Antipode Journal by Natasha Maw

Antipode Journal

Robbie Lawrence

Antipode — Volume One

CONTRIBUTORS

Antipode â&#x20AC;&#x201D; Â Volume One

Editor-in-Chief/Creative Director Natasha Maw

Writers James Glahom Oscar Manterfield Jack Oliver Petch Iuliana Silvi James Anderson

Cover Lili Autumn Thanks Sam Eadington, Aidan Nolan, David Cabra, Kate Thornton, Ecaterina Stefanescu, Amy Packham, Dillon Marsh, Tom Entwistle, Corina Nika.

Printed by Riley Dunn & Wilson

Published Biannually by Antipode Journal www.antipodejournal.webuda.com Every effort has been made to contact relevant image holders and references have been supplied to properly provide copyright images.

Distribution UK and EU

Max Huber, General Motors Suisse, 1937

Antipode — Volume One

CONTENTS VOLUME ONE/ISSUE ONE ‑ 2015

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INTERVIEWS

12. Corina Nika 20. Amy Packham 40. Dillon Marsh 46. David Cabra 60. 500 Words of Design 74. A.N.D Studio 80. Kate Thornton 106. Tom Entwistle

ARTICLES

10. The Appropriated Mother 18. Why (do) We Need New Beginnings (?) 44. Thoughts on Design 64. Architecture & Music 104. Nature as Inspiration

EDITORIALS

50. Form Follows Function 66. Fluid 98. Fashion: The Industry

FEATURES

24. Creative Profiles 84. Process 142. Inspire 148. Story: Rose by the Ocean

ARCHIVE

112. Achromic 122. Pseudo 132. Foliage

VOLUME ONE ISSUE ONE

CRAFT Editors Letter

Dear Reader We are delighted to share with you the first biannual edition of Antipode Journal. It has and always will be the Antipode way to present and show the ways in which creativity is found, explored and expanded on. We gather research and create a platform to explore the depth of contemporary life, independent artistry and the true nature of every creative. This particular issue does just that, with a focus on the craft behind the art and the person behind the craft. Weâ&#x20AC;&#x2122;ve encountered many along the way who have inspired us greatly in both emotional and physical aspects to encourage the art of creativity in a world of forward thinking by capturing their creative journey; alone and with us. We leave this issue in your capable hands, letting you divulge into our personal selection of great pioneers, and the greatest works at present.

Natasha Maw, editor-in-chief

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WORDS NATASHA MAW

Article

The Appropriated Mother

In a world of rules and regulations, it is hard to digest that Mother Nature herself is at the top of the food chain when it comes to our lives. We think we live at the top, with our gadgets and gizmo’s giving us so much control that we can even monitor and control central heating from our phones half way across the country; but the truth is we don’t. And we should remember that.

sea, we are everything we love visually through a subconscious link. The blue of the skirt from that designer is the same shade as the waves of the picture that the photographer took after being influenced by the painting from that artist. We are all connected, and nature is our muse. Beyond the beauty of nature there is disaster. We forget the importance of Mother Nature because are told to fear it. World disasters are affecting people all around the world, now more than ever with the rise of Global Warming; and it is becoming increasingly clear that we must live in the present and live each day as if it were our last. They say that beauty comes with a price, and that has never been as true.

Our world revolves around a culture of media and celebrities, and success is dressed up in an overcoat of promotions, narcissism and social media. These aspects of modern life are not what make us human, but what make us modern. This modernity has led to great discoveries and even greater art, but we cannot forget what is important. The inspiration. The surroundings, the things that make us truly human.

Irrational as it may sound, attempt to visualise Mother Nature not as a terrifying killer but as a wakeup call to remind us all not to take life too seriously, and that we made it. We’re alive! We survived the deadly wrath of the great mother, now let’s get back out there and do what we love doing best. Expressing Ourselves. Painting, making music, reading old English literature, designing clothes or whatever your heart desires.

Having all of these modern gadgets is fun and exciting, but let’s not forget the bigger picture. Let’s not forget what it is that truly inspires us. All forms of creativity have always taken inspiration from Mother Nature, and always will do. It is almost compulsory, that we are the things that surround us. We are the oak tree in the back garden, we are the waves of the blue

Artefatica

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Art Director, Graphic Designer — Images: Cocorina

Interview

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Corina Nica

She created the beautifully intricate minimal website Cocorrina, home to a portfolio of delicate design projects, ranging from album artwork produced straight from the paintbrush, to crisp personal photography that makes a pinecone look like a pinnacle piece. She lives a Greek Island life with husband and companions Bella the Husky and Shrek the Cat. Antipode Journal talks creativity with Kefalonia based Graphic Designer, Letterer and Creative Director; Corina Nika.

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AJ - What does Creativity mean to you? CN -It’s a way of living, it’s happiness, it feel like home.

AJ - Your surroundings seems very valuable to you, so how important is having a creative network to you? CN - Pretty crucial. It gets the creativity and inspiration flowing.

AJ - People often say that Creativity is something learnt not taught, do you come from a creative background? CN - Definitely! My mother was very much into the arts, drawing, dancing everything creative she laid her hands on looked amazing.

AJ - You said you are influenced from just about everything that life has to offer, how would you best describe your work? CN - Super crazy, messy and organised at the same time, lots of creativity everywhere and definitely fulfilling.

AJ - You have worked for many names in the industry, just recently you designed the Elie Saab A/W 2015 - 2016 invitation, how did you get into the design industry? CN - I was studying interior design and on the very first year we had a graphic design basics course. That was the exact moment when I realised what I was good at and what made me happy.

AJ - Do you feel that your style has changed over time? CN - Yes, I can see it changing and evolving everyday. Looking back at my blog I can see my flows and where I was inspired from. AJ - If you ever find yourself in a creative ‘block’, what themes do you pursue in terms of inspiration? CN - Mostly nature. Again, my environment involves a lot of it, so all I need is a walk by the lake or look on the left of my office where I can see the mountains.

AJ - That would be considered a large step in terms of changing direction! Your personal projects are very imaginative and distinctive, what were some of your influences? CN - I find myself inspired and influenced by pretty much everything. My style slowly shaped and evolved itself with time I guess, I am mostly influenced by my environment. Where I live, the music that I listen to which is emotional and instrumental.

AJ - Do you think originality can still be achieved in a world of constant digital documentation? CN - I think originality is very rare these days, but it definitely happens-. As long as you follow your own path, be influenced but hear and create your own voice.

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AJ - That sounds like some good advice for aspiring creatives. Professionally, what’s your goal? CN - Expanding my skills and getting into the fashion industry. I’m interested in creating my own fashion brand, combining my love for graphic design.

AJ - What is your must have item? CN - A brush and my iPhone. I can do pretty much everything with those two.

Interview

AJ - Finally, what is it that you enjoy most about working in a creative industry? CN - The feeling itself of being creative. It just fills my heart with happiness and fulfilment.

www.cocorrina.com

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Mária Švarbová

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Why (do) We Need New Beginnings (?)

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WORDS JAMES ANDERSON 500 Words of Design

Article

‘New beginnings’ are often the topic of conversation when we want to make an improvement to our lives. They tend to coincide with calendar events or specific happenings such as writing ‘New Year’s resolutions’. We seek out self improvement at the beginning of new academic years, moving house, birthdays, etcetera.

excuses for failure. If there is an improvement or change we need to make in our lives, make it now. If it is important enough to require a ‘new beginning’, then why wait for one? Make ‘the beginning’ now, and start the improvement. Alternatively, why prescribe to ourselves what ‘new beginnings’ are at all? The whole way we use them is to try and bring about a positive change; so why limit them? Go further than reducing them to new terms, or next month. Can’t this morning be a ‘new beginning’? Or crossing the threshold of a doorway? Even reading this now? If ‘new beginnings’ are important to us, to initiate change, allow these things to be the ‘new beginnings’ we want and need. Make the changes we want now, why wait for New Year or for the next module in our life?

Do these ‘new beginnings’ actually lead to the changes we desire? We use excuses such as our geographical location to explain our own short failings to the expectations we have for ourselves: “I just gotta get out of this town”. We use calendar events to postpone the changes we really need: “Next year I’ll eat healthily”. And we blame the status quo for a lack of change in ourselves: “Of course I couldn’t quit while I’m stuck in the same old routine”. ‘New beginnings’ aren’t a help, but a hindrance; a means of postponing the self improvement we aim for. They enforce ‘ordinary’ times with no ‘new beginnings’ or chance for change and are then an excuse for having failed altogether.

We have the ability to make changes to our lives. If pinning them to a ‘new beginning’ is a means that helps us to accomplish these challenges, then so be it. Do it. Let’s set ourselves goals and tie them to the 1st day of term, but then follow them through. Don’t allow a failing on the second day to waste that ‘beginning’. Pick another one the next morning, or the next time you go into university or work. Finally, don’t look back at past ‘beginnings’ and count failures.

We don’t need ‘new beginnings’ to make the changes we desire. They don’t have to fit to the days of the week or months of the year. These constraints are only of the mind and lead to

Illustrator, Artist - Images: Amy V Packham Art

Interview

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Amy Packham Most up and coming creatives are students in some form of creative field, be that art, photography or fashion. But is there a difference between the under and post-graduate in the creative world? Antipode finds out just exactly what it’s like balancing the life of a Fine Art student as well as a freelance illustrator from Leeds and Leicester based illustrator, Amy Packham.

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AJ - What does the word creativity mean to you? AP - For me creativity is problem solving. So in an artistic sense, you have an idea, concept or vision of something you want to create in your head. Creativity comes in when you let your ideas out and figure out a way to make it a reality by trying and testing which ways you can really show to the world what you have inside your head. I think everyone is capable of having an idea and it’s the creative ones that strive to get it out.

to try make a career out of it whilst I was at University, when I started my Fine Art course. Being able to do what I love all day and it not just being a hobby made me see that I don’t really want to do anything else! AJ - Your work has it’s own aesthetic and is easily recognisable, but what strange routines or rituals do you have as an artist? AP - I’m a bit all or nothing with my work. I tend to work quite quickly, because I will do it for hours on end without really taking a break. A lot of the time I forget to eat because I get way too into what I am doing! But then there’s the other times when I just can’t get into it properly, so I tend to just leave it at those times and try not to force it, as it doesn’t normally go well if I do.

AJ - How did you get into the art industry, do you come from a creative background? AP - My brother is also an artist, so as we grew up we always sat and drew together, we used to make these comics of these weird little characters we made up and as we’ve got older we are still constantly bouncing ideas off each other. But other than that I didn’t realise how much I was into art until I went to Leeds College of Art when I was 16. Even though I studied Fashion Design, I discovered how much I loved drawing and printmaking and haven’t looked back since!

AJ - How would you personally best describe your style? AP - A bit psychedelic, organic and kind of spacey. AJ - What in the entire world inspires you the most? AP - Other Artists work, particularly street art at the moment. Although none of it really looks similar to my work, and most street artists use spray paint – seeing what they can create technically and sometimes at such large scale really inspires me to push my art to the best that I can achieve and to not be afraid to go big!

AJ - So creativity is something that has always been around you, when did you first realise that drawing was something you absolutely had to do? AP - I have always drawn since I can remember, it’s always something that comes quite naturally to me. But I think I realised it was something I wanted to do full time and

Interview

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AJ - If you could narrow down your work, what would your favourite piece be? AP - I made an installation at University recently, which I drew all over the walls and the floor, that’s definitely got to be my favourite!

on the wrong track, and all I wanted to do was draw and make art. After that, I changed to the Fine Art course and it was probably one of the best decisions I have made.

AJ - The patterns within your work are so detailed and intricate, what are you trying to communicate with that? AP - I think a lot about the laws of nature with my pieces. I am trying to get across that although things may look very different, and even out of this world – we are all connected and bound by these laws.

AJ - A good decision in the end! Being in art, a craft that involves a lot of meticulous handwork, do you think that technology can take away originality? AP - I do, but I think it makes it a lot harder and makes it a lot easier for people to copy work or rip work off from others, which is the most annoying thing in the world, especially when the person ripping you off gets paid for it!

AJ - Which creative medium would you love to pursue but haven’t yet? AP - I’ve always wanted to try working in glass, to figure out how to make a 3D, glass protozoa would be something that I would love to do!

AJ - What is your must have item that you couldn’t live without? AP - Paint pens! AJ - If you could travel anywhere in the world, where would it be and why? AP - This is a tricky one, there are so many places I want to see I don’t think I could pick just one! A round the world ticket would be amazing.

AJ - What’s the best advice you have ever had from entering the creative industry? AP - My answer to this is a bit of a weird one, because the advice I was given wasn’t positive but it made a positive outcome for me. In my first year at University, I continued to study Fashion Design for a year before I moved onto the Fine Art course. I used to spend hours drawing my designs and illustrations – trying to make my sketchbooks perfect. Unfortunately that wasn’t the nature of that course, it was more about working a lot and quickly. One day my tutor was looking through my sketchbook and said to me “I know you can draw Amy, but don’t.” What she said made me realise I was

AJ - Finally, what is it that you enjoy most about working in a creative industry? AP - I love meeting other creatives, talking to each other about work and seeing how enthusiastic people are about what they do. It’s great to just be able to bounce ideas around with other people and get excited about what the outcome might be. And if it then becomes a reality, that’s even better!

www.amypackham.com

Frida VegaSalomonsson

WORDS: NATASHA MAW

CREATIVE PROFILES

FEATURE

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CLEO GOOSSENS Photographer

Feature: Profile

IMAGE — © Cleo Goossens

Netherlands based photographer, Cleo Goossens was born in a small village of the Brabant region, but is now based in Eindhoven. An avid traveller, Cleo works freelance, capturing intricate moments through portraiture and natural light. An aspect used in all of her works falls to the topic of silence, the eerie atmosphere captured in her images portray the perfect visual to the word, and represents her freedom of expression and passion for finding silence in the most busiest of places.

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INOUE BROTHERS Designers

Feature: Profile

IMAGE — © Inoue Brothers

Satoru and Kiyoshi Inoue are two brothers born and raised in Copenhagen, Denmark. The Inoue Brothers remain a family business from its founding in 2004, specialising as an art and design studio as influenced from two cultures; Japanese sensibility and Scandinavian simplicity. The two passions combined, have created extraordinary projects that have let do collaborations with fashion powerhouses such as Comme des Garcons and Lacoste to name a few. Specialising in knitwear, jewellery and casual wear, The Inoue Brothers create original pieces inspired by their travels to some of the worlds poorest countries, soaking up every aspect and importance of culture, and in particular; true heritage.

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_SCAPES NY Designers IMAGES — ©_SCAPES NY

Feature: Profile

The visually stimulating collaboration of Andie Enomoto and Taylor Kaclik, _SCAPES NY is a Brooklyn based contemporary brand that specialises in digital form and hand-crafted elements combined. Before the creation of _SCAPES, the two designers worked alongside one another during their time at Parsons School of Design, graduating in 2014 with a BFA (Bachelor in Fine Arts) in Fashion Design. _SCAPES STUDIO formed this year and is the result of the exploration of colour sensitivity, a translation of print and pattern and textile development to create oversized boxy-shaped garments, with earthly toned for a colour palette and a harmonising after effect.

www.scapesny.com

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MISO Artist

Feature: Profile

IMAGE — © Stanislava Pinchuck (MISO)

Ukrainian artist Stanislava Pinchuk is the woman behind Miso. The twenty-five year old resides between the streets of Melbourne and Tokyo, charming both cities with her creative patterned shapes and attention to detail through faces and bodies.

come from a mix of the economy and Ukrainian folk art, with a focus on politics and the relations between people. Her passion for art, comes from the need to bring back traditionalism and culture to busy city streets. Not only does she have an impact on art within the streets, but on the human body as well. Pinchuk has a self-published zine titled Miso: Home-Made Tattoos & polaroids, capturing

With a BA in Art History, Pinchuk has a perfected street-art style and appeal that combines traditionalism with modernism; highlighting a cultural vibe in the animated world of street art and graffiti. Her influences are said to have

and celebrating her beatifically intricate home made tattoos with friends.

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NICOMEDE TALAVERA Designer

Feature: Profile

IMAGE — © 1Granary

London based and born menswear designer, Nicomede Talavera founded his label back in 2013. Completing an MA in Fashion at the prestigious Central Saint Martins, Nicomede Talavera worked under the legendary late Louise Wilson; a women known to have tutored Alexander McQueen, Jonathan Saunders and Christopher Kane to name a few.

to collaborate with famous luggage brand Eastpak, following in the footsteps of past collaborators of the brand Rick Owens and Raf Simons. Nicomede Talavera’s Spring/Summer 2015 collection is available from the most aspiring of stockists around the world including Dover Street Market (London), LN-CC, Joyce (Hong Kong), Opening Ceremony (NYC/LA/Japan)

Nicomede’s unique take on design is fuelled by the influence of playful graphic art, which lead to him being the first undergraduate

and Space Mue (Korea).

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MATT HENRY Photographer

Feature: Profile

IMAGE — © Matt Henry

Brighton-based photographer Matt Henry is a name you should know about. His most recent work titled ‘The Trip’ (see image) captures everything you will need to know about the man and his work. Matt constructs these colourful scenes that look like a page straight out of a 1960’s American history book, (cue the retro diner and Ford Conway) all of which are sourced straight from the US to the UK, where they are then surged to life through the use of set design. His work has been exhibited throughout Europe, Asia and North America and when he’s not behind the lens, he’s studying for his PhD in the department of American Studies at University of Sussex. His work follows an interest of devout modernism and a utopian view on politics and culture, in which has formed the greatest liberal successes of time, from Civil Rights to Free Speech movements. Of his own work, Matt has expressed a method of exploration as well as the celebration of American photography, cinema and literature; which sums up his own personal world of a ‘semi-rural small town’, in which drama is centralised on the topics of ‘nature, love, sex, family and death’ in contrast to today’s postmodern technological world.

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NADIA SARWAR Photographer

Feature: Profile

IMAGE — © Froufrouu

Born in Britain but based in Brooklyn, Nadia Sarwar is the photographer and writer behind the hugely successful photography blog, FrouFrouu. Launched back in 2009, Nadia documents her everyday musings from photography, outdoor adventures, work and her personal fashion style which has the perfect amount of monochromatic menswear. Her photos represent the ideology of mystery with grainy doubleexposed visuals that can only be achieved by her preferred method of film photography. She magically captures the beauty of symmetry and artistic humanity through a focus on the human body and human emotion.

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JEANNIE PHAN Illustrator

Feature: Profile

IMAGE — © Jeannie Phan

Illustration graduate Jeannie Phan is a freelance artist who produces conceptual editorial illustrations seen in the pages of the New York Times and the Reader’s Digest to name a few. Her use of a child-like animation with combined adult topic, makes her illustrations almost nostalgic (complete with vintage grain), and creates the illusion of a 1960’s modernist postcard, with a modern taste of humour. The Canadian born and based illustrator not only draws, but photographs. Her side project titled Studio Plants, documents her journey as a hopeful green thumb through a minimalist dream of studio setting photography.

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KALEN HOLLOMON Artist IMAGE — © Kalen Hollomon

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New York based artist Kalen Hollomon creates the most unorthodox collages of fashion and lifestyle combined. His aim? To explore the ‘intersection of human perception’ and awareness, through the use of mixed media and emphasises the relationship between subject and object. Kalen’s art documents the modern representation of the wave of consumer and celebrity culture; and the freedom of expression that comes with it. His unique skill of exploring identity brings together a perfected concoction in a modern world, this clever combination of using opposite topics, makes Kalen’s work the visual aid to a generation of modern art where freedom and modernity come to life. A piece of art that can mix the identity of an everyday businessman with a supermodels and still be perceived as not only outstandingly real, but remove the idea of stereotypes and express the idea of social freedom, is what makes Kalen Hollomon a modern day genius in the creative world.

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Michal Rovner Panorama

6 BURLINGTON GARDENS, LONDON 29 APRIL – 15 JUNE 2015

Photographer — Images - Dillon Marsh

Interview

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Dillon Marsh Born and based in Cape Town, photographer Dillon Marsh has an acquired taste of surrealism when capturing the visually stimulating sandy terrain landscapes of South Africa. His appreciation for landmarks is beautifully captured and made into several documented projects, with titles such as Swan Song; a photo series of abandoned farmhouses in rural South Africa and Giants Among Men; a documentation of oversized manmade objects modelled against a backdrop of everyday life. His knowledge and skill to combine two aspects together to create a wonderful photograph are what make Antipode Journal so keen to find out more about the man behind the lens.

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AJ - As a creative platform, we at Antipode Journal ask every creative individual the VIP question. What does creativity specifically mean to you? DM - For me it’s very much a driving force in my life. I don’t quite know what it is and where it came from, but I make use of it to define who I am a as person. AJ - Do you come from a creative background, how did you get into photography? DM - I enjoyed painting while at school and then went on to study Fine Art at University. During the course of my studies I was introduced to photography and it quickly became my passion.

DM - I liked the laborious process of working with film and there will be techniques and expertise that will get lost now that digital is taking over, but there is a lot of potential with digital photography and I’m excited to see where it’s going. AJ - You said you currently use a Nikon D800. What is your favourite lens, and why? DM - I mainly use my 28mm prime lens. I mostly shoot landscapes so I need the wide angle it provides. The fact that it’s a prime lens just means that it’s sharper than a zoom lens. AJ - What is it about the landscape setting that draws you to it? DM - I’m mostly interested in showing the relationship between us and the environment. I don’t like showing people directly in my images so ultimately my photos are of landscapes that show indirectly something of the character of the people who live there.

AJ - Your work represents your creative passion greatly, particular the Copper project and it’s attention to detail, but how would you yourself, best describe your style? DM - My photography style is calm and collected. Tongue-in-cheek humour sometimes also makes an appearance and the aim of this is to keep things down to earth. AJ - What equipment do you use to best capture these images? DM- My early work was photographed using a medium format Hasselblad, and a large format Sinar camera. I decided to move across to digital a few years back and now I use a Nikon D800.

AJ - Your work has an element of surrealism to it, where does that come from? DM - I intentionally look for strange things in the environment. As I mentioned I also don’t show people in my images (or at least not prominently), so that might also contribute to the surreal feeling. I also occasionally apply a colour treatment to my images in Photoshop. AJ - Would you say that the environment itself inspires you the most? DM - Yes, I’m mostly inspired by whatever surrounds me. Seeing and experiencing things in person leads me to my most inspiring discoveries.

AJ - Moving from film to digital seems like the logical process of photography, but that is starting to revert slightly as more and more photographers revert back to film mainly for the developing stages. How do you feel about this?

Interview

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AJ - An important topic for every modern creative is originality. Do you think in photography, it can still be achieved in a world of constant digital documentation? DM - I think new ideas are hard to come by now-a-days, but by building a sizeable body of work it’s easier to develop a unique voice. AJ - When on your travels, what is the one must-have item you take with you? DM - I print maps of each major route I travel with all the points of interest marked in pen. I’d be lost without this.

AJ - That seems valuable! Outside of photography, what else are you into at the moment? DM - I enjoy hiking, especially around Table Mountain. I also enjoy reading and my tastes in genre depend on my mood. AJ- And finally, what is it that you enjoy most about working in a creative industry? DM - I really like the freedom it offers. With imagination being the main tool of the trade, almost anything is possible.

www.dillonmarsh.com

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Thoughts on Design 44

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WORDS OSCAR MANTERFIELD 500 Words of Design

The conversations between students of Art, Design and Architecture are usually very interesting and always ones worth participating in, inevitably heated. However it is the simple questions that are the ones that can’t give a determined answer, that may keep you questioning hours later and linger in your mind for days, crazing us with the want of an answer. ‘What makes good design?’

design live in the design’s ability to symbolise the brief? A media darling that depicts what the brief aspires to, if indeed at all, that brief knows what it wants to be. An idea may grow far greater than its originality with the marriage of the right or good design. To me, design becomes subjective and the designer(s) (the good ones I think) look into the essence of that and embark from there; the brief, its location, space and time that surround it all bind the design together. It is the designer’s journey to find a meaning, reasoning and atmosphere and then portray these.

To understand the question and the exploration to what is good design quickly flurries into a labyrinth of analogies. Just trying to pin point what design is stands intriguing enough: examining the bigger question of design; it’s principles; what determines these and ultimately the merits of the specific design and designer all need analysis. Design is stated in the Oxford dictionary as “plans or drawings produced to show how an object will look”

If it aspires to be for example slender, dynamic and or elegant, this is how it should be expressed in the poetic work. If it is to be loud, noticed, provocative and of the past, the design should be of these qualities. If it is to be beautiful and simple the designer needs to discover these specific tectonics. The ability to design originates from perception, memory and a deep understanding, but it also comes from functionality. Without the latter, the design is rendered useless or a failure. Therefore function is the priority.

This objective statement highlights the contrast with the subjective views from Deiter Rams. If anyone has walked through the hallway that separates interior and product design in QSS they might have noticed his 10 rules of design hung on the wall, but the absence of qualia in these declarations is apparent. What makes good design is subjective but Ram gives us no explanation to what has determined his rules.

Good design belongs to those who are diligent, meticulous and understand presence, in a cognitive and 2 dimensional depiction. The Ive’s, Zumthor’s and Chanel’s of the world know that the creative light in their mental imagery will look, feel and be interpreted in a 3 dimensional format. They own the ability to know how something will exist and believe in their work and its honesty.

So what makes it good? Someone that designs, nurtures and longs for the exuberant day the idea becomes present in the fabric world has been driven by the thing that is inherently felt in the poetic designer. It is the designer’s imagination that is translated onto paper and into the concrete world; the vision is transformed from his mind’s eye and mapped into a 2 dimensional representation, through sketches, their memory, materiality and intuition. Is it the communication or the understanding of that drawing that makes a design good? Has the designer artistically expressed the spirit of his emotions and how the object will look.

Through knowledge of materials and the different ways they can be used; existing technology and its evolutionary capabilities through design and holistic interpretations of place and culture (past, present and future) are all prerequisite conditions for what makes good design. The iPhone, Klaus field chapel and the little black dress adhere to these virtues. Their metaphysics, poetic beauty and imprinted effect on the life of their users make these designs objects of desire or places to discover.

Are ‘the eyes beneath the skin’ visible? The beginning of a design isn’t something arbitrary. It usually is a creation of a brief and an idea; a design is lost and would have no purpose if an aim, however loose, wasn’t present. So does the core of good

Over 2000 years of ago Vitruvius in his Virtues of Architecture said simply : Utilitas - Function, commodity. Firmitas - Solidity, materiality. Venustas - Beauty, delight.

Interview

Fashion Designer — Image - Shimo Zhou

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David Cabra Menswear Fashion Designer, David Cabra follows a design philosophy of a utilitarian perspective with avant-garde details. A Masters graduate from the prestigious London College of Fashion, David explores functionality within clothing and accessories to create something new and unexpected; which can be seen in his Fall/Winter 2015/16 FUNCTIONAL HYBRIDISATION collection. Antipode Journal catches up with the designer to talk creativity and the process of the fashion design industry.

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AJ - What does creativity mean to you? DC - For me creativity is the capability every single human being has to create and express new ideas and feelings. AJ - What made you pursue a career in Fashion? DC - In my case, I think it was really serendipitous. I started studying Product Design but it turned rapidly uninspiring to me mainly because I realised that ideas took more time and resources in order to become a reality. I found fashion not only more immediate but connected with people in a deeper sense. Also something that certainly attracted me to choose this path was the possibility that fashion gives you to find your creative universe between art and design. AJ - Do you come from a creative background yourself? DC - Not really. My parents have a business and numbers background. If I have to link my creative path to any background it would be to my grandfather’s influence. He was an engineer and inventor; he created machines to make industrial processes easier. I think I might inherit in some way his understanding about practicality and functionality. This is something I always look up to through my work. AJ - What were some of your influences behind your Functional Hybridisation collection? DC - During my studies I always felt attracted to the utilitarian ethos and how to bring functionality to my designs through new materials, shapes and ways to simplify the interaction between garments and accessories. For the Functional Hybridisation collection my creative process was inspired in two main references. The first one was the origin of

the spacesuit and how its functional design affected the evolution of menswear. The second one was the work of the artist Michael Johansson. Mainly the way he combines all kinds of common objects into three dimensional puzzles which not only fit perfectly into a limited space but become something absolutely authentic after its original function is altered. I also found his use of colour quite refreshing which further stimulated the colour palette of the collection. AJ- You’re a menswear designer, what led you to this choice over womenswear? DC - I think at first I chose menswear over womenswear primarily because of my design philosophy and how I understand fashion. However, here I need to admit that the differentiation between menswear and womenswear nowadays for me is kind of ridiculous. If you check today’s most influential womenswear designers like Raf Simons and Hedi Slimane they have a really strong menswear background which doesn’t affect their outcome doing clothes for women, in fact it enhances it. I personally identify myself with this mindset. AJ - Do you feel that menswear has a larger impact on fashion that womenswear? DC - Referring to fashion nowadays my answer is yes. In some way menswear feels today like a virgin field where everything is new and everything is possible. Anyway being realistic, there are only a few menswear brands that can base their business only in men’s clothes, most of them have to integrate womenswear in some way in order to be profitable. At the end, right now menswear is more about exploring creative boundaries. True creativity is always going to be what has a definitive impact in fashion.

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AJ - How would you define the term ‘fashion’? DC - I am not exactly fond of the term Fashion because nowadays it’s an expression more related with a “seasonally trendy/killer creative concept”. Recently I read an interview with Lidewij Edelkoort where she said that “Fashion is insular and is placing itself outside society” and I cannot agree more. The craft behind making clothes has nothing to do with the coolness or trendiness that the word “fashion” represents today. Those are attributes that can actually be related to any creative field. AJ - How would you best describe your personal style, and is that represented in your work? DC - My personal style is pretty basic actually. I normally wear a t-shirt, jeans and sneakers. Always trying to be careful with the lines and details though. Maybe the way this is related to my work is in my interest in streamlined garments and the attention I give to details in their essential expression. AJ - How would you define success in the fashion industry? DC - I think you can consider you’ve been successful in fashion when you get to see your ideas at the street level, “the real life”. It’s not about how much you sell but the simple fact that someone buys your clothes and shares your vision publicly. On the other hand I’m not going to lie, Fashion is a business and as such you need to sell, that would be economic success. AJ - The fashion industry is known for being notoriously difficult to break through, would you agree with that? DC - I totally agree. Internet, globalisation and things to which fashion is related such as pop culture, parties and almost any kind of fancy stuff, give the idea that nearly anyone rich or famous could become a designer. That is very dangerous

because it results in clothes that don’t have any substance or quality behind it. This also makes it very difficult for creatives and real designers to start a label and gain notoriety. AJ - What inspires you the most? DC - Contemporary art, design and fashion books and magazines, are my main source of inspiration. Actually I can admit I’m addicted to them. Anyway, we cannot forget the internet which is a daily research tool. AJ - What are you into at the moment? Do you think that is evident in your work? DC - Right now I’m into the introduction of new colours and textures in menswear. I think there is a whole universe to discover in those aspects. For example, lately I’ve been in love with the sand chair series of the artist Kueng Caputo. AJ - If you could give any words of advice to aspiring designers out there, what would it be and why? DC - I don’t know if I can give advice to anyone, but it would be the same that I try to tell myself every day: believe in yourself, be patient and have courage because the real world is really hard for everyone out there, and especially for us, the young ones. AJ - Finally, what do you enjoy most about working in a creative industry? DC - What I undoubtedly enjoy the most is the privilege of being able to communicate my creative universe and ideas through my work, and also get to meet and collaborate with great talented people.

www.davidcabra.com

IMAGES - Chairit Prapai

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FORM FOLLOWS FUNCTION CONCEPT AND STYLING NATASHA MAW

PHOTOGRAPHS LILI AUTUMN

Adjective. 1. The principle is that the shape of a building or object should be primarily based upon its intended function or purpose. The form of these garments are informed by the function, bringing together modern minimalist design and wearable functionality.

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Blue Waistcoat - Zara White Waistcoat - Topshop Ribbed Turtle-neck - Missguided Pinafore - You and I

Jumpsuit - Zara Cut-out Boots - Zara

Culottes - Topshop High neck - Topshop

Trousers - Zara Flatforms - Office

57 58

Lady Luck Maxi Shirt - The Ragged Priest

Trousers (Right) - Monki

Architecture Collective —

Interview

Images - Ecaterina Stefanescu

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500 Words of Design

‘500 Words of Design’ is a student fanzine that is dedicated to the world of architecture and design. Antipode Journal interviews collective member Sam Eadington to find out more about the concept and craft behind the talented group and what exactly they get up to working as a creative team.

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AJ - What is 500 Words of Design? SE - 500 Words of Design is an independent student ran fanzine focusing on many aspects of design. At the moment the team is made up of undergraduate Architecture students who contribute with written articles, installation design and construction and managing the blog.

by different people to hang and advertise all kinds of events, as well as newer edition of 500 Words of Design. It’s great to see other people using our installations. AJ - What does creativity mean to you? SE - For me creativity is about seeing and making potential connections between seemingly unrelated things, or even things that are very similar. Designers like Thomas Heatherwick do this very well and produce some phenomenally creative ideas.

AJ - What can you tell Antipode about the instillations? SE - Our installations started with the second edition, ‘Design Around the World’. The idea was to attract attention to the fanzine by constructing a small scale installation in Queen Street Studios. That installation became a talking point and proved to be a success so we’ve since created a new installation to accompany the release of each edition of the fanzine.

AJ - What is something that most people don’t know about architecture? SE - Right now I can think of two distinct things. Firstly I don’t think people (architects included) realise the potential of architecture. We very much limit our thinking to what we’ve always known, such as conventional rooms in conventional buildings. That’s not to say there’s no place for the conventional, there definitely is, but in an ever changing society I think people are unaware that the spaces they inhabit have the potential to be a lot more relevant and beneficial to the way we all live our lives.

The process starts at the group meeting where we all talk about ideas and themes for the fanzine and the installation. We try to keep the same theme across both but sometimes the concept behind the installation can be a lot more practical, for example we might have some sheets of plywood we want to use so we’ll base the idea around that, or if we’re particularly pressed for time we’ll focus on a design that doesn’t take too long to build. Once we’ve decided on the idea, a few of us will get together and build it as quickly as possible. About the ‘Archway’ installation on blog. We produced that one for Freshers’ week so that when students came in the studio entrance it was unavoidable. The idea was to stack a number of frames into cubes in which we could hang copies of the fanzine. This initially attracted a lot of good and bad attention from different parts of the department but now it’s being used

The second thing is that I don’t think most people know why most contemporary buildings are the way they are. This is down to a few things. Architects often use abstract concepts that have no relevance to the realities of the building users, resulting in architecture that people don’t understand and are often reluctant to like. This kind of design drives a wedge between architects and the public. By making designs and spaces better respond to the realities of the inhabitants, or by better explaining why contemporary architecture is relevant to the inhabitant, this gap can bring and architects together with the

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building users to create exiting and abuts designs that aren’t alienating to those less clued up on architecture theory.

to China before Christmas and now we’re designing a project there as our final undergraduate project. It’s a tough project having to design for a completely different culture and climate to what we have here in Yorkshire, but that’s what makes it so interesting. Our work will be on display in Quayside from 13th June if anybody is interested in seeing what we get up to in the architecture department. The next 500 Words of Design installation is very exiting. We’ve been approached by the Huddersfield Society of Architects to design and build a pavilion, so a far bigger structure than we’ve done before, for their Love Architecture Festival in Greenhead Park on the weekend on 20/21 June. We’ve only just started designing this one and with it being a bigger pavilion for people to actually inhabit, it takes a bit more designing than out usual installations.

AJ - What made you pursue architecture? SE - Many things. As a young child I was fascinated by stadiums, in particular Frei Otto’s Munich Olympic Stadium and all I did at school was design stadiums in the back of my notebooks. I like designing anything, I just find it fun, but for me architecture has always been my favourite area of design. I think this is probably because architecture includes so many other areas of design so it allows you pursue whatever it is that interests you most, whether that be the mechanism that open a window or the smoothness and colour of a concrete column. AJ - What do you like best about being in a creative field of study? SE - I, for some reason, enjoy the way it takes over almost every element of my life. Anything has the potential to be inspiration so any trip anywhere can trigger new ideas. That’s exciting, it makes everything worth doing. It’s also great to work alongside other creative people, it’s this reason that 500 Words of Design was able to happen. It’s incredibly stimulating to work with such imaginative and passionate people, both students and tutors alike. We’ve got some great people in the architecture department and it’s exiting to be a part of it.

As I mentioned I graduate this year so I need to find a job for a year or two before returning to do a Masters. Things are still a bit slow in the construction industry and competition for jobs is fierce so it’s tricky. AJ - Finally, What advice would you give to other aspiring architects? I think you just need to work hard, be honest about your weakness and work hard to strengthen them and be prepared to experiment with everything from drawing techniques, methods of representing designs, architecture styles and different theories and concepts. Only by experimenting can you figure out what works best for you. I still don’t know so I’m still experimenting.

AJ - What are you currently working on? SE - I’m currently working on three things: My final Third year design project, the next 500 Words of Design installation, and trying to find a job for next year. My uni project is a refuge for single mothers located in Kunming, China. We had a field trip

ww.500wordsofdesign.tumblr.com

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Architecture & Music 64

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WORDS JACK OLIVER PETCH 500 Words of Design

Article

What constitutes as a good song will ultimately change for everyone. Until it’s heard, until it’s made, it’s impossible to know what it actually does to a person. Personal resonance is felt in first person, it’s impossible to predict.

iTunes previews, only seeing architecture though building regulation windows. Are you as shocked as the paying attendees of John Cage’s 4’33” concert when you visit buildings? Our works of merit seem to be made for airplay, RSS feeds, and DJs in clubs.

Complexity, Social tension, and existing in the right time makes a pretty good start. Songs and melodic pieces of works need to resonate to our own human vibrations, to be effective. Music doesn’t hit humanity the same way twice. The love of a song can be temporary or slow burning, played over and over again, the same we experience the buildings in our own personal routine. Is this the reason why we, as architectural students, saturated in design thinking, enjoy temporary structures and pavilions?

The underground scene of music and architecture can be hard to place, but feel free knowing that great, complex music is created everywhere by everyone, and always has done. Teenagers form bands, laying bricks on the foundations of generations before them, pick up guitars, drums and cheap distortion pedals to make music with their friends. In the moment, noise and (awkward) chord changes are just perfect - rush to get out the tape recorder.. ah! But the magic is gone.

These days, it’s very rare that you hear

Can we let Architecture schools be our design underground, let history influence our designing but be aware of today’s culture. Why can’t the Everyman have access to tools to make their own architecture, Garageband for self-builders? Inspire young couples to build for themselves - personality created resonance, an embodied soul in mortar.

symphonic structure played out on prime time radio. Increasingly, It feels that it’s rarer to see pieces of experimental architecture being built close by. Buildings of great merit to go down in history seem reserved for public spaces as static time pieces, celebratory but for the moment, photographs of water droplets in cityscapes, enjoyed for a year, converted in the next.

Can you, as a designer, make a resonance to your users the same way a song can? I believe that good design can incorporate dissonance and syncopation, concord in drivers and resolving theory to create a symphony in suspended motion. Architecture truly as frozen music.

Housing for the masses, however, is relegated into the kingdom of contractors and planning. The users, those who consume these time pieces, don’t live though them, we become tired of it. We are only hearing buildings though

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F L U I D 66

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PHOTOGRAPHS: LILI AUTUMN CREATIVE DIRECTION: NATASHA MAW Adjective: 1. (Of a substance) able to flow easily. “The paint is more fluid than tube watercolours” Fluidity creates elegance, a visual freedom of the art character; fluid is the true freedom of expression; with a coat of white painted simplicity. Combined with the most creative tools of art; hands; this editorial is formed. The pristine white represents the elegance of natural elements, inspiring fluid creativity that spreads through the bones of humanity.

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Graphic Design Studio — Images - A.N.D Studio

Interview

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A.N.D STUDIO Founder of UK based design studio A.N.D, Antipode Journal interviews Aidan Nolan; the Huddersfield based Graphic designer who talks us through his creative journey.

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AJ - Do you feel that surrounding yourself with other creatives and having that creative network is important to you and your work? AN - I think it is vital to any kind of success. Design is seldom a solitary activity. You need discussion, a range of views and skill-sets to conceive and deliver great work. That doesn’t always have to be from the people in your creative network. Often clients, friends and family not considered “creative” can offer great insight and inspiration on projects. For us, as a small team, a creative network is vital for how we work. By having this structure, we can tap into a wide network of individuals from web developers, photographers, printers, copywriters and directors/editors to build a team to suit the scope of our clients’ projects. I would always advise creatives to work with good people who are as passionate about what they do and utilise their expertise because we can’t all be good at everything. By finding good people to work with along the way, it becomes an important way to learn new things and develop.

AJ - Who are A.N.D. Studio? AN - We are a small team that consists of my wife and I. She handles the business and client side of things, which allows me to concentrate on the creative aspects of the studio. AJ - How did you get into the design industry? AN - The same way most of us do these days I guess? From college, to Art School, to University and then into industry. It sounds straight forward enough but everyone will have their own way of progressing. The only major difference for me was I went straight into setting up my own studio after graduating in 2007, along with a fellow student. After a few years, it became clear that we both wanted different things from the studio. In 2010 I went solo and began freelancing for other agencies as well as picking up my own clients here and there. Five years later, I am lucky enough to still be working and continuing to grow the studio in the way I want it to.

AJ - What does the word ‘creativity’ specifically mean to you? AN - Freedom. I think it has to be freedom, it has allowed me to work for myself and create work that I am proud of. I have carved my own path and done things the way I think they should be done. It hasn’t been an easy road by any means, I have had a lot of help along the way. I feel fortunate enough to still be doing what I do. We should all feel very lucky and a sense of freedom if we can make money from the thing we enjoy and would most likely do in our spare time if we had a ‘normal’ nine to five job.

AJ - Have you always been in a creative setting? AN - I think most people are, aren’t they? We all grow up being encouraged to pursue creative activities; drawing, painting, music, writing, making things, playing with Lego etc. — I imagine the difference is, I had just the right amount of talent and drive to have managed to keep doing this for as long as I have and make a living from it.

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Interview

AJ - How would you best describe the style of A.N.D. Studio? AN - I wouldn’t like to say we have a set “studio-style”, as I think it limits you to a particular client base or type of output. However, I always strive for our work to have a good idea at its core and also be aesthetically pleasing. It should be about the right outcome for the client, as it always needs to work for them and their audience. We do, however, favour a clean and minimal aesthetic, this is more out of our belief that by pairing things back it, gives clearer communication. Contrary to most peoples’ opinions, this is not the easy option to take, but it is worth it when it is done with conviction and craft!

contemporary graphic design until I joined Twitter back in 2009! For example, with the internet you are now able to look at a design studio in Melbourne doing fantastic work or a guy in Toronto doing amazing things or stumble across a student’s online folio who is just about to graduate — this can create a sense of ‘everything looks the same’, but hopefully it will inspire and fuel us all towards creating better work.

AJ - What is your must have item that you couldn’t live without? AN - It would be easy to say an item like my iPhone, it probably would be difficult to live without it! You have a very intimate relationship if you think about it, you use it from the moment you wake up to the time you go to bed. However, as useful as my phone is, I would have to say (and this is a slight cheat); a notebook and pen. I don’t think I could live without these two items. Modern life is so digitally focused, but there is still no replacement for the feeling you get from sketching or writing with a pen on paper.

AJ - You do a lot of branding projects for client companies but your brand identity itself is pretty strong, what keeps you motivated and passionate about the A.N.D. Studio identity? AN - It is really important that we present a strong image as it is a visual industry we are operating in. It also helps to demonstrate to clients how important it is and the effect a good visual identity can have on their business.

AJ - If you could travel anywhere in the world, where would it be and why? AN - I tend to be more of a city person, so I think it would have to be San Francisco. New York had always been high on my list of places to go, but in the last few years it has been overtaken by San Fran. With apps like Instagram, you are given an insight into a place and from what I have seen, it seems like a really great city to be in. Although having said that, I also hear that is has changed a great deal due to the tech industry really exploding over there in recent years. I think you have to go and make your own mind up on these things. I really want to drive down the coast, stopping to visit modernist houses and see the giant Red Wood trees on the north California cost.

AJ - What in the entire world inspires you the most? AN - The current job.

AJ - Do you think originality in design can still be achieved in a world of constant digital documentation? AN - Yes, I do. If, for example, you compare design to music, there are many similarities in that there are new sounds created by musicians who take influences from various places and then inevitably add their own ‘thumbprint’ into the mix. It is the same for designers, we take influences from everywhere and then with our own intuition, or gut instinct, if you will, we come up with new things to solve our clients’ problems. There is now more of an opportunity for today’s students to discover things that I would never have found during my studies! I was digging through books in the library and immersing myself in the classic designers who gave me an important grounding in the use of typography, colour, scale etc. I was so unaware about

AJ - Finally, what is it that you enjoy most about working in a creative industry? AN - I guess it would be the opportunity to not really feel like we are working. Getting paid to do what we are passionate about, learning new things and being creative is a really great way to live. It is hard work but the rewards far outweigh any of the drawbacks.

www.cargocollective.com/aidannolan

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Robbie Lawrence

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Illustrator - Images: Kate Thornton

Interview

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Kate Thornton Antipode interviews Yorkshire-based artist Kate Thornton, who gets her inspiration from the surroundings of nature and channels this fascination into art. She incorporates the essence of nature in the form of bird silhouettes combined with an interest in vintage travel through maps and postcards to create delicate paper-cut collages that can be found on beautiful prints and greeting cards.

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AJ - What does creativity mean to you? KT - Creativity means having a material artistic output for my ideas but it also means that I approach problem solving or idea generation with a brain that comes up with lots of alternatives, too many sometimes - Being indecisive is one of my stumbling blocks.

now but I’ve really enjoyed life drawing classes in the past. It’s surprising how quickly your drawing improves and how it feeds in to other creative practices. AJ - Your work seems to feature a lot of birds and has an essence of travel to it, where does that inspiration come from? KT - My Dad has always been interested in birds so it’s something that’s always been with me. It wasn’t until I went to New Zealand with my husband that birds became a real focus and interest in my life and my work.

AJ - Do you come from a creative background? KT - Yes, my Dad is an architect and now he is retired, a great watercolour painter. Everyone in my family is interested in art and design, my creativity has definitely been nurtured.

AJ - Do you have any strange routines or rituals as an artist? KT - I’m not one for routine. I create new work when I have a new idea or I surround myself with lots of materials and start making without an agenda to see what pops out of the experimentation.

AJ- How would you explain the craft behind your work? KT - Definitely no laser cutters, all my original work is done by hand. I research the silhouette, I either trace out of a book or print off the internet, then cut out the template, place it on to the back of the material I’m cutting, trace again, cut again. The finished silhouette is placed over a cut paper background using spray mount and I sometimes add in big paper moons! I also work in screen print for the more pattern based work and I use Photoshop to help me produce large runs of greetings cards and prints.

AJ - How would you personally best describe your style? KT - Graphic and simple with a strong thread of nature. AJ - Is there a main element of craft or process behind your work? KT - Yes most of my work and ideas come from the images I create through paper cut collage. Hand cut, no laser-cutters here!

AJ - Is having a drawing skill compulsory to your style? KT - I’m not that into drawing, it’s not my strongest skill although drawing is a really useful activity for creativity. It helps you to look and observe properly. I don’t do much drawing

AJ - Do you have a favourite piece of artwork? (From yourself or another artists) KT - There are so many artists I respect and love. This isn’t my favourite piece of work or

Interview

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artist even but the first thing that popped in to my head was Matisse and his large paper cut-outs which he created later in his life when he was less mobile and struggling to paint. In particular ‘The Snail’ which I saw in Paris on a college trip.

you have to seek that support from different places. I’ve found that most people, even the people you admire and look up to are more than willing to give you advice. AJ - What is your must have item that you couldn’t live without? KT - Sharp knives and Rooibos Tea.

AJ - You use a lot of patterns and silhouettes in your work, what are you trying to communicate with that? KT - Other than sharing my interest in birds and the natural world I’m not really trying to communicate anything, if I am then it is subconscious. I create shapes, silhouettes and patterns that I find interesting and spend a lot of time working on the composition and the colours I use. So they may seem very simple but there is a lot of attention to detail in the work.

AJ - If you could travel anywhere in the world, where would it be? KT - Back to New Zealand via The Galapagos AJ - Finally, what is it that you enjoy most about working in a creative industry? KT - The possibilities and opportunities. If things aren’t working I know that I’m equipped with the skills and ideas to change direction.

AJ - How do you know when a piece of work is finished? KT - When I don’t have any major doubts about it, I feel comfortable with it. I know then it’s ready to go. Knowing when to stop is really important, especially in drawing or painting. AJ - What’s the best advice you have ever had regarding creativity? KT - I’m not sure but people have told me and I have told myself that you can’t really force creativity. There are things you can do to generate ideas which can feed in to your creativity but I think the best work comes when you least expect it.

www.katethorntondesign.com

AJ - What advice can you give to aspiring artists? KT - The above. And don’t be afraid to ask for advice and constructive criticism, once you’ve left full time education

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PROC 84

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CESS 85

ALL IMAGES — © Amy Revier

WORDS: NATASHA MAW

AMY REVIER

PROCESS: WEAVING

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Feature

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Texan fashion designer, Amy Revier practises the art of combining art, performance and craftsmanship together to produce the most beautiful and authentic of wool garments. A self-taught weaver, her inspiration for the cocooned coats comes from the idea of the human body being interpreted into a sculpture; in particular the hibernation investigation of animals. This inspiration is created from her traditional floor loom, where she weaves her ideas to wearable life. Her ideas first came in the form of clothes when she moved to London, where she began seeing the art of garment manufacture as a form of expressive art where one-of-a-kind pieces are created. Amy presents her work as an exhibition piece via instillation or gallery spaces, this is what differs her work from falling under the ‘fashion’ tab. Though every designer goes through the process of craft, Amy carefully mastered the art of weaving after seeing a floor loom for the first time in Dallas that reminded her of the creative process of a pianist. Amy then fell in love with the craft of back-strap weaving; a type of weaving that is done on a backstop loom and results in a finish piece of fabric regardless of its shape or size. She familiarises the process similar to that of dancing; a task very intricate and beautiful just like her pieces.

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ALL IMAGES — © Jeremy Maxwell Wintrebert

WORDS: NATASHA MAW

Jeremy Maxwell Wintrebert

PROCESS: GLASS BLOWING

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Feature

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At the age of nineteen, Jeremy Maxwell Wintrebert discovered the wonders of what having a background in painting can do when combined with hot liquid glass. Jeremy describes his first time seeing the movement and craft process of hot glass moving at the end of a blow pipe as ‘glowing, dancing, dangerous, delicate, mysterious, fast, hypnotising and very sensual’, a very accurate description of his own work. To excel in the skill of glass-blowing, Jeremy travelled across the world working in different studio environments in places such as California, Washington, Italy, Czech Republic and France; where he has resided since 2007. The art of glass-blowing has a very important common denominator; art and craft; the two combined is what makes Jeremy’s work so very artistic and inspiring. Jeremy has experimented with not only glass, but metals and clay; a combination that has created the most beautifully ornate objects. His intricate process of glass-blowing has become a most talked after topic after his glass instillation featured at the V&A titled Human Nature; which consists of hundreds of stacked glass cylinders; all impressively mouth-blown. Following up to the exhibition, a feature-length documentary produced by Dezeen for champagne brand Perrier-Jouët was made, following Jeremy and his process titled; Heart of Glass.

Source — © Sophia Akrofi

WORDS: NATASHA MAW

DITTO PRESS

PROCESS: RISOPRINTING

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Source — © Allan Williams

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Publishing is a popular game played by creatives at the moment, either you want to get printed; or you want to actually print. The idea of bringing an idea to (real) life rather than the visual reality of the computer screen is thrilling, exciting; but mostly rewarding. Even though we live in a digital age, we still appreciate the authenticity of a hand-held publication, and London-based print studio; Ditto Press know exactly how to cater to those needs. Situated in between the crevice of Hoxton and Hackney, Ditto Press is one of London’s most in-demand publishers in the art and design industry. Founded by Ben Freeman; Ditto Press is the result of a collaboration between artists growing up in the peak of the acid-nation nineties, where controversy and animation cross paths. A low-key studio, Ditto specialise in risograph printing; an old stencil printing technique that is more than likely seen in schools, prisons and political parties that is produced at low costs, with a colourful and characterised outcome. One of their most famous publications; titled Ninja Turtle Sex Museum by James Unsworth, is as the title suggests; a collection of the famous green animated group in the most compromising and questionable of positions; showcases the fun side of art. Something that can be easily forgotten under modern pretension. 96

Source — © Dirty Soup

Source — © Vivek Vadoliya

Feature

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WORDS + PHOTOGRAPHS NATASHA MAW

THE INDUSTRY The subject of fashion is often made a joke, misinterpreted and more often than not completely misunderstood. When thoughts of fashion arise from minds outside of the creative field; the idea of it as a career is thought as a ‘waste of time’, an idle job that shouldn’t ever be considered more than a hobby; an overall faux industry of egomaniacs and shallow sisters who strive for childish ideals and live a ‘sheltered’ life of heels and handbags. This couldn’t be further from the truth. True, people in the industry may treat their job as a hobby; but that’s simply down to the enjoyment of doing what they love. Is there a dark stigma of guilt hanging over the idea of enjoying your line of work? More than likely. We are told to work until we can’t anymore, to embrace selfishness as long as you reach the top of the game; even if that means cheating. There is no cheat code for fashion, no overnight programme to teach you the wealth of knowledge that studying for years in the fashion industry brings. Fashion requires concentration, requires attention to the smallest of details, requires perfectionism, requires a tough exterior; but most of all fashion requires craft. The craftsmanship that goes into the construction (and often deconstruction) of a simple garment, is truly a wonderful thing. To learn how to handle the wonders and horrors of sewing machines and over-lockers. To take a piece of cloth, and make a whole new wardrobe from it in which you can change your whole identity, or boost another’s opinion of themselves. This isn’t credited enough, just how rewarding and difficult it really is in the fashion industry.

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Nature as Inspiration 104

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WORDS IULIANA SILVI 500 Words of Design

Article

Artists, designers and architects have long used nature as a source of inspiration in their works. Shapes, textures, patterns, colours found in nature, specific characteristics such as adaptation to climate of different species of animals or plants can all be integrated in one’s work for producing a truly innovative and aesthetically pleasing design.

A great example of architecture inspired by nature would be Antoni Gaudi’s (Spanish architect) work, which I first visited this year during a trip to Barcelona. Some of the designs that I saw were Casa Balto, Casa Mila, Park Guell and Sagrada Famiglia. I have to say that it was the first time when I truly experienced the effect that curved lines have on people and I found them really appealing to the eye and the heart. His design did not merely mimic nature, but they were the result of attentive and intelligent observation of natural forms, structures and functional characteristics.

There are more ways of incorporating nature’s elements and features in a design and these are: by taking inspiration directly from natural existing elements such as animals, plants, human bodies and anatomical structures for purely aesthetic components of form, technique known as Biomorphic architecture.

My advice for anyone that is interested in the subject is to go out in nature and explore, and whilst there to disconnect from the big picture of a landscape and pay attention to the details such as the textures found on a plant’s leaf, the colour variations of a butterfly’s wing, the form of a rock and the behaviour of a bird and to use them to draw inspiration for design.

By studying nature and mimicking it in order to solve architectural problems, technique which is called Biomimetic architecture or by designing buildings in perfect harmony with their environment, following the principles of Organic architecture, just like Frank Lloyd Wright has emphasized them through its designs.

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Photographer, Film Maker — Images: Tom Entwistle

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Tom Entwistle

Freedom and creativity come pretty much hand in hand, and photography is a perfect exploration and example of the freedom of modern craft. Antipode Journal talks personal preference and thoughts on creativity with freelance film-maker and photographer Tom Entwistle, a UK-born but Sweden based photographer who captures the reality and beauty of nature.

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AJ - How would you best describe your photography style? TE - I wouldn’t say I have a particular style, I like to take dynamic photos that show a lot of detail and capture a story within them.

AJ - That’s important seen as though your work primarily focuses on an outdoor setting, what is it about the outdoors that draws you to it? TE - I really enjoy being outdoors and doing various activities, when I see new places I just want to explore. Having my camera with me inspires me to go and shoot outdoors.

AJ - What does the word creativity specifically mean to you? TE - Creativity to me is using my imagination to make something or look at something in a new way, I usually have crazy ideas but that can be good when wanting to make something new.

AJ - So being outside in general inspires you to take picture, but what really excites you? TE - I would probably say people who I see pushing their limits in what is possible, I am a big fan of action sports and when I photograph this there is so much positive energy between the crew.

AJ - Do you come from a creative background, how did you get into photography? TE - Not at all, I started riding bikes with my friends and then thought it would be cool to document what we were doing and it all went from there.

AJ - How do you feel about shooting with film as opposed to digital? TE - When film is done right it looks awesome... But digital is more appropriate for my work, and I don’t have to pay hipster tax.

AJ - What equipment do you use? (e.g. camera, lens, filters, flash) TE - At the moment I use a canon DSLR with a 11-16mm wide angle and a 50mm prime.

AJ - Do you think originality in photography can still be achieved in a world of constant digital documentation? For example Facebook and Instagram? TE - Definitely. There will always be originality if you use your own imagination and are genuinely interested in photography.

AJ - Which is your favourite lens? And why? TE - Probably the 11-16 at the moment, I can get super close up and capture all the action.

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AJ - When on your travels, what is the one must-have item you take with you, and why? TE - Camera piece would be my 50mm as its mega compact and light. Non camera would be my trail shoes because they get me into places you cant get to easily. AJ - What are you into at the moment? TE - Exploring new places in Europe, going to events and riding my bike. AJ - Finally, what is it that you enjoy most about working in a creative industry? TE - I like the freedom I have to go to places and meet people by involving them in my work or by showing it to them.

www.tomentwistle.com

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WORDS: NATASHA MAW

theARCHIVE Antipode — Volume One

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A is for Archive. Straight from the vault at Antipode, a round up the best of a brilliant bunch presents to you for the first time in print; our favourite images in organised colour. At Antipode, we dedicate our time to attention to detail, our appreciation is always for beautiful photographs and drool-worthy design, and we push our goals to find talented creative individuals from around the world for you to find out about. This issue is dedicated to the craftsmanship and hard work of those said creatives, you’ve met the people, seen the process, read the inspirations behind them; now sit back, relax, and enjoy the view. We bring to you the most exquisite designers, artists and photographers in categorised colour, as never seen on Antipode screen.

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achromic

theARCHIVE — Achromic

Adjective 1. Colourless; without colouring matter.

A colourless palette is perhaps the most important thing to exist in the design world. A world without colour becomes dependable on tones alone; a world that resides on only tones becomes a perfected place. The slight upper and lower balance of the blacks, whites and greys that are usually unseen to the naked eye, become massively important. No longer is grey the colour of the pavement, but the colour in which the Achromic palette balances on in between the depth of black and white. Achromic brings a new meaning to the term ‘monochrome’. Solid black, dazzling white, stainless grey. Achromic is beautifully perfected with a sharp modern edge.

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Rebraun by Dieter Rams

Time Wall Clock by Stelton

Titanic Lamp by Fluke ADER Error Fall/Winter

Enter the Void by Tyler Spangler

(Girl) PatBo - S/S 2016, Lolitta S/S2016, PatBo - S/S2016 (Boy) N. Hoolywood A/W2015, Matthew Miller A/W2015

Huntington Avenue, Boston by Jordana of White Cabana

ADER Error Fall/Winter Still With You

Cottweiler A/W2014

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theARCHIVE — Pseudo

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pseudo Adjective 1. Not actually but having the appearance of; pretended; false or spurious; sham. An object is often identified by it’s colour, more than it is by texture or smell. Colour is the illustration for emotion. It has the power to be a subconscious emotive method used commonly in design, but when edited and manipulated to look ‘false’ the original emotion captured in the image can be lost or translated differently. Pseudo celebrated the richness of falseness, the contrast of boldness and the sterile effect that colour can have on any image; Pseudo is the brilliance of false colour manipulation.

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All the Red Books All the Blue Books by Sara Cwynar

May 2008 - Satoko Yugari (Seats) May 2008 - Satoko Yugari (Flowers)

July 2014 by GORSAD.KIEV

(All Images) Washed Up by Alejandro Duran

(Girl) Dolce & Gabbana A/W 2015, PatBo S/S2016, Elisabetta Franchi A/W2015 (Boy) Oliver Spencer AW2015, Christopher Raeburn A/W2015, Julian Zigerli S/S2015 Waiotapu Champagne Pool - imgkid

Elder with Red-Beard by Nevada Wier

Arizona, USA by Ryan Palmer Planeta Marte 6 by Rubens Souza

Devil’s Tower: A little false colour by DK

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theARCHIVE â&#x20AC;&#x201D; Foliage

foliage

Adjective. 1. An ornamental representation of leaves, stems, and flowers, especially in architecture. Green is important. A core colour of the earth at a distance, it serves as an identifiable aspect that represents safety, nutrition and life. In this essence, there is not one single shade of green that is attributed to the flavour of foliage, but three different shades. Artichoke green represents the core element of growth in nature, Myrtle green plays on the darked tones of green; highlighting the strength of nature and Bottle green serves as balance of the perfect green of foliage.

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Lissy Elle

Artificial 151. Diaphragm IV by Jon Nensén Droplets by Rebecca Pinar Kalintas

Thirsty Soul by Xavi Prat

Oliver Osborne at Vilma Gold Broken Life by Wendy Moody Yiqing Yin Haute Couture spring/summer 2012

Mayan Blue by Sigrid Holmwood

Strange Plants II by Ren Hang LA PAZ - 2014 Something about today no.2 by Marie-Claire Bozant Girl) Dolce & Gabbana A/W2015, Salvatore Ferragamo AW2015, Roccobarocco A/W2015 (Boy) Umit Benan A/W2015, Fendi AW2015, Perry Ellis A/W2015

Allan Gardens Conservatory by Julia Long

Haven Her Body Was by Noémie Goudal

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INSPIRE WORDS: NATASHA MAW

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Source: Nibariki

hayao miyazaki

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A man who brought every eighties and nineties child to obsess over the idea of small ghost-like creatures that protect the forest, a man who taught that not only should we love one another unconditionally (even our enemies who turn out to be... Well not so bad, or just have an incredibly uptight identical twin), but that we could possibly find love in a thrashing bloodthirsty dragon who can take on the form of a small but analytical boy; Hayao Miyazaki is that man. The man who brings dreams to life, Miyazaki created the Japanese animation film studio, that is the wonderfully weird and whimsical world of Studio Ghibli. Antipode honours the man who changed the way in which we (as adults) see the world of animation and cartoon, we thank him for providing a childhood (and adulthood) of rich and wonderful imagination, and giving us a thirst for creativity.

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Source: Irving Penn

rei kawakubo

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Fashion and design will always live side by side, and Rei Kawakubo is one of the people to thank for that. Commes des Garcons creator, Kawakubo is one of the most celebrated people in the creative industry; not just in the fashion sector. Her desire for pushing boundaries and combining the two most expressive forms of creativity together has created a world of freedom of expression in all forms; be that art, photography or fashion design. Her quirky, animated approach to fashion and advertising is something we have come to depend on of the design world. We love the infamous love hearted character and the boldness of the Japanese scripted ads that are seen in just about every magazine. Kawakubo set the standard extremely high, and is has only had a positive effect on the up and coming creatives of the world; for this we thank you Rei Kawakubo.

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Source: Complex

dieter rams

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An often (scary) thought occurs when we visualise a world without Dieter Rams. What would the world be like? What would the computer look like? Would Apple products be so sleek without the inspiration from Rams’ industrial and (ultra) modern functionality? Would we live in a world where our appliances have to be covered in patronising patterns complete with a distasteful colour we don’t actually enjoy looking at? It’s hardly bearable. Luckily, we can squash those bad thoughts of a distant world and focus on our wonderfully basic (yet beautiful) advancements in just about every product on the market thanks to Mr Rams. His ‘Less is More’ ethos is one that the world will never forget, and will be eternally in-debt to.

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Alana Dee Haynes

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Rose by the Ocean 148

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WORDS JAMES GLAHOM

She sits back, letting the sand in between her toes. It

of her eye. Nobody else could have seen it as their

does not tickle her as it is her sand. She looks out into

eyes are not accustomed to the rancorous salt in

the ocean as the foamy water arrives, cooling her feet.

the water. But Rose had never known the luxury of

She has painted her toenails red, and as the water

swimming in fresh water.

washes over her the crimson becomes clear again and her feet appear laminated.

Upon seeing it, she had made an arrow with her arms

Feature

and swam towards it with great determination. She She could not begin to describe the endless ocean

got not a metre away, before she could not hold her

as it is all she knows. She has never not lived by

breath and was forced to resurface.

the water. She has never not awoken to the tides

She had went to bed that night hopeful, and stared

magnanimous swish.

sleepily into the silhouette of her rose, dreaming of

Could you describe daylight if you did not

whatever awaited her beneath.

know darkness?

She awoke the next morning to discover that an amazing thing had happened: the water had shrunk;

She sees the same horizon every day â&#x20AC;&#x201C; blue on blue.

the sand had grown, both by a distance of one metre.

Endless.

This same change had then occurred every

She has never seen the colour green.

morning since.

She lives alone in a small wooden chalet in the sand. She awakes on her thin mattress every morning and

She stands up, hears the sound of the sand as it falls

looks out onto the water through her window.

from her buttocks and the backs of her legs like dust

To her, the smell of sea salt is the smell of normality. In

from a long forgotten childhood memoir, or the least

her mind, silence is a sea breeze.

popular dictionary at a public library. Her toes hesitant

She does not know noise.

in the thick, mud-like sand, she walks into the water.

The chalet is populated with nothing, bar a

She is unclothed, and the sun shines brightly into her

solitary rose on her windowsill, after which she has

body, yet her skin has never been burned. She walks

named herself.

slowly through the water, pointing her arms gently behind her and spreading out her fingers.

Her name, then, is Rose.

She is at one with the water.

Beneath the light of the magnificent sun, she swims

She knows precisely where the door is.

every day in the water. She swims for hours upon

She feels it.

hours and has spent the last month or two fantasising about a trap door.

The wood is coarse against the bottom of her big toe, yet it feels fungal from its exposure to the water

She had seen it whilst swimming.

and what little life it inhabits. She leans down, her

She had been underwater where the sea was some

face bending into the water, taking no notice of how

ten-fifteen metres deep and had seen it in the corner

refreshingly cold it is. Opening up her eyes, she takes

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a matter of seconds to locate the door’s handle. She grasps it gently, with an emotion she cannot pinpoint. Probably something between curiosity and relentless fortitude. As she pulls on it, it moves slightly but does not open. She comes up for air, coughs, and takes her heavy hair out of her face. It clasps onto her shoulders as if her head is harbouring the tentacles of a dead animal. In places, such as the middle of her spine, she can feel the gently pointed ends touching her skin. She smiles a wet smile, her face now warming against the sunshine. This is the acme of her day. In great felicity, she runs out of the water and splashes out onto the sand, flailing her limbs. Her hair exudes seawater like the fur of a collie. Her chalet has been waiting for her, patiently.

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Tomorrow. Tomorrow, she is sure of it, she will be able to open the door. Tomorrow. It is when she attempts to sit upright from her bed that she notices something different about the chalet. She uncoils her legs, presses them toward the floor and finds it full. To those familiar with the notion of gift-giving, the floor appears quite like it would on Christmas morning, and due to the array of new objects that now lie there, there is no clear space for her to place her feet. The majority of the objects she does not recognise, and does not concern herself with them as her mind has no time for anything else other than the door. However, she notes the lack of structure. The way none of the objects appear to be stood the correct way up. Confused, she leaps elegantly over the heap and whips open her front door. She stares first at her monotone horizon. And then at the shore. The shore is closer to her, far closer than yesterday. Closer than it has been since first finding the door. She runs now to the trapdoor, the location of which she knows like the back of her hand, and after a length of uncertainty, draws her conclusion. The trapdoor has disappeared. The ocean has changed its mind, and so she stands still in the company of only water.

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She considers crying, but – not wanting to make her ocean any deeper decides against it. In fact, she does not know whether or not she is upset. Not wanting to see the water, she returns to her chalet and considers the objects on the floor. As best she can, she examines them one by one. Amongst the objects there is a bold ruby, a single lily, and something that completely, categorically fascinates her. It lies at the centre of her floor, its surface is curved and its edges are pointed. The colour, she has never seen before. It is a leaf of holly. She sits back in her solid bed and it is then that she notices. On her windowsill, there is no longer a rose. She sits this way for hours, maybe days, until she finally decides to forgive the sea. She decides to

Feature

exemplify said forgiveness by putting her feet in it. The sunshine mesmerises her as she leaves the chalet. For the very first time, it almost hurts her eyes. She sits down, again letting the sea’s fringe stroke her feet. Her toenails are unpainted, and it is now that she stares out into the ocean and beams her broadest of grins up to the sky. She smiles this way until darkness absorbs her, until the sunlight reappears and the cycle begins once again. She smiles this way because she knows. Be she a Ruby, a Lily or a Holly, she knows she will one day open up the trapdoor and land into a new world. A world of bricks, of grass, of hatred, of money and of love. And when she does arrive, the objects now scattered across her chalet floor will mean nothing to her; she will forget even the smallest fragments of Rose’s existence. But the ocean, blue, fizzy and mischievous against the calming sky; the ocean that has seen her in all her forms, caressed her body in all its moods and glory. The ocean that - lest we forget - is more familiar with her than she with it. How could it ever?

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GALLERIES 1:54 Contemporary African

Galerie Hubert Winter

Lazarides

Salts Mill

Art Fair

Breite Gasse 17

11 Rathbone Place

Victoria Road

Somerset House, South Wing Strand

1070 Wien, Austria

W1T 1HR, Fitzrovia, London

BD18 3LA, Saltaire, West Yorkshire

Tarpey Gallery

WC2R 1LA, London

Art Brussels

Galerie Kornfeld Kunsthandel

Lisson Gallery

Brussels Expo (Heysel) - Halls 1 & 3

GmbH & Co KG

52-54 Bell Street

77 High Street

Place de Belgique, 1

Fasanenstraße 26

NW1 5DA, London

DE74 2PQ, Derby, Leicestershire

BE-1020, Brussels

10719 Berlin, Germany

BEARSPACE Gallery

Galerie Thaddaeus Ropac Pantin

London Glassblowing

The Centre Pompidou

152 Deptford High Street

69 Avenue du Général Leclerc

62-66 Bermondsey Street

Place Georges-Pompidou

SE8 3PQ, London

93500 Pantin, France

SE1 3UD, London

75004, Paris France

Cosmo

GALLERI BO BJERGGAARD

Migros Museum für

Carrer Enric Granados, 3

Flæsketorvet 85

Gegenwartskunst

Gallery Walk

08007, Barcelona

1711 København, Denmark

Limmatstrasse 270

WF1 5AW, Wakefield, West Yorkshire

Spain

The Hepworth

8005 Zürich, Switzerland

David Zwirner

Galería Maxó

Munro House

Vessel

24 Grafton Street

Carrer del Portal Nou, 29

Duke Street

114 Kensington Park Road

W1S 4EZ, London

08003, Barcelona

LS9 8AG, Leeds, West Yorkshire

W11 2PW, London

Victoria Miro

Spain

De Primi Fine Art SA

Galleria Continua Le Moulin de

NewArtCentre

Piazza Cioccaro 2

Sainte-Marie

Roche Court

16 Wharf Road

6900 Lugano, Switzerland

48 Rue des Papeteries

East Winterslow

N1 7RW, London

77169 Boissy-le-Châtel, France

SP5 1BG, Wiltshire

Esther Schipper

Hauser & Wirth

Pace London

White Cube

Schöneberger Ufer 65

23 Savile Row

6 Burlington Gardens

25-26 Masons Yard

10785 Berlin, Germany

W1S 2ET Mayfair, London

W1S 3ET, London

SW1Y 6BU, St. James’s, London

Fondazione Prada

Jaski Art Gallery

Saatchi Gallery

Whitechapel Gallery

Largo Isarco, 2

Nieuwe Spiegelstraat 29

Duke Of York’s HQ

77-82 Whitechapel High Street

20135 Milano, Italy

1017 DB, Amsterdam

SW3 4RY, Chelsea, London

E1 7QX, London

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