STANDfashion Magazine by Georgina-Kate Adams

FOR A NEW GENERATION OF FASHION.

STAND

£5.00

Contents. HATstand NEWSstand standOUT

MAKE A stand

BOOK stand BAND stand stand TOGETHER

Contributo rs Editor’s L etter News

14 Street Sty le 20 The Futur e of British 22 Fashion Piecing it T o g e 30 th e r Internatio na 36 There’s N l Fashion Showcas o Place L 44 ike Home e How I Ge t Dressed

46 What Do We 50 The Death Really Want? o 58 The Curio f British Tourism us Case O 61 f The Gra Behind th duate e Scenes – 62 This Will B Curation e 64 Keep Calm The Best Decade O f Your Life & Carry O n

70 72

76 78

6 7

The Sewin g Chap Fashion: F ilm’s Dyin gP One Man & His Guit rotagonist? ar Inspired H earts British Fa shion Leg end

HAT stand.

HATstand

Contributors. John-Paul Flintoff John-Paul started his career as a poet and is now an author, journalist and professional wonder-dad. He crocheted this hat himself, as part of his mission to save the world by making his own clothes. He lives in North London with his journalist wife and six year old daughter, Nancy. Read about his new book Sew Your Own in BOOKstand on page 66.

Selene Pearson Selene is an addictive writer, who prides herself on being a slightly unusual member of the journalism stable. A Cornish pixie, thrust into city life, Selene maintains her Jekyll and Hyde persona of country bumpkin versus fashion maven. A self-professed ‘geek’ and a bit of a cinephile, she examines the link between fashion and film in BANDstand on page 70.

Sarah Drumm Sarah is a fresh new writer, heavily pregnant with an English degree from the University of Nottingham - and due to pop any day now! A classic English rose, she loves to knit and has a secret dream of stitching herself a house out of quilts. She predicts The Future of British Fashion in standOUT on page 20.

Amy Marks Amy is a writer and super-stylist from the London College of Fashion, with hair the colour of a good bloody mary. She is as obsessed with reading as she is with songs with her name in, or anything else with an ‘A’ on for that matter. She almost always wears dresses but channelled her inner tomboy to style this month’s cover shoot in standOUT on page 36.

Marcelo Benfield Marcelo is an award-winning photographer, originally from Buenos Aires, Argentina. His clients have included everyone from Burberry to Boden and from Glamour to Interview Magazine. We were lucky enough to work with Marcelo for two stories this issue. Check out our cover shoot in standOUT on page 36, for which he was inspired by Irving Penn.

Katie Mackay Katie is the brightly-coloured star of whatkatiewore, the blog set up by her adoring boyfriend Joe, as a contemporary alternative to a daily love letter. In this month’s How I Get Dressed column, in standOUT on page 44, Katie talks us through her coveted style and tells us what it’s like to be a fashion icon.

Edward Harrison Edward is a Londoner, recently lured to Leeds, where he is completing a degree in Environmental Management. When he’s not studying (or recycling – naturally), he’s playing Nintendo or writing for various online magazines. Don’t miss his first article as our science and technology columnist in MAKE A stand on page 64.

Editor’s Letter.

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In a few years time our generation will inherit a world that we will have to lead. We will have to become the leaders of politics, the leaders of commerce and the leaders of the fashion industry. STANDfashion aims to help us to develop into the best leaders we can be. The baby boomers have clearly enjoyed their time as leaders, breaking new ground but also indulging in the opportunities of the new world with little concern for the cost to later generations. We must lead with more responsibility. We must be considerate of environmental issues, we must break free from the leashes of political correctness to do what is best for everybody and we must question everything that we take for granted – from the way we shop, to the way we form relationships – and seek to do things differently. To do things better. We are not any old generation. We are Generation WHY. We have grown up in a world rich with opportunities but have questioning minds. Now we must combine these assets to create a world that we can all enjoy and which we will be proud to pass on to our children. We can all play our part. From creative ingenuity, intelligent design and digital development, to small but conscious actions of change. Be that boycotting a shop because we disagree with their ethics or refusing to take pamphlets we won’t read from distributors in the street, to save paper. We can all be a force for progress; just follow your passion. One of our passions is Great Britain. In recent years a love of your country has become intrinsically linked to a sign of extremism but it is a sad day when the sight of the Union Jack insights people with disgustful thoughts of the BNP, rather than a pride in the great history of this country. STANDfashion is a fashion magazine, yes, but we have a vision of a new, greater, prouder Britain, led by our generation of creative talents. A Britain of equality and inclusion; a Britain which has learnt from and is empowered by it’s past; and a Britain which is unafraid to do things differently and set an example for the rest of the world. We hope that you share our vision and will be inspired by our first issue. We’d love to know what you think of it so please have your say on the forum at standfashion.co.uk. Until next month, STAND strong,

Georgina-Kate Adams, Editor

HATstand

Masthead. G e o rg

itor ina-Ka te Ada ms

Graphic

Editorial Team

Design er CvH

Web D esigne r Joh

Scienc n Adam e & Tec s hnolog y Colu mnist Edwar d Harriso

Contributing Team s r rite uting WPearson b i r t n o C Selene m Contacting STANDfashion Address STANDfashion 53 Holland Gardens London TW8 0BF

Editorial Team editor@standfashion.co.uk

Subscriptions subscriptions@standfashion.co.uk

General Enquiries ellogovner@standfashion.co.uk

Advertising ads@standfashion.co.uk

Telephone Number 0798 410 9234

rum Sarah D kay ac M Katie lintoff F l hn-Pau

tor e Direc arks l y t S g utin Amy M Contrib her tograp field o h P g utin Marcelo Ben Contrib ors e Advisoffin v i t a e r c C L a ura S

n Pearso Selene k c u b e o Julia R e r o o eth M r -Elizab e a h n c n t a Jo ce Fle a r G e Zo

NEWS stand.

NEWSstand

Future Furniture

The Lost Explorer The enchanting fashion photographer Tim Walker has just completed his first film, a short adaptation of Patrick McGrath’s fairytale like story The Lost Explorer. The film, which is Walker’s first directorial role, was a perfect fit for his ethereal photography style. It follows the story of a 12-year-old girl called Evelyn, played by 14-year-old newcomer Olympia Campbell, whose vivid imagination leads her to an otherworldly encounter with the film’s title character. Other stars include British actress Jessica Hynes, who is best known for her role in the TV sitcom Spaced, and Richard Bremmer of Harry Potter and the Philosopher’s Stone fame. The film’s release date is yet to be announced but we will keep you posted on our blog at standfashion.co.uk.

Is your home cluttered with piles of old magazines that you can’t quite say goodbye to? If so, an ingenious, London-based design studio, Amplifier, may have the solution. ‘The Stack Chair’ is the brainchild of Florian Kremb, whose inspiration was to make the “banal” beautiful. His vinyl wall sticker, in the shape of the back of a chair, comes in a flat pizza-style box. Simply, when stuck upon your chosen wall, it marks the spot for you to stack up your magazines, until you have a new, unusual piece of recycled furniture. The clever design, which is currently only available in matt black, retails for £30.65 and is available from hiddenartshop.com.

Summer Hoe Down Every year the British festivals seem to out do themselves with their sensational lineups of international music stars. This year our front-runner has to be the Hop Farm Festival in Kent, which is offering an irresistible variety of old and new talents, including Bob Dylan, Mumford & Sons, Van Morrison, Laura Marling, Seasick Steve, The Magic Numbers, Blondie and Imelda May. The two day festival on 2nd and 3rd July, is unique in that it has no sponsorship and no branding, with the aim of taking live music back to its roots. For more information and to buy tickets, check out the incredible website hopfarmfestival.com, which surely has the catchiest theme song ever.

The Unstitching There are only a few weeks left to see the V&A’s amazing Quilts 1700-2010 exhibition before it closes on Sunday 4th July. The showcase, which is the first ever to focus on British quilts, as opposed to the betterknown American styles, is an important tribute to our country’s handcrafts heritage and includes pieces that date from 300 years ago, as well as many contemporary interpretations. Our favourite was the Liberty quilt by Janey Forgan (pictured), which was inspired by the idea that the shared value of liberty can contain the patterns and colour of modern Britain, and unite us in a time of greater diversity and devolution. You can book tickets for the exhibition now at vam.ac.uk or for more information and exclusive interviews, why not download the iPhone app. (Image: Liberty Jack, 2008 Janey Forgan © V&A Image)

NEWSstand

The Finest “B”&“B” In All Of London We were very sad to hear of the recent death of Sidney Burstein, co-founder of London’s Browns boutique, at the age of 93. “Mr B” as he was affectionately known, bought Browns with his wife Joan (“Mrs B”) in 1970, following a number of other retail ventures, and together they developed it to become the iconic fashion boutique it is today. This will be a period of great grief and great celebration for Mrs B and the Browns family as, in the wake of their loved one’s death, the company is celebrating its 40th birthday – festivities that Mr B had a part in planning but didn’t survive to see. To mark this significant anniversary, many of the company’s friends and protégés, including Erdem, Stella McCartney and Chrisopher Kane, reissued an archive piece or created a limited edition item in honour of Browns. Additionally, on 12th May, the company hosted an anniversary party for 80 VIP guests at The Regents Lofts and Penthouses. The location was also used to host an exhibition centred on the stores’ skill for discovering new talent; Browns: 40 Years of Fashion Innovation.

A New Route London’s Mayor, Boris Johnson, has announced the details of the new Routemaster bus. The new design will be built in the UK and have lower emissions than any other double-decker currently in operation in the capital. It will maintain the hop-on-hop-off deck at the back, which made the original model so popular; however there will be shutters which can be closed around it, to increase the safety of the passengers. The first Routemaster, designed in the 1950s, has become immortalised in tourist paraphernalia; stuck on fridges all around the world as the ultimate icon of London. However they were taken out of operation in 2005 and pledging to return them to London’s streets was a key part of Johnson’s mayoral campaign in 2008. It was not anticipated that the Mayor would redesign the icon though and his new creation has already been deemed a waste of money. The Mayor hopes to have completed the first prototype by the end of the year and to have the buses in service by 2012. What do you think of the new Routemaster? Have your say on the STANDfashion forum at standfashion.co.uk.

Repainting The Rainbow New Jersey-based colour magicians, Pantone, have added some new tones to the rainbow with their new Pantone Plus Series. In creating the series they have restructured their colour book so that all families of colours are next to each other in a predictable order. In total they have added 566 new colours to the Pantone Matching System, taking their total colour selection to 5024. See the mini-documentary on how they did it on our blog at standfashion.co.uk

Dress To Impress If you are a recent graduate or looking for a new job, it won’t be long until you are facing the dilemma of what to wear for a big interview. Convention tells us that the safe choice is a character-numbing black suit, but this may not be appropriate for an interview within the creative industries, where your personality is often seen as an asset to your work. We think we have found the perfect solution in Andrew Majtenyi’s Autumn/Winter 2010 Womenswear collection, which features a range of formal but witty dresses, both plain and with neutral-toned prints, including one of dogwalkers and another of pop art. Majtenyi teamed the dresses with socks and open-toe high heels for the catwalk, which is a great way of keeping the look young and full of flair, whilst still appearing fit for business. To see more of the collection visit andrewmajtenyi.com.

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Street Style.

As the sun finally came out of hibernation, he tipped his hat in the direction of Carnaby Street; where we found that London style is just as swinging as ever.

Photographer: Amy Marks Scout: Georgina-Kate Adams

standOUT Opposite page: Francesca Backhouse, 20, Student Dress – Beyond Retro Bag – Vintage Shoes – Urban Outfitters

Hannah Melbourn, 26, Singer Scarf – All Saints (borrowed from a friend) Leggings – Oasis Shoes – New Look Coat – Camden Market

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Emma Marks, 18, Student Jacket – BigWardrobe.com Bag – BigWardrobe.com Necklaces – Homemade from African beads Dress – Florence & Fred @ Tesco

standOUT Ed Brown, 27, Animator Shoes – Converse, with own laces added Trousers – Levis Cardigan – H&M Top – American Apparel Glasses – Ray Ban Wayfarers

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Hatty De Roeper, 21, Fashion Student Sweater vest – Bang Bangs Top – Mum’s Cashmere Jumper Trousers – Topshop Boutique Bag – Miu Miu Shoes – Topshop Bow – Homemade from a piece of chiffon Brooch – Chanel

standOUT Sarah Waldie, 29, Works in Events Bag – Vintage, from Manchester Shoes – Office Trousers – Zara Necklace – Camden Antiques Market Top – Vintage Primark Watch – Casio

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The Future of British Fashion.

Once internationally acclaimed as a wellspring of innovative style, in recent years British fashion has been drowning in politics. But, as we enter a new decade, our industry is emerging with a new fighting spirit. Sarah Drumm looks at the initiatives that are pushing the change. The Sixties were one of the most exciting eras in British history. There was a revolution in teen fashion and, in 1965, American Vogue proclaimed that London was ‘the most swinging city in the world’. Young designers such as Ossie Clark and Mary Quant drew international acclaim for their innovations in dress, leading London to become recognised as the birthplace of pioneering style. However, it is often underappreciated that these (now) iconic designers began their careers with very simple means. Quant did not even have a degree in design, yet before the decade was out, and at the age of only 32, she had received an OBE for changing the face of fashion forever. The experiences of Quant and her contemporaries in Sixties London were a far cry from those experienced by the ‘new fashion generation’ today. With contemporary British designers often inhibited rather than liberated by the structure of the modern fashion industry, it can be extremely challenging for fresh talent to break through on to the public stage. However, through innovations in technology, the demands of our environment and evolutions in the social and political agenda, a transformation in fashion is occurring in the 21st century: a post-recession revolution which our children may write about in 50 years time, as a defining era in the evolution of dress.

The idea that a fashion house could lose control of its PR demonstrates how fashion’s power dynamic is shifting. Technology In this post-millennial era information is being transferred faster than ever, driving a change in the transparency of the modern fashion industry. The industry is now dominated by various strands of digital media, which are opening up the fashion experience to many more people worldwide. For example, within moments of stepping into existence, runway trends, celebrity fashion and street style can be documented through various entities such as SHOWStudio, Dazed Digital, and, of course, the fashion blogosphere.

In the same way that Brigitte Bardot enabled Biba’s copy-cat of her pink gingham dress to sell out instantly, a rave review from a blogger can heavily impact sales, as they demonstrate how high-end items can be incorporated into a more humble wardrobe. Designers have been fast to respond to this opportunity, regularly ‘gifting’ bloggers with their latest products. However Fiona Jenvey, CEO of Mudpie Ltd, warns that heed must be taken. ‘Many brands have lost control of their PR to the blogger, who does not always best represent the brand,’ she explains. Just the idea that a fashion house could lose control of its PR demonstrates how fashion’s power dynamic is shifting, as a younger crowd uses their technological foundations to their own advantage. One way that brands are taking back the reins is by presenting the first view of their

standOUT runway shows through globally accessible livestreaming. Britain’s own Burberry chose London as the host of the first ever 3D live-streamed catwalk, and then monitered global responses via blogs and Twitter, to ascertain the most popular items from the show. According to Burberry’s CEO Angela Ahrendts, over 100 million users logged on to view the live stream of the show online, while major fashion week guests in Tokyo, Paris, Dubai and New York were able to view the show in 3D, through a global synchrocast. Another way that brands are responding to the demands of digitalisation is by utilising social media. They are looking at using technology that has been adapted specifically for social networking, in particular the iPad and Microsoft’s highly anticipated KIN mobile phone. The iPad has allowed the fashion industry to tap into a digital resource, through which they can distribute their copy in a more sustainable way. Katie Grand, editor of Love magazine, recently enthused, ‘It’s thrilling to try and find a new way of working with fashion that isn’t two dimensional.’ Condé Nast, who publishes Love, has already launched iPad versions of many of their magazines, including Glamour and Vanity Fair. The embracing of digital innovation by the British fashion industry has been groundbreaking, leading London to be dubbed the ‘Digital Fashion Capital’. We are on the cusp of a new, globally connected fashion culture, achieved by making technology synonymous with sociality and, what’s more, we are leaving fashion capitals like Paris in our wake.

Ethics As this idea of a global community built upon transparency is reinforced, consumers are becoming increasingly concerned about the ethics behind the products they are purchasing. Conglomerate companies have notoriously ‘greenwashed’ their customers in the past, but as misleading claims can now be nullified within moments on the web, these tactics are now unacceptably weak. Sustainability is not usually considered to be comparable with luxury, but as we head towards economic recovery, there is no better time to bring the issues of ethical fashion to the forefront of the consumer conscience. In the global response to this defining issue of our era, Britain is

working to lead the way. At the Autumn/Winter 2010 London Fashion Week, the minister for sustainable development and energy, Lord Hunt, announced details of a Sustainable Clothing Action Plan; backed by 300 companies, including the high street’s greatest ethical pioneer, Marks and Spencer. Lord Hunt also acknowledged London’s pioneering influence, as the only fashion event in the world with a dedicated space for ethical fashion, referring to the Esthetica initiative.

Education Likewise, higher education systems are using environmental promotions as a major selling point for prospective undergraduate and

MA students. The University College London’s MODO fashion society, for example, this year turned their annual fashion show “green”, in support of the 10:10 campaign; which aims to cut carbon emissions by 10% by the end of 2010. The London College of Fashion is home to the pioneering Centre for Sustainable Fashion, which in 2008 launched the first ethical fashion degree in the world with their MA in Fashion and the Environment. The forecast trends for the upcoming seasons reflect this need for eco-consciousness. According to Mpdclick.com, by next Autumn the British fashion industry will be racing to find sustainable solutions, as increasing numbers of innovative trends bubble to the surface. ‘“Cotton-less” textiles point the way towards the day when all apparel can be used, recycled, and used again without losing any material quality or performance,’ Fiona Jenvey hints. ‘Ecologically intelligent design will become more important at all market levels.’ Britain’s pioneering response to the challenges of the cultural and ethical climate has proven that our flair for originality is burning as bright as ever. Just as Quant revolutionised the post-war fashion industry with her groundbreaking designs, Britain is becoming the innovation beacon to lead us out of a fashion depression once again. ‘But this time,’ Fiona Jenvey remarks, ‘we are using technology to do it and we are at the cutting edge of the trend.’

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Piecing It Together.

Summer is all about feeling free and more relaxed. Unrestricted by the need to stay warm, you can revisit the playwear of your childhood by day and embrace flowing 70s glamour by night. This summer indulge in colours and prints. Youâ&#x20AC;&#x2122;ll brighten up the British coast more than a rocket ice lollypop!

Jumpsuit â&#x20AC;&#x201C; Vivienne Westwood, Headscarf - Vivienne Westwood, Leggings (throughout) - Tabio. All prices (throughout) on request.

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Shirt - CK by Calvin Klein, Jumpsuit - Philosophy di Alberta Ferretti.

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Dress - Lanvin, Headscarf - Coccinelle Shoes - Lanvin.

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Dress - CK by Calvin Klein, Headscarf - Etro.

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Dress - Moschino, Trenchcoat - Missoni, Boots - Versace.

Top - Issa London, Necklace - Matthew Williamson, Trousers â&#x20AC;&#x201C; Etro, Shoes - Salvatore Ferragamo.

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Photographer & Digital Artist: Marcelo Benfield Stylist: Roberta Resta Make-up Artist: Natasha Lakic Hair Stylist: Akio Kishiama Model: Lydia Beesley @ Storm Photographerâ&#x20AC;&#x2122;s Assistant: Fernanda Fernandez

Stockists Vivienne Westwood: 020 7924 4747; viviennewestwood.com Tabio: 020 7368 6790; tabio.com CK byv Calvin Klein: 020 7629 3405; calvinklein.com Philosophy di Alberta Ferretti: albertaferretti.com Lanvin: 020 7491 1839; lanvin.com Coccinelle: coccinelle.com Etro: etro.it Moschino: moschino.com Missoni: 020 7352 2400; missoni.com Issa London: 020 7352 4241; issalondon.com Matthew Williamson: 020 7491 6220; matthewwilliamson.com Salvatore Ferragamo: 020 7629 5007; ferragamo.com

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International Fashion Showcase.

Every year new fashion weeks are debuting in all corners of the globe. Showcasing the unique talents of that country, they are a reinstatement of, and often a challenge to, national identity. Overall, they are an ode to the contemporary spirit of that nation. Georgina-Kate Adams chooses one event for every month of the year. Most magazines report on only four fashion weeks each season – New York, London, Milan and Paris. Meanwhile there are thousands of talented designers decorating the catwalks in other countries around the world, who we never hear about, because Hilary & Susie can unfortunately only be in one place at a time. Modern day Great Britain is a cultural melting pot of ethnicities and talents and it seems right that our catwalks reflect the diversity of our country and project a united national identity. Whilst some of our designers’ inspiration will be delivered by osmosis in everyday life, there is a lot that we in Britain can learn from these new international events. With over 200 different fashion weeks worldwide, each country must project something unique to their nation, in order to stand out from the crowd. Inevitably, this means that some designers play into the expected stereotype of their people, such as one at Caribbean Fashion Week last year that showcased a crochet swimsuit in the colours of the Rasta flag. However for some designers taking part in a fashion week dedicated to their home nation is an opportunity to make a statement about the contemporary issues in their country or indeed to break international stereotypes. Lahore Fashion Week, in particular, projected a surprising image for Pakistan; a country dominated by the Islamic faith. One light-skinned model danced down the catwalk in a multicoloured pompom mini-dress, with a glittery top hat on her head. Another wore a lime green bob-cut wig and blew kisses into the audience. Perhaps the message was ‘we are not the passive, confined nation we are portrayed as - we are full of colour and fun too.’ One participant said, ‘These designs were a way of telling the Taliban that we are not afraid and we will continue to fight back. Such revealing clothes are not necessarily worn on the streets, but in certain circles. Having said that, it was felt that the issues of Islamicisation took away from the talent and relevance of the designers.’ We are fortunate to have such a well-established fashion industry in Britain and London Fashion Week is known internationally as the one to watch for innovative design. However, to maintain our unique identity, and to perhaps even become the standOUT fashion capital of the big four, we must reflect the true diversity of our country and the spirit of change on our catwalks. Perhaps these new international fashion weeks can show us the potential of using fashion to reflect the power, diversity and unity of our nation - and the pride that we have for it.

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January February March

Berlin Fashion Week (Mercedes-Benz) 20th-23rd January 2010 Berlin, Germany Lahore Fashion Week (PFDC Sunsilk) 16th-19th February 2010 Lahore, Pakistan Montreal Fashion Week 1st-4th March 2010 Montreal, Canada

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April May

Mexico Fashion Week (Mercedes-Benz) 12th-16th April 2010 Mexico City, Mexico Rio Fashion Week 27th May-1st June 2010 Rio de Janeiro, Brazil

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June July

Caribbean Fashion Week 8th-14th June 2010 Kingston, Jamaica

Joburg Fashion Week (Audi) 30th June â&#x20AC;&#x201C; 3rd July 2010 Johannesburg, South Africa

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August September Copenhagen Fashion Week 11th-15th August 2010 Copenhagen, Denmark

Madrid Fashion Week (Cibeles) 17th-22nd September Madrid, Spain

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October November December

Poland Fashion Week (Fashion Philosophy) 9th-16th October 2010 Lodz, Poland Swahili Fashion Week 4th-6th November 2010 Dar es Salaam, Tanzania Prague Fashion Week TBA December 2010 Prague, Czech Republic

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Thereâ&#x20AC;&#x2122;s No Place Like Home. These models are both from South Africa. One of them is a British citizen. But when you look at them, who do you see as British?

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Créstin – Lavinia Collar - £100.00, Lou Lou Loves You. All other clothes and accessories throughout – stylist’s own, sourced in Southern Africa. Florie – Hat – £14.99, Zara, Cravat – stylist’s own, Jacket – £69.99, Zara, Shorts – £19.99, Zara, Bangle (throughout) – model’s own, Boots – £35.00, Beyond Retro.

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Opposite page, top left: Florie – Hat – £12.00, Beyond Retro, Blouse - £10.00, Beyond Retro, Bow Tie – stylist’s own, Belt – stylist’s own, Shorts - £12.00, Beyond Retro, Flask – photographer’s own, Boots – as before. Opposite, page, bottom right: Créstin – All items - as before Florie – Headscarf – stylist’s own, Jacket - £35.00, Beyond Retro, T-shirt - £14.99, Zara, Trousers - £39.99, Zara, Boots - £69.99, Zara.

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Opposite page: All items - as before

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Florie – Turban - £6.00, Beyond Retro, Jumpsuit - £99.00, Zara, Bag - £10.00, Beyond Retro, Shoes – stylist’s own.

Stockists Lou Lou Loves You: louloulovesyou.co.uk Zara: 020 7851 4300; zara.com Beyond Retro: 020 7729 9001; beyondretro.com

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Photographer: Marcelo Benfield Creative Director: Georgina-Kate Adams Stylist: Amy Marks Make-up Artist: Kelly Harrington Models: Florie Ramalhoso-Mwanza & CrĂŠstin van Heerden

Photographerâ&#x20AC;&#x2122;s Assistants: Fernanda Fernandez & Dorota Beau-Ingle

With many thanks to Marcelo Benfield Photography Studio (marcelobenfield.com)

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How I Get Dressed. Every issue we ask one of our fashion icons to explain how they construct their style. This month we speak to Katie Mackay, 27, who works as an Advertising Strategist for Mother. In 2009 her boyfriend, Joe, challenged her to wear a different outfit every day for a year (she has continued past this deadline owing to popular demand). He uploads pictures of Katie’s ensembles to their blog whatkatiewore.com and watches the 6000 daily hits roll in.

At the start of last year, I asked Joe why he never wrote me love letters (probably a little unfair, since we live together and I don’t know when he’d ever get the chance). At the same time, whenever we were out and about in London at the weekend I kept getting stopped by style scouts, asking if they could take my picture. Joe decided to start whatkatiewore as a year-long love letter and a time capsule of my wardrobe choices - the only caveat being that I couldn’t wear the same outfit twice. I guess the strangest thing about the blog challenge has been that I haven’t struggled with it. It’s almost like I can remember, for everything in my wardrobe, exactly what I’ve paired it with before; like a photo in my mind. For me, this is totally normal but I know that my friends are gobsmacked that I can remember exactly where everything is, every wee accessory and how I’ve worn each and every piece over the last year. Ever since I was really little this is how my mind has worked when it comes to clothes. I’ve always loved colour and pattern, but in a very coordinated way. And, for as long as I can remember, I’ve always organised my wardrobe by colourcoordinating everything from my hosiery to my accessories. I guess that’s more than a little bit OCD; but I promise, it just comes naturally. I really don’t feel like I am a fashion icon. I have no idea what I’m going to wear each day until I come out of the shower. I get dressed without even thinking about the blog picture or what people will think; if I did I’m sure it’d be impossible to decide! Whether it’s a weekday or a weekend, most mornings are the same. After squeezing in as many snoozes as possible (sleep post-snooze always seems a million times better than night time sleep), I’m generally kicked out of bed by Joe. As I come to and mull over what the day’s going to bring, I also mentally flick through my wardrobe and pick one thing that I really want to wear that day. It could be something

small like a Tatty Devine brooch or it might be the centre of the outfit, like a paint box bright dress. Either way, once I’ve picked the first part of the outfit the rest of it comes together in the shower, all of it in my head. I’m really lucky - I work in an advertising agency so there’s no real restrictions around what we can and can’t wear. In fact, I think everyone at work actually likes the silly ensembles I come up with every day. The only time I’ve ever worn head-to-toe black at work, everyone was worried that something was seriously wrong. So, outfit ready, it’s then just a case of adding a few extra bits and pieces, until I feel like me. The only way I can describe that process is like a child playing ‘dressing-up’. And that’s it. From my alarm first going off to leaving the house (with breakfast thrown in there somewhere too) is maximum an hour. Any longer and I get a hard time from Joe! All that’s left is for us to leave the house and for Joe to decide on the location for that day’s picture. I’ve been trying to convince him to do a ‘whatjoewore’ but he’s being very resistant. That said, he’s definitely begrudging the lovely clothes and accessories I’ve been sent because of the blog! If nothing else, I hope that the blog inspires people to dress to make themselves happy and to see every single day as a chance to play dress up. I love getting dressed and I’m continually both surprised and delighted that what I wear seems to give so many people pleasure. I guess more than that, it’s a really great feeling to know that the blog has inspired people to be a little more experimental.

MAKE A stand.

MAKE A stand

What do we really want?

Our generation know that “having it all” is a myth. We have seen the contemporary 30-40-somethings strain to maintain a high-flying career, get home in time for parent’s evening, throw dinner parties, keep an attractive home, high-achieving children and a fashionable personal appearance; and noted how they forgot to make time to enjoy any of the above. But, Georgina-Kate Adams asks, if we are to do things differently, what are we willing to sacrifice? Our parents, the baby-boomer generation, ripped up the rulebook when it came to what constituted a British family. Whilst their parents, for the most part, followed that most stereotypical of models, with father going out to work and mother staying at home, our mothers brought feminism to the table, went out to work, got divorced, raised children in single parent families and, to use that old cliché, apparently “had it all”. But did they “have it all”? And can we? Anyone who grew up with a hard-working professional for a mother will have witnessed a great deal of tiredness and turmoil in their parents, as well as tenacity and sexual liberation. We must ask ourselves, how sexually liberated is a woman who achieves in the workplace, but is exhausted, riddled with guilt and run off her feet in the home? And what of the woman who focuses only on her career and then finds herself in her mid-forties, single and childless? Do we want to follow in her footsteps? ‘I think we have learnt from the “have it all” career women of the nineties,’ says Julia, 23, a textile design graduate who took part in our focus group. ‘We like to think that we want that, but ultimately the best things in life are free.’ She, like all of the women in their early twenties who we spoke to, is very clear that she wants both children and a career. But if we are to do things differently we must unveil: Which part of “having it all” are the current high flyers getting wrong?

Is there a way for us to redefine “having it all”, or find an alternative way of having it? First of all, most people no longer have close family living nearby; as better travel links have seen families spread out across the country, and indeed the world. This means parents are forced to pay for childcare and have to face the judgement of people from outside their relations on a daily basis. That might be a nanny or an au pair, or a circle of parents from the local area, who they meet at the childminder’s gates at the two most stressful parts of their day – first thing in the morning and, after a long day at work, in the evening. Parents shouldn’t have any reason to feel judged, especially if the other mums and dads are in the same boat. However there are three key factors that mean that is not so. Whilst when our parents were children they were seen as a fairly low priority; given a few toys and left to do as they pleased; in more recent decades there has been a stark increase in the

amount of attention that parents give to their children, as new products, such as the surge in hand-held games consoles in the nineties and noughties, gave young people new status in consumer society. The more products which were produced for children, the more kids pestered their parents for them, and this has accelerated so much that in the present day most parents now spoil their children with a lavish amount of attention and gifts; arguably in guilt for the hours they spend away from them at work. These so called “helicopter parents” hover over their children, catering to their every whim, whether the child wants them to or not. Secondly, increasingly tight competition for school places means that parents have become more competitive. Every parent now wants their child to be

MAKE A stand the best, and must deliver their five year olds to weekly violin, French and yoga lessons simply to keep up with their contemporaries. Lastly, with the rise of designer clothing for children, there is a new spotlight on the dress, etiquette and even “cuteness” of people’s offspring. Some would argue that children have become the ultimate fashion accessory and this is not helped by the celebrity parents that parade their picture-perfect mini-mes for the press - complete, of course, with a baby-sized Mohawk. No comment is made about the amount of staff, disposable income or flexible working schedules these people have, which allow them to maintain such an allure. Thus the working parent is expected to jump through the same hoops as their friend who stays at home; maintain the same immaculate Elle-Decoration-style house, throw the same Nigella dinner parties and attend the same playdates in the new Jimmy Choos, or at the very least in an outfit which matches up to the latest Whistles window display. This attempt to achieve perfection across the board is self-crucifying. It is difficult enough for parents to maintain at the top of their game in their office and still get home in time for bath-time, without having to overachieve in the home as well. It is this modern trend which seems to be providing the additional stress factor, as the 21st century definition of what it is to “have it all” seems to be ever expanding. Unsurprisingly, in their attempts to keep up, many mothers now wish they could retreat into a housewife lifestyle, according to recent reports. However of the childless young women we spoke to, nobody said that they wanted to stop working completely when they have children. So, is there a way for us to redefine “having it all”, or find an alternative way of having it? Laura and her husband Damian, run a branding business together from their home in North London and are keen to promote the benefits of working from home with your partner. ‘It has allowed us to work flexible hours and we believe it is more balanced than when one parent goes off to work and the other parent stays at home,’ Laura says. ‘The children are with mum and dad more or less an equal amount of hours and it is also good for them because the “family rules” are kept much better than with a nanny.’ Another option is to go into business with friends who are in the same situation as you. This model has been especially successful for Natalie Massenet, who set up her online designer fashion business, Net-a-Porter, with three friends, whilst pregnant with her second child in 2000 and has just sold her share in the company for an estimated £50 million. There is now even a term to describe stay-at-home mothers who set up their own businesses: ‘Prommies’ –

professional mothers. However some women who adopt “cupcake careers” are now facing criticism for their airhead activities. Most notably, the women who have, quite literally, set up businesses selling sickly-sweet, 50s style cupcakes and play right into the hands of the mostly-outdated stereotype of the housewife. But what about the dads? Our society is at a place now that, even if the women of our generation wanted to return to the home full-time, they might not be able to rely on their partners to support them; as most contemporary households rely on at least two incomes. And frankly, why should men have to support their wives, just because they have had a change of heart? Many fathers wish to stay at home too and this can be a very viable option. Tom, from West London, was a house-husband from September 2006 until July 2008 and found that he could juggle childcare with some part-time business projects. ‘I really enjoyed it because I had a very happy equilibrium which meant I had rewarding work projects and got to be at home in time to do the school run,’ he says. ‘Having an insight into my sons’ world was good fun. I think, amongst men, there is now a greater acknowledgement that they have an emotional role within the family as a parent rather than just being a breadwinner.’ Tom argues that in some circumstances, it is more financially viable for one parent to stay at home. ‘The cost of childcare means that there is a tipping point where, unless the second salary is above a certain point, there is no economic gain to going to work,’ he says. ‘It shouldn’t be all about economics; it should be about life choices. Fair choices. But if women’s salaries are lower [than men’s], the benefit of them going to work is lower.’ This issue may seem prehistoric to our generation, who have grown up seeing women as just as much of a significant part of the national workforce as men. However gender-related salary inequalities are still a problem in this country, although hopefully one which will diminish under a new, younger government. Until they catch up we, and our partners, can use our intelligence to make plans that ensure that we can have it all – but that we can have it on our terms. The three main things that the women we spoke to said they wanted to achieve before having children were to travel, develop a stable and successful career and to have financial security, so that they can support their children properly and move away from city life if necessary. In order to achieve these goals, we must make our important decisions with them in mind. This may mean having to work incredibly hard during our twenties, to allow for the extra time it generally takes to get stable work in the creative industries. It may also be advisable to fulfil our travel desires early on, before we get stuck in the rat race.

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When it does come to starting our own families (that is, assuming we have found someone we want to start one with by then) we can be equally cunning. No, I am not going to suggest running off to conceive four kids in order to prompt another baby boom - even if it would mean more people to pay national taxes and support us when we are old and grey. We know from environmental experts that the world is overpopulated already. Rather, we can try to time starting a family around our work commitments. Likewise we can be clever about when we choose to tell our boss about the pregnancy, and bear in mind when the next bonuses are due to come in or large commission payments. This can prevent the bump from pushing you out of the boardroom or away from the dream career that you have worked so hard to achieve. We are the first generation that can really Jordan Wallace, 24, fell pregnant with her daughter choose how we wish to navigate our lives and, with more Jada when she was 17 years old. At the end of 2008 financial independence as individuals than our she had a son, Jaxson, and five months later gradugrandparents enjoyed, we are able to make the best ated from the London College of Fashion with a First choices for ourselves and our families, such as not being Class Honours Degree. She now works as an account forced to stay in unhappy marriages. This is one of the executive for Brando, an experiential PR company benefits of working as much as your partner, although based in London. She lives in Croydon with her fithere are also benefits to one partner staying at home. ancé Darren and their two children. These include less chores for you both to do at the end of a long working day, leaving more time for you to enjoy a happy relationship. Whatever you choose to do I always wanted to have children and, though I didn’t really and whichever direction you take (who can really predict plan Jada, the advantage is that I’m not worrying about anything precisely at this stage), know that you do have having them in later life. The disadvantages are the fact that a choice. you can’t just get up and go, so if I had an opportunity to work We are a new generation; Generation WHY and in LA I probably wouldn’t take it. Also I think networking is we must ask questions about the past, in order to build a really important and, whilst I do try and do as much as I can, better society for our future. obviously there’s a limit.

How To Have It All.

I think it’s very important to have a social life when you have children, or else you feel like you’ve lost you’re identity. I try to make time to go out at least once a week and I write a blog (berefined.tumblr.com) to keep my mind active. Fashion is another big outlet for me. I love to dress up because I think my style is different to my lifestyle. There was never a question of if I was going to study. My family are all well educated, so I have always understood how important having a good education is. In the final year of my degree I had many sleepless nights. There were so many times I thought I was going to fail or drop out you wouldn’t believe. But somehow I got through it, mainly because I have an amazing partner who is my rock. Darren just lets me get on with it.

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When I fell pregnant with Jaxson everyone thought it would be better for me to defer university for a year, and I was really considering it, but two things stopped me. Firstly, I got offered a job that I couldn’t take and it made me think ‘how many other opportunities might I miss if I tie myself into another year of university.’ Secondly, my mum said to me that we never know where we might be in the future or if it was going to be any easier. It may be harder, because I may have become too attached to the baby or lost interest in university, so I decided that I was just going to face it and see what happened. I have this strange determination and stamina, so if I really want to achieve something I will and I won’t let anything get in my way. When I had Jaxson, for the first few weeks it was amazing being at home with him. But after four weeks I was ready to get back to university and complete my degree. When I got my job working at Brando, only two months after I left university, I hated it, as I didn’t want to start working full time yet. But now I am very grateful. I found the working hours very hard. Sometimes I would work from 8 am to 8 pm and when I got home I’d cry because the children were asleep already. I’m still trying to find that perfect balance but I do work really hard by nature so it’s difficult for me to go home if I know I still have deadlines to meet. I have always wanted to work in the creative industries and I love that work gives me a chance to be independent, however I would like to work less hours. I want my children to be proud of me and I hope they know that everything I have achieved and hope to continue achieving is for them.

My hopes for the future are for Darren and I to continue to have successful careers, hopefully have a lovely house in Richmond one day and for my two beautiful children to be confident, outgoing and proud of who they are. I have always believed that you can do, achieve or be whatever you want in life and, if they take anything from me, then I hope it’s that.

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The Death of British Tourism. Our generation has grown up in an era of cheap travel, with a weekend in Europe only a budget airline away. For our parents however, childhood holidays were spent within the British Isles and the contemporary change in travel habits is a noose to our national tourist industry. Words - Georgina-Kate Adams

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Pleasure Island, in Liverpool International Festival Park. Opened 1986. Closed 1997. Photograph by Andrew Meadows, February 2010

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Victoria Baths, Manchester. Opened 1906. Closed March 1993. Photograph by Laura Hughes, June 2009 (flickr.com/8333696)

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Aylesbury Odeon. Opened June 1936 (with ‘Dimples’). Closed October 1999 (with ‘Runaway Bride’) Photograph by Harry Seager, September 2009 (flickr.com/landie_man)

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Harlow Town Swimming Pool. Opened 1961. Closed September 2007. Photograph by Adam Slater, April 2009 (flickr.com/slaterspeed)

All images sourced from 28dayslater.co.uk – a community for those interested in urban exploration. Urban exploration (or ‘Urbexing’) is the act of exploring urban areas that are generally off ltimits to normal civilians, often for the pursuit of photography. MAKE A stand There 57 are estimated to be 93 urbexing groups worldwide, with approximately six in the UK. With thanks to Bradley.L.Garrett (bradleygarrett.com)

Birnbeck Pier. Opened June 1867. Closed 1994. Photograph by Glenn Bruce, June 2007 (broken-links.co.uk) Birnbeck Pier was purchased by a Manchester-based company in 2006, who plan to regenerate the pier and the small off-shore island it connects to.

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The Curious Case Of The Graduate And The Right Time.

Seeking work in the creative industries can seem as complicated as a detective inquiry. You have to think outside box, the path is not always straight and it can often feel like you are going around in circles. Georgina-Kate Adams reveals how to solve the mystery.

A few months ago I jumped on to a tube with an old friend. She had a final interview for a job at Apple the next day, which 10,000 people had applied for. I was in awe of her. Yet, as she settled in a seat, her shoulders fell in a defeatist slump. ‘Job-hunting has been the most difficult experience of my life,’ she announced. I was shocked, myself in the final stages of a stressful degree, which she had conquered only a few months earlier. A degree from which she had graduated with a First Class Honours, won the prize for the best final project of the year group and left with meetings with investors penned in her diary. Surely that was the difficult bit, wasn’t it? A couple of weeks earlier another friend, barely into the second year of her BA Womenswear degree and still several years from the dreaded job hunt, had fluttered anxiously over coffee, ‘I don’t understand how someone like me is supposed to get a job these days. I’m really apprehensive about how the grown up world is supposed to work.’ She was coming to the realisation, she said, that in this day and age

Only 10% of jobs in the creative industries are advertised. Seeking out the other 90% requires cunning and determination. there is no fairytale ending waiting for us on graduation day. ‘I’ll probably have to just move back in with my parents, in which case I might as well have not done a degree at all,’ she said. Seeking work in the creative industries has never been a simple process but the fact is that the recession has made matters all the more complicated. We try to block our ears as the latest national unemployment figures roll in (currently 2.51 million, sorry) but it is a reality that we have to confront. The temptation is to take any position that comes along – we have all heard about the minimumwage bar job which received over 10,000 applicants last year – but once you are in with a company it can often be hard to get out again. ‘Beware the Office Angels trap,’ I recall my tutor advising me. It is important to remember that only 10% of jobs in the creative industries are publicly advertised, so seeking out the other 90% requires cunning and determination. The careers centre at the University of the

Arts London, Creative Careers, recommends that graduates decide who they would like to work for and send those companies speculative CVs, showcasing their talents: whether they know there is a position available or not. Then, of course, you need to call and chase up your application, sometimes incessantly - although you need to find the line between appearing driven and annoying. The latter will occur if you never have anything new to say, so fill your free time creatively, then send prospective employers an invitation to your latest exhibition, a link to your new website or even a newsletter of your most recent activities.

A quarter of first positions are obtained through fourth contacts. It may not always be about who you know but who they know. You should also work on tailoring your CV so that it is particularly relevant for the industry you want to work in. Applicants for marketing positions have been known to construct all kinds of 3D CVs to show off their talents, including pot plants with their qualifications integrated into them. Other enthusiastic graduates have handed their CVs out in the street, taken to the fourth plinth with a super-sized curriculam vitae (cleverly attracting media attention) and one girl sent an anonymous Kitkat chocolate bar to a potential employer with a website link stuck to it. When the curious recipient visited the website, the girl appeared on screen wearing a billboard reading ‘You’ve had your break, now let me have mine.’ Another graduate painted a hopscotch game on the street outside the office he wanted to work at and convinced employees to play it before entering the building. He filmed the day’s proceedings and streamed it to a blog, the link for which employees, peering down from the windows above, read off the pavement and visited.

One of the hopscotchers was the CEO of the company. These ideas may sound more jovial than constructive but MAKE A stand 59 they show determination, creativity and that you can think outside the box. They also help to get you noticed, which in turn expands your network of contacts. Expanding this network is the single most important thing you can do to benefit your career as, according to Creative Careers, 80% of graduates first work opportunity comes through their contacts. Additionally, a quarter of first positions are obtained through fourth contacts; so it may not always be about who you know but who they know and so on. Keeping business cards with you at all times is essential – you never know who you might meet, or where – and it may be worth sending your CV to a variety of departments in a company, not just the one you wish to work in. If somebody likes it and passes it on to the relevant person, their recommendation may be more highly regarded than your application on its own. It’s all about standing out from the crowd. Of course the best way to expand your network of contacts and build up respect with a company, is to do work experience for them. This can be an expensive option, especially if you have student debts hanging over your head and the position is unpaid, but it has become an essential component of the modern CV. In order to ensure you get the best experience, read reviews of the companies you are interested in before you apply, by visiting ratemyplacement.com. Each review is written by a former intern, so it is a good way of finding out what opportunities may be available. Once you start your placement you should have one priority - to become irreplaceable and really dig your heels in. Ed Caesar recently wrote in The Times that to succeed as a journalist today you’ll need, ‘luck, flair, an alternative source of income, endless patience, an optimistic disposition, sharp elbows and a place to stay in London. But the essential quality for success now is surely tenacity,’ and the same goes for other creative disciplines. If you don’t want to play the corporate game, you can always take matters into your own hands. Many companies have laid off considerable numbers of staff in the last 12 months and are commissioning individual projects as and when they need them instead. If you can provide useful services on a freelance basis, you may be able to affiliate yourself with a respectable company without obtaining a permanent position. Alternatively, you can set up your own venture. The internet has made it easy to get started in business with minimal outgoings and this may be another way to prove your talents and get noticed by potential employers later on. It is still possible to achieve your dream career in 2010, so know what you want and keep your eyes on the prize. The road may not be straight and you may have to stamp your own path to get there, but it will happen, at the right time.

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Every issue we give you an insight into a lesser-known creative discipline. This month Sue Prichard, curator of ‘Quilts 1700-2010’ at the V&A, enlightens us about the world of curation and explains how she put this major exhibition together. Interview – Georgina-Kate Adams. My starting point with this exhibition was always to focus on the V&A’s extraordinary collection of historic quilts. I love working with the collection. When I was a little girl my grandmother used to bring me to the V&A and I always wanted to know what went on behind the door marked ‘Private - Staff Only’. Thirty years later I knew the museum was about to embark on an ambitious programme of refurbishment and the opportunity to work with an internationally renowned collection of textiles and fashion was too good to miss! I joined the V&A in 2001, as Operations Manager in Textiles and Fashion, having previously worked for the Tate. I expanded my role to Curator of Contemporary Textiles a year later. Having worked on a series of contemporary textile displays, I had mulled over the idea of working with some contemporary quilters. Then the museum’s Head of Exhibitions returned from the States, where she had seen a quilt exhibition and suggested I put forward a proposal for a major exhibition. I put forward my proposal to the Public Programme Group in December 2004, so it was 6 long years of blood, sweat and quite a few tears until I saw the exhibition’s doors open to the public. The challenge was to create an exhibition which would appeal to as wide an audience as possible. I wanted to tell a very British story, as lots of people know about American quilts already. For this reason we have called ‘Quilts 1700-2010’ a discovery exhibition. It provides an opportunity to discover more about our own collective heritage. As objects of domestic production, quilts are incredibly difficult to research. I spent a lot of time working with colleagues in regional museums across

the country, but in order to secure the loan of the HMS Rajah Quilt, I had to travel to Canberra, Australia. The V&A has a fantastic exhibitions team, who work hard to secure exhibition loans. However the curator usually makes the first approach and I find it helps enormously if you can actually visit the lender and have the opportunity to talk about the vision of the exhibition. Once the objects had been selected, we created a very specific brief for 3D, 2D and lighting designers. I worked closed with colleagues across the Museum in ensuring that the vision of the exhibition was communicated as consistently and as widely as possible. The V&A has a very strong brand so it is important that the exhibition is embraced by its own individuality. I think the choice of Natasha Kerr’s ‘At the End of the Day’ for the publicity reflects the strap line of the exhibition ‘Hidden Histories, Untold Stories’ really well. A major exhibition involves all departments across the Museum but more specifically we have a core curatorial team of myself, my colleague, Claire Smith, and a fantastic exhibitions co-ordinator who pulls together the project team. Curating an exhibition is a bit like having a baby – of course you love it whatever the outcome - however I am particularly pleased with the way in which Quilts has been received in the press. Textile exhibitions tend to be marginalised for whatever reason so to get five star reviews has been fantastic. I finally say goodbye to Quilts on 4th July, when we close the doors to the public for the last time. However, we are hoping to tour the exhibition internationally so, who knows, perhaps I will get the opportunity to open ‘Quilts 1700-2010’ one more time.

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This Will Be The Best Decade Of Your Life.

2010 marks the birth of a new decade and it is one which will be rich in opportunities for our generation. At the end of it our lives will be utterly transformed. Georgina-Kate Adams explains how. So much can change in a decade. The noughties may seem like only a few months ago – well they were – but we are perhaps yet to appreciate just what an evolution this country has gone through since the millennium festivities. A recent programme on BBC Four, ‘Electric Dreams’, took a family of six back to 1970, transforming their appearances and, more significantly, their home, even reducing the proportions of their kitchen to a more realistic size for the era. Most importantly though, the family’s home was kitted out with only the gadgets that were available in 1970 and every day for 30 days, as one year went by on their calendar, deliveries would turn up at the front door, in accordance with the new innovations of that era. Whilst for the children many of the devices may have seemed batty, for their technology-mad father, Adam, they provided a shocking insight into just how much appliances had changed since his youth and the impact it has had on the structure of family life, as well as how dependent we have become on our modern gadgets. If you think nothing really changes in a decade, dig out a digital camera from the early noughties and see what you think of the picture resolution. As we begin to embark on a new decade, the hideously nicknamed “teenies”, it is exciting to look forward and consider what our world will be like in 2020. If you are in your mid-twenties now then this is likely to be the greatest era of evolution in your life. By your mid-thirties you may well have achieved career

success, perhaps even set up your own business. You may have children, got married and own your first home. This decade of our lives will not be the same as it was for our parents, as with medical breakthroughs and technological innovations, such as the iPad, just breaking through, our whole perception and navigation of the world looks set to become transformed very quickly. If Neil Boorman, author of It’s All Their Fault, is to be believed these will be the “terrible teenies”, as we will be forced to pay higher taxes, work longer hours, pay extortionate amounts of money for our children’s education and generally clear up the mess of the overindulgent baby-boomer generation. But, he suggests, the best thing we can do to tackle this problem is to elect political leaders who are not baby-boomers (i.e. Under the age of 46 or over the age of 65) who will rule with more responsibility. So, with the new dream team of Cameron and Clegg (both 43) running our country, we may have been saved just in the nick of time and finally have a chance to make a fresh start. But what impact can we expect this newfangled government to have on the new adventure we will be embarking upon this decade? In his first speech to the press, upon taking office on 11th May, David Cameron promised to prioritise, ‘rebuilding family, rebuilding community, above all, rebuilding responsibility in our country.’ The two leaders have already agreed to relieve the tax burden of those people on lower incomes, which will be a help to many who work in the creative industries. Additionally, Cameron is vying to push through legislation which would offer a tax cut to married couples, as encouragement for families to stay together. Recent developments in science should also offer greater hope when we consider setting up our own families. There have been many innovations that have proven

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If predictions are to be believed, in five to ten years time, a significant proportion of our society will If you are in your mid-twenties be using the iPad to read newspapers, magazines and now then this is likely to be books, in lieu of their printed counterpart. The impact on our society could be far reaching and it has been alluded the greatest era of to that the iPad could become a key learning resource for students, to relieve them of lugging around heavy research evolution in books. However this is likely to cause a downturn in the demand your life. for libraries – both public and private. The digital pad is already being celebrated as a promising resource for pre-school children too. This is partly because it is so intuitive to use, meaning that even a life-saving for pre-mature babies toddler can navigate it. Also, as a tactile device it is extremely and other infant conditions in recent responsive and - as anyone who has seen the YouTube videos will know years and these will only increase over – it even responds to a cat’s paw. the next decade. Less than three years since its launch, Apple’s last great Innovations in science may also affect innovation, the iPhone, has been widely adopted across much of the our fashion tastes and how we interact with developed world. However, following its release in America in late the clothes that we wear. In 2008, scientists at March, the iPad sold a million devices in around half the time that it took Monash University in Australia announced details the iPhone to achieve the same feat; a telling sign of what may be to of a process they were developing that could lead come for this new innovation. As well as hosting print media, the device to self-cleaning garments. The process, which also provides full internet access and a large range of gaming works by coating textile fibres with titanium opportunities on a good-sized screen. This means that, potentially, dioxide nanocrystals, automatically removes dirt, other, less-versatile devices such as netbooks and the Nintendo DS food and even red wine stains when exposed to could become redundant and fall off the market. Depending on the sunlight. expansion of the device, by 2020 the iPad could be our camera, The process is designed to tackle the photo-album, book, newspaper, magazine, games console, movieamount of energy that is used by washing player, learning resource and laptop. Apple have already released a machines. For, despite the many carbon miles keyboard for the machine, which comes with a dock so that it can sit our clothes often rack up in their production, in vertically, like a normal computer screen. 2004, a Life Cycle Assessment study revealed that This new technology will inevitably have an effect on our social over 75% of a garment’s energy use is in fact in its relationships but these may be both good and bad. If Apple responds to laundering. the demand for the next generation iPad to include a pinhole camera, We are in a unique position in 2010 as, then the device could become an enjoyable tool to host large-screen following decades of intense innovations, we can video chats with your contacts, even when you are on the go or in now start to properly integrate the best of these different countries. This could have a positive impact on family life, as ideas into our daily life and really bring about a regular, interactive conversations with grandparents and godparents change in our lifestyle and the functioning of our would become the norm. It could potentially be very useful for society. This is a position which Britain has, video-conferencing as well. arguably, not been in since the early 1960s. However, one of the starkest results of the BBC’s ‘Electric Particularly significant will be the impact Dreams’ experiment was that as more technology became available and that digital devices will have on our publishing as the family became more reliant on it, they started spending considerindustry. The recession has orchestrated a ably less time physically in each other’s company. Whereas in the 1970s dramatic cull of our print media and it is clear they curled up in front of one black and white television together every that in order to rebuild it to become more evening, by the end of the experiment all of the family locked themsustainable, something has to change. It must selves in their own bedrooms, where they each had their own colour become more resilient. televisions, their own gaming devices and their own mobile phones. The According to the Office for National children did benefit from having the internet to help them with their Statistics, 70% of British households had access to homework, but it is wise to take these innovations with a pinch of salt. the internet in 2009, making online an extremely Ultimately, the only thing that is really constant in the world is viable alternative to print for cost-cutting change, and this is certainly true when it comes to technology. So, for publications who wish to continue to now, enjoy your iPhone, laptop and your iPad, if you are lucky enough communicate with a widely-spread audience. to have one, but look forward to the new world and the However the device that is likely to have the most unimaginable things that it has in store for us. We are entering a fresh significant impact on our media industry this decade of incredible opportunities and there is plenty to be excited decade is the Apple iPad. about – personally, politically and practically.

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Keep Calm & Carry On.

James Lovelock is the ageing professor who is behind some of the most controversial theories in the environmental debate. Our science and technology columnist, Ed Harrison, introduces us to his ideas and explains why we shouldn’t lament climate change. Ever heard of James Lovelock? Chances are, you haven’t. But he’s one of the most respected scientists in the world and is best known for his work on the environment and his ‘Gaia Hypothesis’. This hypothesis was revolutionary at the time of conception, claiming the earth was actually a self-regulating entity; a huge homeostatic super organism, which naturally compensates for any fluctuations, one way or the other, from what it sees as a balanced ecosystem. For example, the amount of energy the sun provides us with has increased by about 25% to 30% since life on Earth began. However the surface temperature of the planet has remained relatively constant and allowed life to flourish on our tiny planet. This is just one of the arguments Lovelock put forward to prove his theory. Whilst Lovelock was one of the pioneers of the environmental movement, he genuinely believes that, “We can’t save the planet.” He thinks we are past the point of no return in regards to stopping climate change, or at least mitigating it. The earth has regulated itself and its climate since its creation (however you believe that was) and it only reacts to what we do to try and maintain some sort of equilibrium. We shouldn’t feel guilty though, says Lovelock, “We didn’t deliberately set out to heat the world.” We shouldn’t worry about the earth either. It will save itself, just like it has done for millions of years. It will survive with or without our presence. We just have to focus on saving ourselves. Without meaning to sound too depressing, Lovelock admits that the world population will have to dramatically reduce, to about 1 billion, in order for the world to sustain all our needs for resources. In particular, food and the need for land to live on. He predicts that nature will try and reduce the world population itself, through a series of droughts and natural disasters; most likely affecting the world’s most overpopulated countries, like China and India. Whilst Lovelock, who is now 90 years old, says it’s too late to stop climate change, that doesn’t mean we have to stop all the good things we’ve been doing over the last few years. Reducing emissions reduces the amount of pollution in

the air and the move away from fossil fuels is a change we will have to make at some stage anyway. It makes perfect economic sense to avoid non-renewables, as petrol and electricity prices continue to increase. Lovelock believes the monetary value of goods and services will be the greatest motivating factor for us to change our behaviour. By making the greener alternative cheaper than its polluting counterpart, the public will be forced to change the way they consume. This will in turn lessen their impact on the environment. Ever heard of a climate scientist who thinks there’s nothing we can do to stop climate change? Chances are, you haven’t. But now you have! Professor James Lovelock – the straight-talking scientist who doesn’t beat around the bush. (You probably wont have heard of one of those either). So, stop worrying about climate change and the end of the world and start enjoying life a little more. Just remember to recycle.

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The Sewing Chap.

John-Paul Flintoff was a normal 21st century gent, dazzled by technology and enjoying the perks of a job in the media. That is, until he embarked on a journey of self-discovery and got caught in the cobwebs of climate change and religion. His solution was to weave those webs - into teddy bears, hats and even y-fronts - until he had a completely self-sufficient wardrobe. He wrote a book about his journey, which is published in July. Here he gives us an introduction to his story.

If you saw me now, you would never guess that my entire outfit – right down to my underpants – is homemade. You wouldn’t guess because I try to make my homemade clothes look as good as the ones in the shops. If I didn’t, my wife might not let me out of the house in them. But there’s no point making clothes yourself and keeping it secret. Not if you want the whole world to start doing the same thing. Not if you believe, as I do, that homemade, locally sourced clothes are as important to the survival of our species as homegrown, locally sourced food; and similarly good for your wallet, at a time when the economy is in collapse. Not if you believe that the act of making clothes is its own reward – an outlet for creativity and empowerment, which used to be enjoyed by every person on the planet.

It’s hard to summarise how I became a missionary for homemade clothes. But it started eight years ago, when I was sent by the newspaper I worked for to New York and got myself measured up for a fitted shirt by lasers. The shirt itself fitted beautifully, like a second skin. It never occurred to me at the time that it might have been made up in a sweatshop, but I later met people who had worked in sweatshops – right there in New York City - and that set me thinking. Back in London, after paying a local seamstress £5 to fit a piece of elastic to my toddler daughter’s ballet shoes, I started to wonder if I shouldn’t revive some of the sewing skills I learned at school, and save cash. (My wife was expensively educated and has no practical skills, but I went to a comprehensive, so I’m OK.) Then I learned that cheap oil will one day – perhaps soon - cease to be available. That, and climate change, will put an end to our reliance on clothing made by people far away, using petroleum-

The idea that time is money is appalling. If every minute of our lives had a monetary value, how could we justify going to bed? based fibres such as nylon and polyester, or natural fibres that are grown with huge chemical inputs, such as cotton. When climate change and peak oil really kick in, we may find ourselves in roughly the same position as the German army of the First World War, which faced going into battle naked because Britain controlled 90% of world cotton. What will we wear? Having no alternative, like the Germans, we’ll have to revert to native fibres such as wool, linen (from flax), hemp and nettle. That’s right, Kaiser Wilhelm’s army was substantially clothed in nettle. And the Germans

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When climate change and peak oil really kick in, what will we wear? continued to develop nettlebased clothing till the end of the Second World War, when cheap synthetics flooded the market. In preparation for the coming climate and energy collapse, and in the hope that I might avoid exploiting sweatshops, I have spent the last two years making my own clothes. I started by buying a sewing machine on ebay. (It’s treadle powered, so will continue to work when the lights go out.) I modified an old baggy shirt. Then, with help from a local seamstress and my wife’s great aunt Peggy, copied the fitted shirt from New York on to a paper pattern and cut fabric to make another just like it. It took about two days work. I made jeans; the first with too-stiff fabric that draped like cardboard; then softer pairs, using a pattern copied from awfully pricey designer jeans. Nobody was exploited in the making of them, and I wear them with pride. People tell me I should do something more lucrative and pay somebody else to make clothes for me. But that’s how we got into this problem, and the idea that time is money is appalling. If every minute

of our lives had a monetary value, how could we justify watching TV, or staring out of the window, or even going to bed? We should be earning cash instead. Anyway, sewing a pair of jeans - or crocheting a family of bears for my small daughter - is more fun. Does it also help to resolve wider problems? I think it does. Somebody recently told me I should stop bothering to do the things I was doing and lobby the government instead. Making the odd shirt, or pair of jeans, she indicated, was neither here nor there. But if we do nothing we are really in trouble, whereas we might just make a difference by taking action. If your car is heading for a cliff, you don’t say there’s no point applying the brake - far less lobby the government to tell you to apply it. Like many people, this woman was paralysed by the scale of the problems facing us, combined with the urgency. She should relax: we can’t do everything at once. We can make a great deal of change incrementally. And there’s nothing we can do, except as individuals.

Sew Your Own is published by Profile in July, £7.95. Read a sneak preview overleaf.

SEW YOUR OWN BEING one man’s attempt to survive economic meltdown, tackle climate change, and find the meaning of life – by making his own clothes

By John-Paul Flintoff INCLUDING: why his wife won’t always allow him to wear his home-made clothes in PUBLIC

AND: his journey, as a lifelong unbeliever, through various Christian churches, in a search for the right fit for his soul, and encounters with Buddhists

PLUS: a similar journey across the political spectrum, leading him to disillusionment, and finally to a determination to do whatever needs doing himself, of which CLOTHES-MAKING is only one example, the others including tackling terrorism, economic revival through barter, restorative justice, and managing pest control

FEATURING: film stars RICHARD GERE and Daryl Hannah, politicians and campaigners, criminals and priests, the Victorian essayist John Ruskin, injured New York-based sweatshop operatives, British TV’s celebrated petrol-head JEREMY CLARKSON and the anti-road protestor who stuck a pie in his face, members of the ancient guild of spinners, dyers and weavers, the Quaker philanthropist Elizabeth Fry, call-centre workers in Bangalore, the author’s wife’s 99-yearold great aunt Peggy Parker, a “naked yoga” teacher, Prince Charles’s own Savile Row tailor, a “personal shopper”, the German army of the First World War, MAHATMA GANDHI, the Buddha, Jesus Christ and Vivienne Westwood.

BAND stand.

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Fashion: Film’s Dying Protagonist?

Fashion and film have always enjoyed a heady courtship, influencing each other with mutual affection. But now, one New York Times columnist claims, the honeymoon period is over. Selene Pearson investigates.

Once upon a time, style from the silver screen the costumes, as seen on screen, to those of set our hearts alight. Girls would rush to recthe public that were keen to imitate F. Scott reate Grace’s Hitchcock blonde or Audrey’s Fitzgerald’s scenes of 1920s excess. gamine glamour. Guys would yearn to be The Fast forward to more than 30 years later real Wild One (1953), donning leather motorcycle time, and ten years later in sartorial style to jackets and hoping and praying for some of Joe Wright’s Atonement (2007) and the now that Brando magic. Film has always enjoyed a iconic image of Keira Knightley in her vivid heady influence over fashion. green 1930s gown. Celebrated in fashion But are times changing? Ruth La Ferla tomes before the film’s release date, the dress certainly seems to think so, having spent a good became an obsession with search engines deal of New York Times column inches assurrevealing countless online stores featuring us of the waning power of film over fashion. ing almost exact replicas. So there we have Recruiting such luminaries as Andre Leon Tal it, the New York Times is wrong. Except, the ley of American Vogue to fight in her corner, costume designer responsible for said gown she acknowledges the past influence of films tends to agree with La Ferla. Rats. such as Annie Hall (1977) on our real-life ward Jacqueline Durran has garnered an robes, but argues that now with the InterAcademy Award nomination for her work on net, blogs, a saturated magazine market and the British classics Atonement and Pride and gossip rags we’re too distracted to be seduced Prejudice (2005) and is currently working on by film fashion. another period film, Wuthering Heights, due Not to contradict the New York Times, to hit cinemas in 2011. When asked if films surely we’d be gaga to even contemplate such influence mainstream fashion she wrinkles a thing, but there are a few quibbles to iron her nose, ‘I don’t think they really do, or not out before we pledge our allegiance to La that simply. There are times when they might Ferla and her theories. She offered The Great but the relationship is more two-ways,’ she Gatsby (1974) as her vintage example, her key muses. ‘A film will often appear at a time illustration of the days when the partnership when they are fashionable, when things are between film and fashion was more clear-cut. already in the ether. Once they appear they Ralph Lauren created the costumes for the might encourage a trend that was already film, worn by Robert Redford and Mia Farrow bubbling under the surface.’ But surely, we in true American preppy style, and later sold cry, that emerald green gown gives the game

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The relationship between film and fashion is like an unconventional marriage, twisting and changing at every turn. away – that particular shade of green we know it. The parallels are there by Clash of the Titans dominated catwalks the following for all to see, a palette of blues (2010), Prince of Persia season. ‘Well, obviously there are films and greens, strange otherworldly (2010) and Agora (2010) that had a direct influence such as Out tribes. Evidently both McQueen and in swift succession – it of Africa [1985] or Dr Zhivago [1965] Cameron were dreaming of distant seems ancient, mythical but the green dress I designed for lands populated by lithe and lofty lands are the latest Atonement…that particular green was beings – whether model or N’avi. And cultural influence. already about to become fashionable, let’s not even talk about the ‘Alice’ Whilst we’re so to our [the production team’s] eyes fever that stormed the fashion world not quite conceding to it may have looked more alluring. We as early as four seasons before the the New York Times, it may have chosen that green because film’s release, when British milliner seems the relationship it was already under the surface. Also Stephen Jones crowned Louis between film and fashion Keira looked fantastic in that dress so Vuitton’s models with rabbit ears. is like an unconventional it may not have been the dress selling Durran reiterates her marriage, twisting and itself but her looking wonderful that point by saying, ‘you don’t set changing at every turn. It influenced people’s fantasies.’ out to try to create fashion, it’s in is at times symbiotic but Way to throw us just a litthe zeitgeist,’ an opinion surely often unconnected. Pertle off course Jacqueline, could fashion validated by the trend forecasters haps our theory has been actually be influencing film? The late, who work years in advance quashed. But as any good great Alexander McQueen’s Spring/ to pinpoint what exactly will scientist or mathematiSummer 2010 collection, ‘Plato’s Atbe infiltrating culture in the cian knows, when thwartlantis’, the last during his lifetime, feafuture. A trend exists in the ed it’s back to the drawing tured models stalking the catwalk as alatmosphere; stealthily awaiting to board and a new idea. For ien beings, clad in futuristic tribal wear explode when enough influential us, it’s to the small screen and heels that transformed human people release it. Aside from strange we go, where surely the feet into something altogether more aliens, the Spring/Summer 2010 influence of Mad Men extraterrestrial. McQueen declared, catwalk shows also saw Romanesque (2007) and Gossip Girl ‘this is not sci-fi, this is evolution.’ and Grecian draping by designers (2007) on fashion is Three months later James Camsuch as Lanvin, Burberry Prorsum undeniable… right? eron’s Avatar (2009) hit 3D screens and Donna Karan, which sure everywhere and subverted cinema, as enough are to be hotly followed

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One Man & His Guitar.

JonPaul Palombo may be the next great British artist of our generation. From West Yorkshire roots, he is now spreading his addictive lyrical fantasies across the capital and with a national tour due to start in August, it won’t be long until the whole country is infected. Words - Georgina-Kate Adama It’s 11.40 pm on a Saturday night and somewhere, in a Camden pub, a star is about to be born. JonPaul Palombo stands out against his red velvet stage in a plain white t-shirt. His simple attire ensures nothing distracts from his lyrics. He even takes off his shoes and stands before his audience in only his cotton socks. Under a blue light he is transformed into a ‘N’avi’, standing straight up and confident. Perhaps his Avatar is his music as within seconds a surge of musical electricity is rippling through the floorboards, leaving every foot tapping to his fresh yet somehow familiar beats. Singer-songwriter Palombo cites his biggest influences as the jazz greats, Frank Sinatra and Bobby Darin, however he also recalls his father’s love of Elvis concerts – ‘I remember playing at the bottom of our street when I was like five and still hearing it really loud.’ His childhood home in West Yorkshire was additionally filled with the ballads of Celine Dion, and although he developed his own passion for The Kooks and Maroon 5, his guilty pleasure, he admits, is still Westlife – ‘Don’t tell. But they can sing!’ Perhaps it is this passion for music, in all its forms, that makes Palombo such an accomplished artist. ‘Classical stuff, like Andrea Bocelli, taught me how a song should always be filled with emotion,’ he says. The transition from music lover to music maker was a natural one. ‘I always used to watch people on stage as a kid and be thinking, “I want to do that!” And then I’d be like, “I could do that better!”’ He started singing at the age of 15 and has been playing guitar and piano for the last four years (he is now 24). He dreams of becoming an accomplished player of some more old school instruments too, such as the saxaphone or the harmonica. ‘I bought a harp and its still sat collecting

dust on my shelf. Give me a year,’ he says. A year may be all he needs, for after only 12 months playing the London scene with his band of three friends from music college, he is already preparing to launch his first single, ‘Jimmy’. What’s more, not content with waiting around for the right music folk to find him, he is releasing the single independently, followed by an EP, ‘Singing to the Walls’, which will be a mini-album of six songs. Palombo does not have the cool nonchalance of other inhabitants of this part of town. He is clearly a good lad who wants to get somewhere in life – but he matches this with a chilled out vibe. His performance is never overdone but always deeply felt. This is an artist who is unafraid to hold his eyes closed that little bit too long and really connect with his lyrics. Although it soon grows into another infectious foot-tapper, Palombo starts ‘Can’t Leave You Alone’ slowly, really showcasing his vocal ability and the sentiment of the song. This is a boy who is self-conscious and in love. Likewise, ‘People’ seems to capture a specific moment before slowly intensifying, like a Polaroid photograph blooming into colour. Lyrically brilliant, he takes his time, drawing out a soft ‘ooh’ before surprising the audience with outstandingly powerful vocals, reminiscent of one of his heroes, Jason Mraz. His lyrics are honest, ‘I got nothing from school, cause it’s rubbish and it don’t teach us nothing’ and ultimately ‘People’ is a song to unite the masses. When it escalates into the chorus it becomes deeply inspirational and you feel it rise within your own gut. Even listening to it again on Myspace as I write this, it has the same spine tingling effect. The best thing about JonPaul Palombo is that he is utterly unpretentious. This is a guy you could grow

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up across the street from, who would stand by you as a friend for many years to come. His remarks to his audience are noticeably humble – ‘Cheers guys;’ ‘This is fun!’ And he makes a note of respectfully thanking the bands who played before him. Tall but not lanky, Palombo has a fairly classic skinny-Camden-boy look, with a haircut reminiscent of the early Beatles. As we sit upstairs in The Enterprise pub I wonder if we are witnessing the beginning of something magical, as so many unknowing punters did at The Cavern all those years ago. As he launches into ‘Jimmy’, my wondering becomes a certainty. This is a perfect first single which can’t help but make you smile. Palombo puts aside his guitar for this track leaving him free to hop around and really play with the song, accentuating his Yorkshire accent to add character. His lyrics describe the song’s protagonist in detail, whilst still keeping him intriguingly mysterious and with constant escalations it keeps you hooked. This is one of those pure songs which makes you want to sing along without knowing the words. What’s more, it passes the true test of a good song – I catch myself singing it the next day. Palombo is no idiot. This is exactly what he wants. He himself describes his music as ‘catchy folk pop acoustic songs, with a hook that might not leave you for a few days and an emotion that you can relate to.’ He believes that so long as he continues to write, perform and promote his music and enjoy every minute of it then things will take care of themselves; although he admits that it is a difficult thing to do without money. At the same time though that is also one of the reasons why he loves music – ‘It’s one of the best things in life, and the cheapest! You can write a song and sing for free!’ Ultimately he has world domination in his sights

– ‘Start small, eh?’ – and says, ‘I’d love to walk past the Hammersmith Apollo or the Roundhouse in Camden and see just my name on the bill and the words “SOLD OUT” next to it.’ When asked about his dream collaboration there is no hesitation. ‘Michael Buble, me and Jason Mraz would make me scream like a hyena in the sun!’ Before adding as an afterthought, ‘I guess we could find room for John Mayer too!’ As he launches into his final track, he may not need his idols to make him scream for the grin on his face betrays him. This is a guy who quite simply loves the electricity of performing. And the merit of such an intimate venue is that when he jumps it reverberates through to every member of the audience, making it impossible to not be effected by his music as well. Then suddenly it is all over. But far from rushing off to meet his adoring fans, Palombo immediately starts helping the crew to clear up the stage and within a minute of finishing the best set of the night, he straps his guitar to his back and is ready to go – for a piece of marmite toast and a cuppa, I can’t help imagine, but this is Camden, so maybe a beer is more probable. As he pulls his crumpled Converse trainers back on, I spy him tying the laces properly, in bows – just like a good boy should. JonPaul Palombo’s first single, ‘Jimmy’ is released 6th September 2010 followed by the EP, ‘Singing to the Walls’ on 13th September. Both will be available on iTunes and amazon.co.uk, as well as 500 limited edition hardcopies of both the single and the EP. The UK tour starts in August. For more information visit myspace. com/jonpaulpalombomusic

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stand TOGETHER.

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Every month we will fill this space with the work produced by two people who have met through out networking pages. We will also interview both characters about the collaboration. Next month one of them could be you!

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Inspired Hearts. Forget Lonely Hearts! Want to meet someone new for a creative collaboration? Every month we publish your adverts in the hope of attracting a like-minded soul. See something you like? Simply send an e-mail to network@standfashion.co.uk and weâ&#x20AC;&#x2122;ll hook you up!

Aspiring journalist, 25, likes reading, dresses and Pizza Hut Buffet, seeks partner (age/sex doesnâ&#x20AC;&#x2122;t matter) ASAP for zine-making, mixtape-exchanging and bedroom dancing. Ref: SKRAMYMA Textile print designer seeks womenswear fashion designer for creative collaboration. Looking for someone with a determined yet open-minded approach to design. Ref: RELLIMERIALC WLTM someone with GSOH and similar interests to mine - printmaking, letterpress, HTML, photography, film, observational work, craft - for NSA graphic designing! Ref: MILXELA Stylist seeks designers/design students: I am styling a shoot for Toni&Guy on June 13th, and am looking for clothes and accessories. You will receive full credit for your work. Ref: LAHTEKCAHAJTAK Graduate fashion writer seeks website extraordinare to showcase my talents and fine tune my brand image. Passion for creative experimentation essential. Ref: SMADAKG

Culture Journalist seeks experienced website designer to help design an online portfolio of published work. Must have relevant experience in flash and DreamWeaver. Ref: RONNOCZIL Experienced film maker seeks fashion designers, musicians and artists to collaborate on new projects. I have 2 years experience in filming and have created ads for MTV, GHD and NUS. Must be enthusiastic and passionate about their work. Ref: RONNOCHPESOJ Professional who has recently become freelance seeks graphic designer to help me develop a brand and website for my new consultancy business. Must have a flair for making the formal beautiful and be able to travel outside London for meetings. Ref: SMADALLYREHC

Recent graphics graduate seeks talented digital artists to join new, independent art collective. A passion for your craft is essential and you must be available on a freelance basis. Ref: NEDREEHVC Multimedia designer seeks accomplice to assist with the management of ongoing webbased projects. Must be reliable, efficient and capable of following orders from a distance. Ref: SMADANHOJ

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British Fashion Legend Lulu Guinness. Lulu Guinness, 50, is one of the great figureheads of British fashion. She started her handbag business from her basement in 1989, with no formal design training, and now has shops in New York, Tokyo and London. In 2006 she was presented with an OBE and last year celebrated the 20th anniversary of her company. She lives in West London with her two teenage daughters. Interview: Georgina-Kate Adams

You did a foundation course at the University of Cape Town. What effect did studying abroad have on you outlook? I traveled quite a lot when I was younger because my father was in the Navy, so I have always loved visiting different countries. I think it is good to live or study abroad if you ever get the opportunity because it broadens your horizons. As a designer, I am constantly inspired by new places. You worked in many other arenas before entering handbag design. How has this affected the development of your business? When I first started my handbag business I used to do everything - from designing, to selling, to press. I had to be adaptable and hands on, so it was helpful to have experience in different areas of business. How do you draw inspiration for your collections and when are you at your most creative? I usually have my best ideas when I am in the bath, when I have time to think to myself. I am inspired by everything and anything vintage pieces, markets, travel, museum shops. You’ve said that you never wanted your bags to be worn by ‘pretty girls who did nothing’. Who do you think the Lulu girl is? Someone intelligent, with individual style and a good sense of humour. I am lucky because there are some great girls who wear my bags, like Florence Welch and Thandie Newton. It’s a complement to see them wearing them. Your business is flourishing in the recession. What is it about your designs that you think cheers people up? I think people are moving away from designer ‘it’ bags and looking for something more original, something different. I like to inject humour into my designs. You launched a scholarship at London College of Fashion last year. Is it important to you to support young British talent? It is something that is very important to me because young, British talent is the future of our fashion industry. There are so many gifted students out there and they constantly inspire me with their fashion-forward ideas. I wanted to be able to support them by putting something back into the industry, so I set up the Lulu Guinness Scholarship. What advice would you give to young designers? It is important to get lots of work experience so you know the ins and outs of a fashion business. Financial advice is invaluable. And it is important to listen to those around you who are successful. Who do you regard as a British Fashion Legend? Stephen Jones is someone I admire greatly for his talent and craft.

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