Issue 1 October 2008
SOMETHING
TO BRAG ABOUT creative festival 7-15 november www.ignition.ac.nz
THE CREATIVE METHOD Design graduate Tony Ibbotson
NZIPP awards
major success for photography students
MisteR
a collaboration of fashion school graduates taking on mens fashion in NZ
TWO.
Lauren Mitchell, our darling of the Christchurch jazz scene.
FOUR.
NASDA, the National Acamdemy of Singing and Dramatic art.
SIX.
Overdose on contemporary christchurch fashion.
ELEVEN.
Andhy Blake and his world class Style Christchurch fashion show.
Editor
Martin Trusttum - trusttumm@cpit.ac.nz
Creative Director
Sarah Gray - sarah.graydesign@gmail.com
Graphic Illustration
Sharnay Sherratt - sharns.design@gmail.com
Design Sarah Gray, Sharnay Sherratt BDes, Bachelor of Design
Contributing writers
Sarah Gordon, Amanda Sinclair, Joel Keogh-Cope, Sharnay Sherratt, Dorle Pauli, Sam Blanchard
FIFTEEN.
Christchurch visual artist Lizzy Moyle.
TWENTY.
The Art of Collaboration - Michael Reed.
TWENTY THREE.
Hairdressing Success, Rock ‘n’ Roll reigns supreme.
TWENTY EIGHT.
A day in the life of... CPIT Jazz students.
THIRTY.
On array of broadcasting graduates.
THIRTY TWO.
Emilie Pullar, taking it up a level in Auckland.
THIRTY SIX.
Surreal surroundings, the lifestyle of an animation artist.
CREATIVE FESTIVAL what you need to know
WHEN I WAS A BIT YOUNGER my folks took my sister and me to live in France, where they were determined to send me to school. As a nine year old boy that was kind of interesting and scary all at the same time. What I remember though was getting advice from a grand old dame who lived in the area we settled in, on how to draw attention to myself by teaching me to yell out ‘regardez moi, regardez moi’ – or look at me, look at me because, that was going to become one of my essential social tools! Now I thought that was a little strange because really who wanted to draw attention to themselves. Who wanted to be the guy that demanded everyone’s attention in the playground at break? Basically nobody likes a show-off, even if you had some really cool moves or tricks to impress them with – which I didn’t. That’s what I thought. That’s what I had known growing up in New Zealand. But I discovered that kind of thinking wasn’t the norm in France – not in my school at least. It came as a bit of a shock to realize that in some places the world liked show-offs and liked you even more if you had something to be show-offy about. Things have moved a long way since then here in NZ though I have to say. But at the end of the day it falls on each individual to summon the courage to call out ‘regardez moi’ – look at me. Ignition is part of CPIT’s response to that challenge. Working here over the years has really opened my eyes to the depth of the skills of our students. It’s something that even our own campus isn’t always aware of. We wanted a way of profiling our people and their work that would provide them with a stage on which to shine. Ignition is the idea that binds the creative things we do at CPIT together. So by way of introduction to this, our first Ignition magazine, understand that Ignition isn’t just a magazine: it’s a way of doing things. With Ignition we showcase the work and achievements of students from our Creative Industries Faculty. It represents a range of events throughout the year from fashion shows, plays, and jazz performances to exhibitions and musical theatre. Many of them involve collaboration between schools but on the whole are presented as standalone events. At the end of the year during Cup and Show week, however, the Ignition programme brings all the creative schools together for one huge Creative Festival held mainly at the Christchurch Convention Centre. I hope you enjoy our magazine. If you like what you see, come to our Creative Festival and see the new work from CPIT’s Creative Faculty. Check out our website www.ignition.ac.nz for more details.
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jazz
jazz
Bachelor Degree in Music Certificate in Contemporary
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music
Having spent the last three and a half years at CPIT’s Jazz School studying towards her Bachelor of Music degree, in addition to developing her own record label, performing live and collaborating with industry legends such as Dave Dobbyn... professional musician and vocalist Lauren Mitchell knows what it takes to be successful in New Zealand’s highly competitive music industry. “I am a professional performance musician, record label owner, independent recording artist, and vocal coach. I am a private vocal tutor and also tutor at Rangi Ruru Girls’ School. I also run my own record label primarily for the production and dissemination of my own song-writing material as L.A Mitchell and the Nativa Band. Within this band I am the arranger, producer and manager - I also work in a number of side projects as a keyboardist, vocalist and backing vocalist.” The talented performer has worked alongside reputable musicians including Hideto Kobayshi of Rare Shot Blue, Issac Aseili of Open Souls and Andrew Spraggon of Soularosa to name but a few. As a performer, Lauren is a member of the Christchurch band, Dukes, where she plays key-board and provides backing vocals. Recently, she also
toured with American artist Megan Hickey of the Last Town Chorus in Australia. “In this industry you have to have determination and the discipline to master your craft. You must have a positive attitude, optimism, professionalism and a good work ethic. Be prepared. Do your research. Like any good business it’s about creating good relationships with people, seeking them out and getting to know them and making sure they know who you are. If your work has integrity and is professional it will always speak for itself,” she says. As with other successful students who have nurtured their careers in music through CPIT, Lauren is greatly appreciative of the Jazz School’s commitment to helping students achieve their education and career goals. “The biggest strength of the Jazz School program is its strong focus on performance. The program does produce musicians who are very good at what they do and, although it is hard work, CPIT genuinely cares very much about music and making great musicians.” With future plans to perform and tour overseas, Lauren is also determined to continue developing her career as a recording artist. “I would also like to include other acts on my label and foster and support other musicians and their advancement within the industry.”
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NASDA
Five NASDA performing arts students, including one graduate, are walking on cloud nine this week having just learnt of their success in recent auditions for the Australian production of ‘Buddy.’
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NASDA
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Third year students Laura Bunting, Leroi Kippen, Isla Brentwood, Akina Edmonds and 2007 NASDA graduate James Nation-Ingle have all successfully been cast in the production, with Laura Bunting taking top honours as the lead female, Marla Elena, Buddy Holly’s wife. Auditions for the production were held in the main centres across Australia as well as national auditions in Christchurch and Auckland. Approximately 500 performers auditioned for the production across the Tasman, 30 of which were NASDA students or recent graduates. As a result, the judging panel cast 22 performers, highly praising the talent of those connected with NASDA.
WE CAUGHT UP WITH TWO GRADUATES FROM NASDA TO SEE WHAT THEY’RE UP TO AFTER THEIR TIME AT CPIT
“Not only does this result give NASDA kudos within the Australasian performing arts community, but it also allows prospective students to see the different pathways and opportunities available to them – a break in Australia is a huge thing. It’s what our students dream about,” says NASDA’s course leader for singing programmes, Angela Johnson. “Producers are finally beginning to acknowledge that there is a reason to come to Christchurch for auditions. Our graduates are very much holding their own in a tough and competitive industry. We already have several graduates working in major musicals in Australia and this latest success will add to our profile even more. Not only is it wonderful that the students will be performing in all the major theatres in Australia, but it will also give them an opportunity to be seen by agents and other production companies.” All five performers have accepted one year contracts with the production company and are looking forward to starting their careers in the industry. Laura Bunting, alongside three other lead cast members, attended the media launch for ‘Buddy’ in Sydney last week, and is just beginning to realise the reality of her success and what it means for her future career aspirations. “To be cast as the lead female is a completely surreal feeling, but incredibly exciting because it’s what I’ve been working towards for the past three years. The experience will give me exposure to Australian audiences and, more importantly, agents and other production companies. It’s an amazing opportunity to be mixing and working with other professionals, and to be working professionally so quickly.” The cast will head to the Gold Coast early next year to take part in six weeks of rehearsals at Warner Bros Studios, before opening in Sydney’s prestigious performing arts venue, the Lyric Theatre at Star City Casino on February 3, which, incidentally, also marks the 50th anniversary of Buddy Holly’s death.
Being cast as Marius in the Christ’s College production of Les Miserables was the beginning of Nick Kyle’s passion for theatre and led to his decision to study at the National Academy of Singing and Dramatic Arts (NASDA). “Before studying at NASDA my performance experience was limited to choirs and school productions but I knew NASDA would give me the absolute best training for the career I had chosen. “The single most important thing when learning to act is trusting your tutors and I had the utmost trust in all my tutors and their teaching styles from year one right through. They were incredibly supportive and I wouldn’t be where I am now without them. “The highlight of the programme for me was being cast as Bobby in Urinetown - a satirical comedy set in the future where a 20 year drought has forced a ban on private toilets. I really enjoyed the shows we put on as part of our training because of the friendships made, fun had and above all the chance to perform in front of live audiences.” Since graduating from NASDA, Kyle has been cast in five shows at the Court Theatre ranging from British and New Zealand dramas to kids shows and musicals. “After completing a season of The Producers at the Court Theatre I was offered a position as an intern. Without the training at NASDA I would never have been prepared or able to work professionally in theatre.”
Laura Bunting was born and bred in the little seaside town of Timaru and has been performing now for five years as a solo performer, playing keys and vocals. This has developed to be a one piece act where she performs for many different functions and festivals around the country. She sings a range of styles from 40’s through to 90’s music from favourite artists such as Elton John, Supertramp, Carole King, Sting and a range of others. Laura originally started on the path of Classical Piano gaining distinction in ATCL. She had a love for singing from an early age but didn’t begin any training till a much later stage at the end of high school years. Laura was accepted into a degree studying opera at the age of 18, but soon realised she was much more suited to music theatre. New Zealand’s National Academy of Singing and Dramatic Arts (NASDA) accepted her at very late notice into its course, where her passion for acting, singing and dance began to flourish under the tutors expert guidance. It was this year while playing the fantastic role of Jane, in the NASDA production of The Witches of Eastwick, that Laura realised music theatre was calling and this path was destiny! The Buddy Holly story is a dream come true and, Laura hopes, just the beginning of what is to come!
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fashion
School of Fashion Technology and approximately 60 students involved Design are buzzing with With in this year’s show, PITCH is set to sizzle Students at CPIT’s
excitement this month, as on and off the stage. Students will present they work around the clock more than 100 outfits to a fashion-enthused to perfect their clothing audience eager to be the first to view the collections in preparation collections created by some of Canterbury’s for CPIT’s highly anticipated most talented emerging designers. fashion show, PITCH “For the students, PITCH is not only another
talent
dimension to their education in fashion, but is also the full realisation of their designs - it’s fashion, it needs to be worn and seen to fulfil it’s purpose as a form of expression. For the school, PITCH is a proud moment to display the year of very concentrated hard work, and a chance of industry exposure for our students in a professionally designed
fashion
and choreographed event,” says the head of the Fashion School, Niki Chrisp. PITCH, to be held on Wednesday 12 November at the Christchurch Convention Centre, is a celebration of the design portfolios completed by students in their first, second and third years of study at CPIT’s School of Fashion Technology and Design. Like previous shows, the first and second year students produce their garments to a specific instruction, while third year students have a more open brief, allowing them to present collections that truly illustrate their own concepts of style, their experimentation with fabrics and different textures, and their heightened manufacturing and technical skills. “The third year collections, as always, are really varied. This is the students’ second collection and is a real chance to
experiment with their individual style and illustrate their technical skill. The first and second year work is more directed by the students’ project briefs, but we are always blown away by the myriad of creative interpretations they come up with!” says Niki. PITCH is also a major community attraction, not just because it is part of CPIT’s Creative Festival, but also because it falls during Canterbury’s Cup and Show Week, and is positioned alongside high-profile events such as Style Christchurch, directed by fashion expert Andhy Blake.
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To wine lovers the name Ibbotson is synonomous with the acclaimed St Clair vineyard in Marlborough.
enduring passion for design was more Amanda Sinclair An than enough reason for Tony Ibbotson to
interviewed change his career path from accountancy to Graphic Designer, visual communication.
Tony Ibbotson, “I grew up in the bustling metropolis of
a graduate of the Blenheim and started art in the 5th form. My Bachelor of Design at CPIT mother thought that there was no money to
be made in design, so she took me out of art and made me take accounting. Well, after two years studying accounting, I decided to take up art again as an adult student. I was lucky enough to get into VisCom at CPIT and graduated with distinction. ”CPIT helped Tony achieve his career goals in more ways than one and challenged him to surpass his own expectations.” “CPIT helped me with idea generation, skill development, layout skills and computer skills but more importantly, CPIT taught me how to love my job. My most creative achievement as a student was passing Art History and my greatest challenge was drawing breasts in life drawing - I’m not kidding! I almost failed.”
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Tony’s tertiary accomplishments provided an excellent base for employment both in New Zealand and overseas, ultimately resulting in the establishment of his own design company, The Creative Method. “I worked at Strategy for four years until going to Japan and then the UK. In London I worked for numerous companies both large and small including Landor, Enterprise IG and O2 for six years. I arrived in Australia in 2002 and worked as a design director for Designworks Enterprise IG for three years, before setting up The Creative Method in October 2005.” Among other accomplishments, in 2007 Tony won the Best Packaging Design Award at the Create Awards in Melbourne for a wine label entry. The same wine label also won the runner up in Europe’s wine label of the year from more than 5,000 entries.
“Design is a lifestyle and will become all-consuming. It has nothing to do with money; do what you love and cash will follow. Work for free if it means that you can get a good start. If you are going to eat toasted sandwiches every day make sure you clean the machine more than once in three years.” Tony’s future aspirations are progressive to say the least. “Next week we will present some ideas for some new potato chip packaging. Next year we will do some more great work. Next decade we aim to be one of the best design agencies in Sydney. The following decade (if I am still alive) we aim to be one of the best design agencies in the world.”
www.thecreativemethod.com
visual art
In 2003, the inaugural Mortlock McCormack Law Art Awards were held at the Coca Gallery. This was a collaboration between CPIT and Mortlock McCormack Law, and the fore-runner of an annual Mortlock McCormack Law is a socially event that has helped promote responsible business that is involved in a number of community initiatives. The young artists in Canterbury. Art Awards is one initiative that provides
financial contribution and support to students whilst giving an opportunity for the firm to be exposed to the work of young artists and to acquire artwork for the office. Each year the awards are announced at a function where members of the firm, their clients, students and tutors meet to view the art and mingle. It has always been a very enjoyable event and often students meet members of the public who will follow their artistic progress over the years.
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Since the event’s establishment five years ago, ten CPIT students have received recognition for their artistic talents, most of whom have gone on to develop very successful careers in the arts industry. Last year, Elizabeth Moyle was awarded for her large-scale, woodblock print grounded in both German Expressionism and rural New Zealand. On one level, it would have been easy for Moyle to have constructed an image that was merely sentimental in its interest in such imagery. However, the dynamic and vibrant marks that inform this dark and impressive work convey a more evocative and subtle reading. It acts as political poster, domestic image and an art work that belongs to a long and impressive tradition of European printmaking. The work’s trio of themes proved a winning combination at the 2007 Art Awards. Mortlock McCormack Law is proud of its association with CPIT and the School of Art and Design and sees its continued involvement as an important part of its outreach programmes.
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fashion
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THE MISTER PROJECT IS A COLLABORTION OF TWO DESIGNERS, MICKEY LIN & RA THOMSON AND WAS DREAMED UP ON THEIR GRADUATION FROM THE CPIT FASHION AND TECHNOLOGY DESIGN SCHOOL. Mickey and Ra are currently based in Christchurch and met while studying fashion at the CPIT. After graduating they worked for many well known designers Mickey has worked for Sakaguchi, Starfish, Robyn Mathieson and New York designer Gam-In-Gale. Sharnay Sherratt talked to Ra about his time at CPIT and how it has set the path for the a successful career in the
fashion industry.
“I had spent much of my school years making clothes for myself and friends, and I had always felt I had my own sense of design. When deciding on a fashion school, the options were Auckland, Wellington or Christchurch. I was drawn to CPIT over the others because the main emphasis of the course was on construction and the manufacturing process. It was really important for me to be using my hands so I didn’t lose interest in what I was learning,” he says.
“Ironically, once at CPIT my academic skills improved big time, largely because I could finally relate to what I was writing about. I enjoyed the whole experience at CPIT but most of all I enjoyed the people I met along the way. It was so good to be surrounded by people with the same interest. For once I fitted in and felt I was making progress with my learning.” Ra found the construction focus of the diploma to be the most useful component of his study. In the first year, a large majority of time was spent learning how to construct a garment, applying a design to a pattern, perfecting the pattern with a toile process, cutting, fusing, sewing and pressing, he says. “All of these stages were covered in depth to ensure our understanding, which I am thankful for as I now use all these skills everyday. The combination of teaching styles was also very good for me as I learnt the most by watching someone else and then doing the task myself.” For Ra, the major highlight of the diploma was his third-year work experience project with BBC. “I worked with BBC for two weeks on their Lost World production. I was working 15 hour days with some high-flying costume designers from London. I was dressing actors, fixing and destroying costumes, throwing fake blood on people and being chased by dinosaurs. It was one of the most exciting times of my life!”
“After spending two years with Hank perfecting my skills, I was ready for a new challenge. I started a business called MisteR with my wife Mickey, and we are now creating and selling casual menswear at well-established stores such as Marvel menswear in Wellington and Auckland and Bellbird in Dunedin. Our plan is to advance MisteR every season and then to eventually export an exclusive New Zealand-made product to Japan, Taiwan, London and New York. We are also dedicated to the New Zealand Fashion Industry and want to support and encourage it as our company expands.”
Following his graduation, Ra worked for Pacific Brands for two years as a Product Manager/Designer for Jockey Kids Underwear. He then moved to Wellington and got a job at a menswear boutique designer/tailor called House of Hank. “In this role, I was a Pattern Drafter and Cutter for much of Hank’s made-to-measure work and I also designed, sewed and worked retail in the shop,” he says.
is proud to be part of
STYLE
CHRISTCHURCH NOVEMBER 7
tickets avaliable from Ticketek
www.mister.co.nz
As a long time supplier to CPIT, Crown Relocations is delighted to be involved with Ignition. In partnering for this exciting initiative, we know that we will be aiding the talented ‘up & coming’ professionals of the future.
We wish all participants of all the very best.
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“Whether you’re moving across town, across the country or around the world, let us show you why we are considered the very best in the moving buisness”
Style Chch
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on the road to fashion fame ANDHY BLAKE HAS ALWAYS HAD AN EYE FOR STYLE. IN FACT, FROM AN EARLY AGE, THE FOUNDER AND DIRECTOR OF STYLE CHRISTCHURCH BEGAN FORMING THE FOUNDATIONS OF WHAT WOULD BECOME A LIFE-LONG INTEREST IN THE FASHION INDUSTRY. “I’ve been passionate about fashion ever since I can remember. At age five, I was already telling my mum what clothes I should wear,” he says.
to styling and production. The experience that I have had with New Zealand Fashion Week and our local fashion industry paved the way to where I am today.”
Andhy’s enthusiasm for the industry, however, would not truly ignite until years later, where an introduction to the glamour and excitement of the global pageant industry would inspire his creativity, and ultimately pave the first steps on his award winning career path into New Zealand’s fervent fashion scene.
Established in 2006, Style Christchurch, Andhy’s nationally-acclaimed fashion showcase is a not-to-be-missed event displaying new season collections from some of Canterbury’s leading designers and boutiques.
“My fashion career firstly began by being exposed to Miss World and Miss Universe contests which inspired my creativity. This led me to enter the prestigious, Fiji Designer of the Year Awards in 1998, where I won the New Generation Award,” he says. “I later designed a swimsuit range for a surf company before coming to New Zealand to further my fashion career. I was a finalist, three years in a row, at the Westfield Style Pasifika Fashion Awards before moving on
“Christchurch has a lot to boast about. We are a unique city which has a thriving art culture, a music scene and a fashion industry that’s in comparison, or even better than, Auckland or Wellington. How we differ from other cities is our style and how most Cantabrians interpret it. This makes our fashion identity unique - Cantabrians are slowly taking more pride in what they wear,” he says. “Style Christchurch was formed to create a platform so that our local designers as well as talent could expose themselves on a larger scale to the rest of the New Zealand fashion community if not the world. It was also formed to help strengthen our local fashion industry and for other cities to take note of Christchurch as being the new fashion capital of the South Island.” This year, Style Christchurch adopts an ‘80s theme - an era that sits closely to Andhy’s heart. “In terms of the feel for the production, I’ve swayed towards an ‘80s pop era, which also highlights some of my favourite musical artists from the time. This is fused with a ‘super hero’ inspiration as well as incorporating two of my favourite international designer shows, D&G and DSQUARED. The event also supports The New Zealand Aids Foundation; selected designers are creating red outfits as part of the show’s Red Dress Collection. The outfits will be auctioned off for charity.” Andhy is also appreciative of CPIT’s contribution to Style Christchurch, in particular, support from the School of Fashion Design and Technology - its staff, students and their creations.
“I was very fortunate last year to showcase four of CPIT’s fashion graduates at The New Generation Show, which caught television interest and helped raise the profile of the Style Christchurch Show,” he says. “The calibre of students that come through each year from CPIT’s Fashion School is outstanding.I would rate them very highly and could see some of them being a part of Project Runway without a doubt.”
Luke Lee
CPIT’S PHOTOGRAPHY STUDENTS WIN GOLD, SILVER AND BRONZE CPIT’s photography diploma students have won Gold, Silver and Bronze in the student category of this year’s Epson/NZIPP Iris Professional Photography Awards. “Our students always do well, but this year is exceptional, and the first time we’ve won Gold,” says CPIT’s Head of Art and Design, Hubert Klaassens. “For us to get one of only three Golds in this category undoubtedly makes us the best for our size. To put it in context, our 38 diploma students are up against juggernauts like Unitec with 300 and UCol with more than 100 degree students. What’s more, some of our winners are first-year students.”
Tegan Johnson won Gold and Silver, with fellow students Diana Kennedy, Jonathan Lantz, Luke Lee, Emma Martin and James Hewitt all awarded Silver. Bronze awards went to Tim Harris, Daniel Jenkins, Charlotte Johnson, Kirsty MacDonald and John O’Mally. “Incidentally, the Gold award is set to the professional standard, indicating that the award sits with the best professionals in New Zealand,” says Klaassens. “All in all, a resounding endorsement of our students and our dedicated team of photography tutors and technicians!”
photography
For taking out Gold at the Epson/NZIPP Iris Professional Photography Awards 2008 in the student category.
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top left RICHARD COLLINS bottom left GRANT MORGAN
top right GRANT MORGAN bottom right
JOHN O’MALLEY
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visual art
Any wander around the galleries of Christchurch, or any western city for that matter, will give you the
are in control of their product, from the impression that most they development of the concept to the realisation artists work alone. of their ideas in the medium of their choice.
Holed up in their studios for Then follows the solo exhibition and, with luck, some positive critical feedback days on end (if they don’t any as well as sufficient sales to finance further teach that is) creative endeavours. Most audiences see
art as a highly personal statement or communication ‘beyond’ words, conveying the artist’s personal responses to whatever moves him or her to create. Artists are often perceived to be persons apart from the rest, visionaries perhaps, people who challenge our habitual ways of seeing and picturing the world; and the history of art points to many individuals who fit that particular description (both world famous, and world famous in New Zealand). The fact is, however, that most artists do not work in isolation at all. They rely in no small measure on a range of people and organisations that facilitate the making of artistic work and its distribution. These people can be, for example, technicians who help realise an artistic vision that involves major engineering processes. The support cast also includes gallerists and museum workers, private sponsors and arts festival organisers. One should also mention funding agencies, such as Creative New Zealand, whose managers provide the necessary dollars behind many local art projects and exhibitions. The list goes on, of course, down to the specialist removal firms charged with taking exhibits from A to B, and all of them have an important role to play in the dissemination
of an artist’s work. There are also those artists who prefer to work collaboratively from the word go, sharing studios and ideas and sometimes their entire lives with other creative individuals. The years that Picasso and Braque spent on developing the complex and entirely revolutionary pictorial language we call Cubism is a temporary example of such a collaboration. In the British context, the career of Gilbert & George, who declared their whole lives to be an artwork, could be seen as an example of an ongoing collaborative performance piece. Jack and Dinos Chapman are brothers, family ties and perhaps the need to share the burden of a rather pessimistic vision of humankind form the basis of their joint practice. Others, such as Tim Noble and Sue Webster work together to pool the ideas, energy and resources needed to produce large scale installations. Collaboration in printmaking is not that unusual, and is in fact based on a longstanding division of the labour involved in the making of prints. The production of the traditional Japanese wood cut, involved the artist who designed the print, a wood cutter who made the blocks, and a specialist printer who pulled the various editions and each member of this team was a respected professional. In 18th and 19th century Europe, specialist engravers were engaged to produce entire suits of prints based on original designs by artists as diverse as Watteau, Boucher or Hogarth. More recently, Andy Warhol relied heavily on willing assistants to produce his iconic screen prints in a New York studio, appropriately referred to as ‘The Factory’. In addition, famous 20th century print workshops like the Tamarind Lithography Workshop in Los Angeles, the Kelpra Studios in London or
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or her own project costs, and in return for their participation in this non-profit, cultural exchange portfolio received a set of twelve prints by other artists involved. These individual print collations could be perceived as a kind of ‘lucky dip’. While Reed knew what the New Zealanders were contributing (besides himself, three of his former students were part of the New Zealand contingent), he had little or no idea as to what the other printmakers would come up with, and it was not all good news. But then again, art has always been a matter of individual tastes and preferences.
Papergraphica in Christchurch provided the necessary technical expertise and workshop facilities for contemporary artists who had little or no training in the field of printmaking. Michael Reed’s collaborations, however, are of a different nature, as they are based on ‘conversations’ between artists, on an exchange of ideas and works, not on the division of labour. For him, collaborative work provides an alternative to the isolated ‘bubble existence’ of the professional artist producing solo shows for dealer galleries. He is not an artist motivated by the market. His work is best described as non-commercial and often highly experimental. The various collaborative projects Reed has been involved in over the past 15 years or so follow a variety of formats. At times, he has invited a range of artists to respond to a shared, common brief. Briefs can determine the theme, but sometimes also the size of the works to be included. Adherence to that brief though is not always a given. In other words, working with a larger group of artists can have its challenges. A good example of this is the 2007/8 project The 60s. This project was initiated by Melanie Yazzie of Colorado/ Boulder State University. It involved six New Zealand, one Finnish, one Japanese, one Indian and thirty-six American printmakers. All were asked to respond to a set theme, namely to reflect on the 1960s, a decade of far-reaching cultural and political change. Each artist carried his
Currently underway is Another New Zealand, Another United States, a further exchange portfolio of prints between eleven New Zealand and eleven American artists. It is a shared initiative between Melanie Yazzie and Michael Reed, the theme being alternative views of what could be considered to be ‘typically New Zealand’ or ‘typically American’. The project involves printmakers from a range of ethnic backgrounds, which should ensure a wide range of personal views. Reed makes a point of involving current and former students of CPIT in his projects. Indeed, teaching printmaking could be considered an ongoing form of artistic collaboration, but one restrained by mixed levels of experience, commitment and the politics of assessment. That said, after thirty years of working at CPIT, Reed can draw on a large number of graduates as possible collaborators in the visual arts. Three of them were included in Life As We Know It (2007) which aimed to offer an insight into the different influences and interests which shape the work of young printmakers today and it also featured contributions from Japan and Poland. On this occasion, Reed acted as a project advisor, drawing on his increasing number of international contacts to further extend his role both as a teacher and mentor. Twelve Laments and One (1999) was a project initiated by Petr Herel, a Canberra and Melbourne based Czech printmaker, who at the time was the Artist in Residence at CPIT. Twelve collaborators were invited to respond to a poem by Hone Tuwhare. As with the previously mentioned projects, the artists were asked to stick to a prescribed format, but otherwise they were encouraged to experiment freely within their preferred range of printmaking media.
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visual art
The result was a handmade book, designed by Petr Herel, with the typography provided by Frank Chappell and printed at Caxton Press. The project was financed in part by Creative New Zealand, another reason why it should be recognised as a truly complex collaborative affair. More control can be exercised when a joint project is based on the work of just two artists. This was the case in Michael Reed’s further collaboration with Herel, based on a Maori proverb: Whata ngarongaro, he tangata, toitu he whenua, (Man disappears but the land remains) - to which the authors added: me te wairua (and the spirit). Although in Maori tradition the spirits of the dead depart from Cape Reinga to return to the ancestral homeland, Reed and Herel wanted to indicate in some way the traces of human activity, of previous life and human endeavour that remain with the land. The project took three years and much trans-Tasman communication to complete. The result was a limited edition, hand-assembled, slender book printed on Chinese paper sourced by Herel in Melbourne. As expected, the
pictorial elements of this publication capture well the individual style of each artist and generate a visual tension between the two halves of the books, but they also harmonise in regard to the delicacy of the etched line and the experimental nature of the work. A Time and Place, Nagasawa 10 Print Portfolio (2007), saw Reed work alongside ten artists from around the world, some of whom he met while he was participating in the Nagasawa Art Park (Awaji City, Japan) Artist in Residence Workshop Programme for Japanese Woodblock Printing in 2002. On paper provided by Japanese paper maker Yamaki Seishisyo Ltd, the artists involved all utilised the woodblock technique to reflect on their individual circumstances and their relationship with the local and the international, with the past and the present, in an age of instant global communication. Although bound by the use of a shared technique and a prescribed format, the individual contributions once more differ widely, and attest to the richness and depth of the visual repertoire of international printmaking today. As is obvious from this small selection of artistic collaborations initiated by Michael Reed, communication is key, and informs most of his creative activities. He feels most challenged when working with artists who are not printmakers, or not even visual artists, as is the case with Other Tongues, a project currently in its developmental phase. It will bring together the composer Helen Bowater, the composer
and performer Ping Gao, the artist Kazu Nakagawa and Reed himself. This collaboration grew out of a number of discussions Reed had with the participants about cultural differences and the challenges presented by joint projects, as well as a mutual appreciation of each others’ contrasting skills and talents. The group aims to address the idea of parallel worlds of culture, how the process of translation is never an ‘exact science’, but subject to the sensibilities, personal experiences and cultural biases of the translator. To that end, the four collaborators will each step outside their own mother tongues and select a verse from another culture as a starting point for a visual or musical response. That selection will be passed around to allow each participant to add further ‘translations’. The project will be launched as part of The Christchurch Arts Festival in 2009. For Other Tongues, Reed not only has to address the literary heritage of another culture (in his case the verse of Ching An, a 19th century, Chinese Buddhist monk), but he will also have to learn about the vocabulary, the means and methods of other art forms in order to find the appropriate printed image to respond to them. As the print, from its inception, has always served the human need to communicate in a wide range of social, political and cultural contexts, it is arguably best suited to serve the creative and collaborative interests of this important New Zealand artist.
hairdressing
CPIT hairdressing students have again proved a cut above the rest year students Sara Sullivan and at the recent Canterbury Second Jade Sadler were placed in the top three
Westland NZARH of the Pre-Trade ‘Creative’ event of the
Hairdressing competitions held earlier this month. Sullivan Competitions. won 1st prize for her stunning Rock‘n’Roll entry and Sadler achieved third place with her fashion-forward Hip Hop entry.
Unlike previous years, where students have been judged on their blow-waving abilities, this year, for the first time in the event’s history, students were asked to create a hair-up based on a musical theme ranging from jazz through to Latin dance. “I already had an idea of what I wanted to do for the competition. I knew that everyone else would choose something like Hip Hop, so I wanted to stand out and do something different,” says Sullivan. “For the preparation, I set my model’s hair with pipe-cleaners to create texture, and then formed a roll at the front of her head and a side ponytail in the opposite corner to balance out the look. Along the ponytail I formed a chain of textured, circular-shaped
Ignition
balls. I was really pleased with the finished result and the overall appearance – I felt my model really did have a Rock‘n’Roll look.” CPIT’s School of Professional Hairdressing said the event was a great success and a testament to the talent of CPIT’s hairdressing students.
“The Canterbury Westland Competitions are an opportunity for students to engage in their learning. Our participating students initiated their entries and were motivated to experience this regional competition. Their active investigation was a valuable learning experience not only for themselves but also their peers. The clear guidelines that were set presented the students with an opportunity to analyse, assess and evaluate. These tools of critical thinking are attributes that CPIT strives to instil in its graduates.” Christine McFetrish and Christine Hayden programme leaders
Circus Under The Stars
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6th - 9th Nov
7:30pm D Block Quad Madras St Campus Tickets: Full $18, Student $12, Children (under 14) $8, (door sales) Family (2 adults and 2 children) $40 This show fits all ages, all sizes, and all moods. Guaranteed to entertain you, it has a huge range of characters, circus and comedy acts, and other surprise happenings under the stars.
BEAT PITCH FLICK RIPE EXIT
Opening Mon 10th November
6:30pm Dates: Tue 11th – Sat 15th Nov 10am - 5pm (10am - 12pm Sat only) Christchurch Convention Centre FREE EXIT features work by Architectural Technology and Interior Architecture students from the School of Architectural Studies. Both groups combine design and technology, and communicate it (through documentation such as drawings and CAD) into the reality of domestic and commercial buildings.
Opening Mon 10th November
6:30pm Dates: Tue 11th – Sat 15th Nov 10am - 5pm (10am - 12pm Sat only) Christchurch Convention Centre FREE We’re surrounded by imagery and design from artistic endeavour to mass media messaging. The visual arts are fundamental to our way of life. RIPE presents our final-year students from the Bachelor of Design and the Diplomas of Photographic Imaging and Professional Photography programmes exhibiting their best work in 3D Design, Image-Making, Graphics, Photography, and 3D Modelling and Animation.
Tue 11th – Sat 15th November
Dates: Tue 11th – Sat 15th Nov 10am - 5pm (10am - 12pm Sat only) Christchurch Convention Centre FREE The FLICK showcase features a cross-section of work from students enrolled in the various programmes offered at the New Zealand Broadcasting School (NZBS. This includes Digital Film and Television Production, with work including drama, sitcoms and short films; Digital Video Post Production, where students learn the skills of video editing, motion graphics and visual effects, and Broadcast Journalism involving news and documentary making. For anyone with an interest in the broadcast media, turn off the television and come into FLICK for a sneak preview of the future, and to discover the opportunities for a career in the screen industries.
Wed 12th November
8:00pm Christchurch Convention Centre Tickets: Full $28, Student $18. PITCH takes CPIT fashion design to the catwalk. Students from years one to three at the Fashion School present key pieces reflecting their design point of view, critical thinking and technical skill. You’ll literally see the body of student work progressing before you, with the presentation of the third year collections highlighting the vision and talents of our emerging designers. Developed in association with New Zealand’s fashion industry, PITCH has become a recognized and innovative fixture on New Zealand fashion’s calendar, supported and endorsed by many of our most established designers and influential fashion industry representatives.
Thu 13th November
8:00pm Christchurch Convention Centre Tickets: Full $20, Student $16. CPIT’s Jazz School presents BEAT, a cabaret evening featuring live vocal and instrumental performances. With many Jazz School graduates highly sought after within New Zealand’s music community, BEAT is your chance to enjoy our musicians’ improvisational skills in what promises to be a wonderful night of entertainment.
Sat 15th November
8:00pm Christchurch Convention Centre Tickets: Full $60pp. FINALE is a must-see cabaret of the finest live performances of the week, drawing the CPIT Creative Festival to a grand close. It presents top spectacle acts from the four performing arts schools, NASDA, Jazz and Circoarts and Te Puna Wanaka, bringing together aerialists, acrobats, balance artists, dancers, jugglers, singers and musicians. An antipasto platter and 4 bottles of wine provided per table (included in the price).
Mon 10th – 30th November Time: 10am – 4pm Coca Gallery FREE
“Put yourself in our shoes”
A shoe shop exhibition of personalised shoe boxes and unique splendiferous shoe sculptures.
Opening Mon 10th November 6:00pm Dates: Tue 11th – Sat 15th November Time: 10am– 5pm CPIT Rakaia Centre Madras St FREE The Iris Awards are an important platform for showcasing the outstanding talent of NZ professional photographers.
Dulux BEST Design Awards Exhibition
NZIPP Iris Travelling Exhibition
Foundation exhibition
Finale
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Opening Thu 13th November
5.30pm Dates: Fri 14th – Sun 23rd November 10am - 5pm CPIT Rakaia Centre Madras St FREE The Dulux BEST Design Awards Exhibition 2008 celebrates the very best of New Zealand graphic, product and spatial design. The Dulux BEST Design Awards Exhibition features the finalists’ work.
Want to win free tickets? PITCH - Fashion Parade. FINALE - Performing Arts, Caberet, Jazz, NASDA, Circo Arts and Te Puna Wanaka. BEAT - Jazz. CIRCUS UNDER THE STARS - Circo Arts, physical theatre.
ignition@cpit.ac.nz
Email: to enter. Put the name of the event you wish to attend in the subject line.
Prizes will be drawn on the day before each show at 4pm. Five double passes avaliable to each show.
for more details go to
ignition.ac.nz
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week ‘08
www.vbase.co.nz Vbase is the custodian of four of New Zealand’s premier convention, entertainment and sporting venues Christchurch Convention Centre, Christchurch Town Hall for Performing Arts, Westpac Arena and AMI Stadium.
DEGREES Bachelor of Design* Applied Visual Art, Visual Communication Design, or Multimedia Design
The Smarter choice! Keep ahead of the job market by choosing one of CPIT’s innovative new degrees powered by Canterbury industry
contact us now for more info:
0800 24 24 76 www.cpit.ac.nz
Bachelor of Musical Arts* Bachelor of Engineering Technology Electrotechnology
Degrees marked * are pending approval for anticipated delivery in 2009
Bachelor of Applied Science
Physical activity, Health & Wellness or Sport & Exercise Science
Bachelor of Language* Maori
Bachelor of Applied Management (Major)*
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jazz
Photographs taken by CPIT Digital Photography students
jazz
Ignition
Previous page clockwise from top right HARRIET THOMAS DAVE WETHEY JOHN O’MALLEY GRANT MORGAN This page Clockwise from top left TEGAN JOHNSON GRANT MORGAN JOHN O’MALLEY JANELLE ANDERSON
HAVING HAD A TASTE OF JAZZ MUSIC DURING HIS TIME AT BURNSIDE HIGH SCHOOL, GERARD MASTERS DECIDED HE WANTED TO FORGE A CAREER IN THE WORLD OF JAZZ AND ENROLLED IN CPIT’S DIPLOMA IN JAZZ. “The Jazz School at CPIT seemed, by far, to offer the best contemporary music course at the time so it was an easy decision for me to enrol. Although the Jazz School is part of a tertiary institution, it has a true feeling of musical ‘community’ to it. Musicians like to feel part of a greater musical family, and the Jazz School provides a nurturing learning environment. As with any music course, students will learn the most from hands-on experience. During my time at CPIT there was an enormous opportunity to rehearse and perform - both during school hours and outside of class time. The tutors at the Jazz School are perfect for the job because they are also musicians who are part of the scene. They know what it is like to play a jam session until 3am and then show up for a 9am theory class! I now live in Australia and have two bands, ‘The Gerard Masters Trio’ and a solo pop outfit. I am currently also performing with Missy Higgins, Stu Buchanan, Don Rader, Wesley Carr, and James Morrison. I got the opportunities to work with these artists through playing the piano very, very well in addition to being reliable, having a good appearance and working hard. CPIT’s Jazz School gave me three years to concentrate on practising the piano and through what I learnt there, I became prepared for the many different performance situations I find myself in today. My main aim in life now is to write and perform music that reaches great audiences worldwide. Long term, perhaps I’ll start to teach at an institution like CPIT so that I can share what I’ve learnt with the next generation of musicians.”
n z bs New Zealands School of Broadcasting
GRADUATES
“I can’t rave about the practical aspect enough. Having said that, the theory requirements provided some really fulfilling academic moments, and often they were completed in groups, so it really encouraged a sense of family. I can say with confidence that if you want a place in the industry, this course will give you your first best step.” Today, Miriama works for TVNZ presenting 20/20, reads the weekend news on TVNZ, and fills in on TVOne news programmes. “The variety, the people, and the nature of the work… it’s high-pressured yet enjoyable. I’m fortunate that I am able to work across the board in a number of roles. “Being Maori in this industry can present some particular challenges, and I’d invite anyone in the same boat/waka to talk to me about them. But apart from that, there’s been no challenge that hasn’t had some useful side-effect, so ultimately they’ve all been positive experiences.” Miriama has gained industry acclaim with various personal and career highlights and awards complementing her impressive career portfolio. “I’ve won a number of Qantas Awards. In 2005 I won Best Current Affairs Reporter for work I did on the Sunday programme about people who were sent to Porirua Mental Hospital as children and teenagers because the state had no other place for them, such as foster homes or residential homes. The former inmates now allege various and awful abuses were visited upon them. It was an horrific yet oddly humbling story to work on, and it was an honour to win an award for their story. The people I met, I will never forget.
Miriama Kamo Bachelor of Broadcasting Journalism Anyone can tell stories, says free-lance journalist Miriama Kamo, but to tell a story well is an acquired skill – one that she has mastered completely thanks to CPIT. “I studied broadcast journalism at The NZ Broadcasting School. I chose to do this because I wanted to tell stories; and to be honest, broadcast journalism looked like a fun way of doing that. Luckily my hunch was correct. “There were three courses on offer around the country that I knew would deliver the particular skills I felt I needed. The CPIT course appealed most though because it was renowned for being hands-on and practical, as opposed to being primarily theory-based.” Miriama’s enthusiasm for journalism thrived at CPIT, especially because of the practical content of the course which enabled her to greatly enhance and develop her skills in a supportive learning environment.
Miriama says broadcasting is a wonderful industry, “a life-enhancing career-path”, with many unforgettable moments and highlights. And she says she has many more stories to tell. “While I love TV, I’m keen to try print and get back into radio. I also have film and stage ideas I’d love to develop. And they say everyone has a novel in them – some say that’s where it should stay, but I’m wrestling to get mine out one of these days!”
“CPIT equipped me with all the skills I use every day in my new job. From hunting for a story to interviewing and writing for radio, I feel confident in every facet of reporting. “The course challenged me every day. The best part about it was how practically focussed it is, and on the days where my class formed a real-live newsroom, I was challenged every hour! “The tutors taught the skills required to report the news, but to a certain extent, we were thrown in the deep end, which was the best way to learn. I got to try every role in the newsroom environment, including live news reading, running the newsroom and delegating roles to reporters as the chief, sub-editing, and mostly, reporting. In the Broadcasting School’s newsroom we did exactly what I’m doing at RadioLIVE now.” A six month internship is a key component of the degree course, completing the third year requirements. Sam landed an internship with RadioLIVE’s Auckland studios and hasn’t looked back. In fact, the station liked her so much; they had to keep her on. “I found the work much easier than I thought it would be because the course had prepared me so well. RadioLIVE uses the same computer system and a similar writing style to what I was taught at CPIT’s Broadcasting School. “The tutors say you’ll be ‘work-ready’ before your internship, and ‘career-ready’ by the time you finish it, and having finished it I totally agree. The internship fine-tuned the skills I gained at CPIT, and made me feel more confident and competent in every day journalistic practice.” Sam counts herself lucky to be running RadioLIVE’s Christchurch newsroom by herself. But luck doesn’t really come in to it. She’s earned her success. “I’m covering every big story in Christchurch, including sport (and the odd interview with Canterbury Rugby players!). When a story breaks, it’s up to me to chase it and completing the Bachelor of Broadcasting Communications degree at CPIT has definitely given me the skills and confidence to do it.”
Samantha Blanchard Bachelor of Broadcasting and Communications Sam Blanchard has yet to graduate as a Bachelor of Broadcasting Communications (Journalism), but she’s already sole charge reporter for RadioLIVE in Christchurch at the tender age of 20. By the time she dons the black gown and mortar board next autumn, she’ll have already notched up more than a year’s worth of newsroom experience and that, says Sam, is the CPIT difference.
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Unknown to most, Mike began his career in journalism at CPIT. “I did the pilot Broadcasting Journalism course in 1987. At the time, Radio New Zealand was looking to retrain staff who wanted to be journalists and CPIT was looking to establish a journalism course to rival the ones already on offer in Auckland and Wellington. It was a good marriage,” he says.
Bill & Ben Jamie Linehan & Ben Boyce Bachelor of Broadcasting and Communications TV3’s Pulp Sport comic duo, Jamie “Bill” Linehan and Ben “Ben” Boyce, thank CPIT for the leg-up to industry success.
Having rated their award-winning success as the highlight of their careers so far (only because they failed to sneak 220 dozen cans of Tui into Eden Park), Jamie and Ben have some words of wisdom for those contemplating Broadcasting at CPIT.
“We both studied the Bachelor of Broadcasting and Communications degree, majoring in radio. I chose Broadcasting because it seemed like an easy way to get a degree and an even easier way to make a living afterwards. Ben didn’t so much as choose Broadcasting as end up there are after lining up in the wrong queue on his way to the diploma of creative cooking, “ says Jamie.
“Make sure your flat is on the south side of town so you don’t end up walking past the ‘McMobile’ on Madras Street every morning. It’s fine for the first semester, but after two years of being drawn in by its sweet, greasy goodness, you’ll be a great big lard-ass.”
Apart from CPIT’s student attractions, for Jamie and Ben it was CPIT’s practical approach to learning that has made all the difference. “Back in 1998, CPIT was the closest learning establishment to the Southlander Pub/Jet Set Lounge, which had a fantastic $10 Jug and Roast Lunch deal. After much deliberation we decided the taxi from Lincoln would completely negate any savings made on lunch, so CPIT it was. Campus life was awesome – we started our own frat-house and one time, after Snoop-Dog had played a gig on our front lawn, we went streaking through the quad until my wife and her friends picked us and wouldn’t take us to KFC. At least we think that’s what happened - those years get a little hazy.
“I spent six years at TVNZ working first in sport on One News and then in current affairs for the Holmes programme. In 2001 I made the move to TV3 and as back-up six o’clock news reader and presenter/ reporter on 60 Minutes. In 2005 I became the fulltime six o’clock news anchor with co-presenter Hilary Barry. I think I have the best job in television to be honest. As well as presenting 3News at a time where our audience share is growing considerably, I also get to go and report on the major news events around the world. In that respect my work has been a fantastic opportunity to see history unfold and work in some of the worlds most dangerous places,” he says.
“Television’s biggest challenge in recent years has been remaining relevant and attracting younger viewers to news and current affairs. Extensive live work and far more focussed stories has helped that, but obviously with satellite news services and the internet now widely available the challenge remains.
Mike McRoberts
“We’ve been lucky enough to pick up a few awards over the years. We won Best New Broadcaster at the NZ Radio Awards when we first started working in radio. We also picked up best Radio Jingle for the Novus Windscreens ‘Show Us Your Crack’ ad. And Pulp Sport won Best Comedy a couple years running at the Qantas TV Awards until that pretty-boy Jeremy Wells and his dead-pan style of hilarity stopped us being able to use the word ‘three-peat’ in a sentence.”
After his graduation, Mike spent the first ten years of his career in radio in Christchurch before moving north to join TVNZ.
Despite being awarded numerous Qantas Awards for reporting, in particular, being named TV Journalist of the Year in 2006 for his coverage of the war in Lebanon, Mike’s quick to point out there is still a lot to achieve in television.
“More importantly though, the ‘hands-on’ learning at CPIT was fantastic and gave you a really good indication of what to expect in the industry. Despite the fact that the building looks like a giant brown poo, what we learned inside it, wasn’t crappy.” When they’re not up to their usual antics, both Jamie and Ben have won national recognition for their work on Pulp Sport testament to the quality and diversity of their skills in a competitive industry.
“It’s fair to say the course and its content has evolved considerably since I was there. In 1987 it was a 20 week course and ten weeks of that was actually gathering news for the on-campus radio station. The content must have been good because seven of us completed the course and as far as I know, none of us have been sued for defamation – yet.”
Bachelor of Broadcasting Journalism Mike McRoberts has become a familiar face on 3News and 60 Minutes for his in-depth coverage of current affairs both in New Zealand and across the globe. He has brought to his viewers an outstanding range of political and human interest stories – some that have evoked thought and others that have touched the hearts of many loyal viewers. He has also pushed the boundaries of courage by presenting gut-wrenching stories from some of the world’s most dangerous, war-torn locations such as Afghanistan, Lebanon and Iraq.
“In saying that, I’ve also had many career highlights – too many to list to be honest. Nearly all of them involve working in a tight knit team under extreme pressure and sometimes duress. Often meeting the challenge of just getting to the story can be as exhilarating as telling the story itself. I’m pretty happy where I am – and I know that doesn’t sound very ambitious, but I guess my goals these days are about doing what I do better. “I would recommend anyone wanting to study broadcasting at CPIT to go for it. Get the most out of it you can, and when things get tough – hang in there. I’m sure this isn’t just applicable to journalism - but perseverance goes a long way.”
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fashion
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As a recent CPIT graduate, Emilie
Pullar is full of enthusiasm for her chosen career in fashion design. The talented designer has embarked on a journey to Auckland to turn her dreams of becoming one of New Zealand’s leading fashion designers into a reality. “I felt that Auckland had more job opportunities as I wanted to work in the higher-end of the industry. I managed to get a fantastic job with the label Taylor, headed by designer Vicki Taylor. I am the design/production assistant which, in a small company, means I get to do a wide variety of work. I love seeing the samples come to life and seeing someone walk out the shop door wearing something that I was involved in,” she says. Emilie graduated from CPIT in 2007, and has fond memories of her time at the Fashion School where she, like her fellow students, found the support and guidance needed to pursue a career in fashion. “The course at CPIT is great as it makes you work hard but you still manage to have a lot of fun. I felt really ready by the end of it to get into the industry and was confident with my portfolio of work. CPIT students seem to come out with a lot more work than those from some other institutions,” she says. “I enjoyed working on my own designs in such a supported environment – the facilities are fantastic and the tutors are really knowledgeable. ”Now having spent the majority of 2008 in Auckland, Emilie has warmed to the city’s fresh fashion scene, where designers and their clients are prepared to push the boundaries of style and step out of their comfort zones.
“It would be great to see Christchurch embrace the industry so it can grow and stop people like me having to move away to find work. Christchurch seems to be a very mall-orientated city, whereas in Auckland there are many different shopping districts and people are more open to try different things. At the moment, I am focussing on my job and doing the best I can there but my mind is always working and designing to keep that creativity going. I have numerous books that I sketch in and I try to do this as often as I can.” Before Emilie travelled to Auckland, she made her debut as a fashion designer as part of the Style Christchurch, Fashionz. co.nz Emerging Designer Show. She presented her first collection of the year, ‘Waste Not, Want Not’, created after a two-week work placement with Dunedin label, NOM*D.
Emilie’s collection was brought to life through the re-use of fabric off-cuts and the incorporation of vintage jerseys. Garments were turned inside-out with exposed linings and sleeve edges, while the colour palette was muted with black, greys and white. “The collection was designed for men and women who don’t necessarily follow trends and who aren’t afraid to stand out,” says Emilie. It is this willingness to think outside the square of mainstream trends that epitomises Emilie’s style as a designer. “My style is ever changing and quite eclectic but always pretty dark. I like to target people of any age who love clothes and are looking for something different and quirky. I am influenced by a lot of things, from a piece of art, a piece of fabric or the shape of a building. I don’t like to limit myself and am open to finding inspiration from anywhere and anything,” she says. Emilie’s future goals are inspirational to say the least and she encourages any prospective students thinking about studying at CPIT to “go for it”. “I always thought that having a label of my own was a far away dream but I would definitely like to be running my own business in five years, however small it may start. As for those thinking about studying fashion at CPIT - it’s a great place to study - cherish every moment because as crazy as it sounds I miss those 16 hour days!”
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CPIT School of Fashion PITCH event 1 2
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Designers 1. NICOLE LEE 2. SARA LARSON 3. JULIE ROSS 5. ROBYN WEBB 6. YULIA WANG 7. CHARYN DRIVER 8. JULIE ROSS 9. EMMA CHEAPE 10. EMILIE PULLAR
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animation
Not only was James Ellis successful as a design student at CPIT, but after graduating in 2007 he has also excelled in the real world. This interview gives you an insight into how James got to where he is today and how CPIT prepared him for his career and current role at Sidhe Interactive.
Interview by JOEL KEOUGH COPE Illustrations by JAMES ELLIS Graphics by SHARNAY SHERRATT & JOEL KEOUGH COPE
animation
HEY MAN, HOW IS YOUR FIRST YEAR OUT OF CPIT TREATING YOU? My first year out is going great so far. It’s been an incredible experience working everyday with people who have 10 to 15 years experience in the industry. I’m just learning non-stop, everyday. It’s very humbling.
FIRSTLY, WHAT MADE YOU REALISE THAT YOU WANTED TO EMBARK ON A CAREER IN DESIGN? CAN YOU TELL US A LITTLE ABOUT YOUR BACKGROUND? (SCHOOLS, SUBJECTS ETC). I’m not sure if there was any one thing. I always liked to draw. I also liked movies, games and comics. I think it was just a natural progression. I had no epic moment of realisation where I discovered my calling. I just liked to draw, so I thought, why not draw for a job? As for education, I went to Christchurch Boys High School from 3rd to 6th form and took as many art subjects as I could. However, in 7th form I was told I had to take english and maths otherwise I wouldn’t get into University. So, I left and went to Hagley College to study film, painting, design and animation. I messed around a lot and only really did the stuff I wanted to do. At the end of that year, I was offered a place in the first year Fine Arts programme at Canterbury University. I decided I didn’t really want to go down the Fine Art road. So I went back to Hagley College to study animation for another year. After that year, I applied to study at CPIT. WHY DID YOU CHOOSE CPIT? I wanted to stay in Christchurch. Some people had also told me about other design schools in the area that didn’t compare to CPIT. Overall, I wanted to continue studying so I tried my luck with CPIT. HOW DID YOU COME TO BE INVOLVED AT SIDHE INTERACTIVE? CAN YOU TELL US ABOUT YOUR ROLE? During the CPIT creative festival week last year, I was offered a job at Sidhe Interactive. I had been nagging them for months to look at my work. I was drawing as much as I could to try to show them that I was good enough. I ended up drawing a little more than I should have, which gave me a lot to do but in the end I got the results. My day consists of walking to work around 8.45 a.m in the morning. I’ll grab some coffee and something to snack on for the first three hours of the day, while I try to decipher that day’s brief.I’ll then start drawing, all kinds of things (depending on the brief), and at some stage have a meeting with the rest of the concept team to try figure out exactly what the bosses want from us. Usually, the brief sounds something like - “make it look like this...but not like that...but also like this…but not so it looks like that.”
Ignition
For the rest of the day I will continue to draw but by 3pm, and about 3000 drawings later, it’s still not quite right. So it’s then time for more coffee and a bit of a break to ease the work. Finally, by 5pm the day’s task is complete and the bosses are happy. Usually there is still an hour left in the day, so we get to work on the next day’s task in the hope that we can get ahead of schedule. Mental tiredness kicks in most the time though, so we wind-down for the day. AS A STUDENT HERE, WHAT WAS THE GREATEST CHALLENGE YOU FACED AND HOW DO YOU THINK YOUR CPIT TRAINING HELPED YOU OVERALL? The greatest challenge for me was coming to terms with the fact that being an artist/ designer comes with a lot more responsibility than I had realised.The training I received gave me a foundation to build on for the rest of my life. I got what I expected. No school can teach you how to be a professional, it will give you a jump start, but from then on it’s just an exponential curve upwards. WHAT DID YOU ENJOY MOST ABOUT CPIT? The thing I enjoyed the most was the freedom to experiment and really discover what I wanted to do. Though, sometimes I had to fight for that. I think I pushed my views a lot at CPIT. I also loved the way my drawing tutors encouraged me to think more. DO YOU HAVE ANY WORDS OF WISDOM OR ADVICE FOR STUDENTS AND PEOPLE THINKING OF ATTENDING THE SAME COURSE AT CPIT? I say do what you really want to, because you’re going to be doing a lot of it. ARE YOU PLEASED WITH WHERE YOUR TRAINING HAS LED YOU AND WHAT ARE YOUR FUTURE PLANS? Yes. I would say I’m pleased with where my training has led me. I get to draw all day and play games - how could I not be happy? I’m planning to move to Europe in a year for work - hopefully to Germany or France. Ultimately one day I’d like to publish my own comics on the side. But who knows...