills from your undergraduate studies which may be in a range of disciplines.

• Home to a multi-million pound Library & Learning Resource Centre • Campus bar and café hosts regular events and themed nights • Student halls of residence are on campus, which is based close to the town centre • Epsom is only 17 miles from London by car and only a 30 minutes train journey

Specialist resources and support We encourage originality and innovation and give students the freedom to challenge convention and break boundaries with flare and panache. On-campus resources include a multimillion pound library and learning centre stocked with relevant, specialist materials and the Anglo-Japanese Textile Centre, which has produced world class exhibitions on cultural identity and practice.

Studies aside, a dedicated Student Services team and chaplaincy provide Epsom students with support for all aspects of their lives and can offer advice and guidance on a range of issues, including finance, welfare, disability support and English language.

BA Hons Music & Lifestyle Journalism Can you picture yourself working as a Music Journalist, interviewing musicians from the current music scene, writing record reviews, capturing the atmosphere of a live music gig, or commenting on music and cultural trends, while exploring music in a wider cultural context and developing solid journalistic skills?

If this is what you want to do with your life, then this is the course for you.

September 2007 will see the start of a new BA Honours degree course in Music & Lifestyle Journalism at the University College for the Creative Arts at Epsom. This exciting new development will sit along side the already highly successful BA (Hons) Fashion Journalism, and is founded on the flourishing expansion of the media and cultural industries based around music, entertainment, style and lifestyle genres.

It is designed for students who wish to specialise in music journalism for the lifestyle, culture, media and communication industries.

It will provide you with a broad-based creative background and practical, technical and professional expertise in written and alternative forms of media. Through theoretical study you will also acquire a reflective and critical insight into media issues relating to contemporary culture and music.

As a graduate you will find employment in the music and lifestyle-related media.

This could include modern style publications such as: • i-D or Dazed and Confused which seamlessly blend the areas of style and music • music-focused magazines and newspapers like Rolling Stone, Q, Mojo, Kerrang, Mixmag, Observer Music Monthly or NME • specialist ‘niche market’ magazines (for example, Acoustic Guitar, Songwriter Magazine or International DJ) • in-house publications like HMV Choice; • any number of men’s or women’s glossies, newspapers and supplements which include music coverage, or the plethora of internet websites that now focus on the music industry.

For more information please contact: University College for the Creative Arts at Epsom Ashley Road Epsom, Surrey KT18 5BE Tel: +44 (0) 1372 728 811 Fax: +44 (0) 1372 747 050

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