Motion Magazine: Issue1 by motion_magazine

THE ARTS & CULTURE MAGAZINE

BEAUTY

KODO NISHIMURA The Monk Who Wears Heels

ART

KIM NOBLE The Artist Of All Trades

FASHION

ANDREA BERGART She Shoots And She Scores

contents EDITOR’S LETTER pg.6 Veronica Wong Diffa

KODO NISHIMURA pg.8 The Monk Who Wears Heels

HOUSE OF BURLESQUE pg.14 The ‘Tempest’ Who ‘Rose’ To Success

‘STROKE OF BEAUTY’ pg.18

AKHILA KUMAR pg.32 Fashion Graduate

ANDREA BERGART pg.36 She Shoots And She Scores

‘MORE THAN MEETS THE EYE’ pg.40

SIMONE FIELD pg.50 Illustrator

contents ‘ANOTHER WORLD’ pg.54

KIM NOBLE pg.60 The Artist Of All Trades

YAMILE HERRERA HERRERA pg.70 Salsa Teacher and Performer

‘BLANK CANVAS’ pg.74

GWEN RUSSELL pg.84 “Making Costumes Feeds My Soul”

PRINCE OF EGYPT MUSICAL pg.88 How Does This Truly Epic Tale Translate To The Westend Stage?

ARTISTE pg.92

EDITOR’S LET TER At this strange moment in our existence, it is hard to imagine our lives returning to the norm. But in all honestly, what is ‘normal’ after such a confusing and life-altering time? This pandemic has faced us with a lot of mental and physical challenges, and

industry, and if there is one thing you take from this magazine, let it be this – it may not be easy, but it’s rewarding. Like any other community, the creative industry has its merits and faults, for some it’s the challenge of being eco-friendly in an industry that is a large cause of world pollution, as discussed with Akhila Kumar - Fashion Graduate. For others, like Kim Noble the artist of many personalities, it’s the difficulty of fitting seamlessly into a group or category. The truth is, morality of such a wide industry is everimpending and like I’ve said before, you can’t have everything. Even so, what keeps artists afloat and motivated to succeed is their passion for their craft and determination to encourage others to join and better the industry one artist at a time.

for Motion magazine, the predominant obstacle has been the motivation to think and be creative in a home that for some, is now a locked enclosure. Truthfully, it’s been a challenge to embrace the freedom of movement when you have been confined within four walls. Like many, Motion has strived to look for the positives in such an unmarked territory. We began to appreciate the things we previously took for granted, like the ability to talk to anyone anywhere instantly, whilst simultaneously complaining about how poor the internet connection is – you can’t have everything.

Motion gives an insight into this lively industry, showcasing inspiring and innovative artists regardless of age, gender or background. Our hope is that this magazine will inspire, inform and challenge your thoughts with every interview and photoshoot. We encourage you to get involved and show us your creative work think beyond the imagined and create your own story.

We began this issue with a wide range of ideas and concepts to pursue without knowing the depth of restriction today’s living would challenge us with. Through determination and strong motivation to showcase creative artists from around the globe, Motion successfully adapted to today’s new reality, conducting interviews and collaborations through all virtual means possible. Motion gives creatives a platform to express their passion for art, fashion, photography, beauty and the performing arts with a flick of a page.

So, what’s our next move? That lies with you. For more inspiration and exclusive visual and written content, visit Motion’s digital magazine and website.

Motion has had the opportunity to speak to the most inspirational artists from around the world; having conversations with those who are adding a touch of happiness into our everyday lives with a stroke of the brush or a kick of their heels. We spoke to Kodo Nishimura, a Japanese Buddhist monk and make-up artist, who left us with a sense of appreciation for the opportunities we experience to find our inner confidence. Andrea Bergart, New York Fashion Designer and Painter, spoke to Motion about her unique creative products that combine her love of art and her passion for sports. And lastly, but by no means least, Colombian born salsa teacher, Yamile Herrera Herrera, transformed a black backdrop into an energetic dancefloor, adding a touch of motion and movement onto a blank canvas with just the sway of her hips. Motion collaborated with innovative photographers and artists that share an equal passion for the arts and together we created an issue that fully encompasses the word Motion.

Veronica Wong Diffa EDITOR-IN-CHIEF

Motion gives artists a platform to speak freely of their raw experiences, providing readers with a true insight into this wide

FOUNDER OF MOTION: EDITOR-IN-CHIEF : Veronica Wong Diffa

A SPECIAL THANK YOU TO: PHOTOGRAPHER: Robyn Slator PHOTOGRAPHER: Elizabeth Butler MAKE-UP ARTIST: Yasmin Howell COSMETICS: HUDA Beauty MODEL: Alexandria Gerrard MODEL: Yamile Herrera Herrera ILLUSTRATOR: Simone Field WRITER: Sam Bradley Cox

Mike McNally, Mark Oâ&#x20AC;&#x2122;Connor, Urjuan Toosy and Nick Moroudias

Thank you for all your help and support!

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General Enquiries: motion_magazine@outlook.com

7Photographer: Elizabeth Butler

o d o nishimura THE MONK WHO WEARS HEELS

Kodo Nishimura, a 31 years ‘young’ Buddhist monk and makeup artist or, as he likes to describe himself, the monk who wears heels, is spreading his message worldwide of equality and happiness with just a stroke of a brush.

You may have spotted Kodo’s name around, having been a makeup artist for the Miss Universe Pageant, worked with publications such as Nylon and Esquire as well as featuring on Queer Eye, Netflix. Having had a busy day of publishing meetings for his first LGBTQ+ self-care and motivational book, Kodo ends the night by reflecting on his journey of Buddhist training and his career as a makeup artist, with Motion Magazine.

pageant competition and she proved that being Japanese was not inferior. She was this holy serene mysterious, glamorous, enchanting goddess of Asia. She had such beautiful makeup on and I was like, ‘Wow makeup can accentuate Japanese eyes so much!’ One thing that made her stand out is that she spoke her own experience; she is a dance teacher and she said, ‘I learnt how to be positive, patient and happy by learning how to dance and this is what I want to teach the next generation’. She spoke from the heart and we could see that she was sincere - she is hard working and very compassionate.

“I was born in the centre of Tokyo and grew up in a temple where both my parents were monks. In Japan, we have our own calendar, our own way of counting the years where we use time according to our emperor. Around 150 years ago, during the Meiji Period, Buddhism suffered exclusion from the Japanese government, because they preferred Shintoism. The Buddhist temples in Japan, were unable to collect enough merits or donations to survive and so a new order was introduced that allowed monks to get married, have children and have other jobs. Some monks became teachers or, university professors like my father, some monks became doctors and some are acupuncturists. I became a makeup artist.

The pageant competition taught me that beauty is something anybody can embody. You can learn how to do makeup and you can learn how to express yourself. She [Miss Universe Japan] was really confident and spoke her mind, and I realised that my ethnicity and look shouldn’t be the reason to blame myself. So I started to play with makeup to gain confidence. I bought Covergirl eyeliner and mascara because Drew Barrymore from Charlie’s Angels was the cover of the brand [Laughs]. I had successfully managed to make a friend; another international student from Japan who was very sweet but

After graduating from High School at 18 years old, I went to Boston for two years where I majored in Liberal Studies. From 20 to 24 years old, I studied at Parsons, School of Design in New York, majoring in Fine Arts. I thought that if I were to come to the U.S, I would make so many friends; I could be myself and I could be happy. But I wasn’t able to make many friends there and I started to blame my outlook – my eyes were narrower, I was much shorter than many American people, I was not blonde or blue-eyed and I wasn’t really masculine. I started to blame myself - ‘Maybe it’s because I’m Japanese. I have different physical attributes that don’t attract people or maybe it’s because I have different values and cultures; that’s why I’m not making more friends.’ I thought being Japanese sucked.

sometimes struggled with her academics and relationship. She was my only precious friend in the U.S and to encourage her to do better, I decided to do her makeup. Seeing my precious friend radiating not only from the outside but internally, was a huge joy for me. I’m really happy when somebody feels a potential or power that’s inhibited in them because I remember the time I was feeling powerless, helpless and hopeless. It was just eyeliner and mascara, but she transformed so much and she looked much more charming and confident. Before that, she was just putting on blue shimmering eyeshadow without looking at a mirror, but then she started to wear eyeliner, foundation and blush, and began to take much better care of herself. My friend was really talented and she was so compassionate, but there was no bridge for her to show that. Makeup gave her the confidence to

But in 2007, Miss Japan won Miss Universe in the international

â&#x20AC;&#x153;Makeup gave her the confidence to be more positive and outgoing ...Feeling that hope and happiness within a person is really brilliant and uplifting for me.â&#x20AC;? Photographer: Seth Miranda

Photographer: Yoko Miyazaki

be more positive and outgoing and now she is a bilingual childcare professional living in Japan. Feeling that hope and happiness within a person is really brilliant and uplifting for me.

that sexuality does not mean that you are inferior. As long as you are faithful, we can all be saved. Knowing that there are different variations of belief systems, might give them a little bit of relief. Knowledge is power.

That’s when I realised, if I learnt how to do makeup, which looked so difficult for me at the time, I might be able to help somebody who felt like me; who feels as if they’re not good enough or they don’t belong. Makeup is not to make a person look even more beautiful but, to let them know that I can make you look glamorous like Mariah Carey [Laughs] or Miss Universe, and because I can make you look like that, we learn that we are no different than them. That’s the message of equality that I am trying to make a person experience physically by using makeup.

When I grew up in Japan, I was a victim or a prisoner of my own prejudice. I thought being gay or homosexual was inferior or that I needed to go to a good university and study ten hours a day like my high school teacher told me. I didn’t fit in, and I couldn’t agree with them at all. Just living was something I was trying to manage at the time. Coming out to my parents was the most difficult. I was really afraid of what would happen if I came out and my parents didn’t accept me or if they decided to disown me and stopped loving me. But after studying outside Japan and seeing different gay fashion leaders of the world such as Marc Jacobs and YSL, and even Disney doing floats at New York Gay Pride Parade, I realised that being gay or homosexual is nothing to be ashamed of. It’s something to be proud of and we can contribute to society in a different way. When I came out, my parents didn’t show any negativity towards me - they

“My mission as a monk is to tell people that everybody is equal.”

respected me and are really embracive of it. My family is proud of me, and I am so happy that I have their full support. I truly believe that being part of the LGBTQ+ community is a gift.

At 24 years old, I decided to return to Japan and train as a monk because I was always so sceptical of Buddhism. Why do we have to believe this wooden statue? Why can we go to the Pure Land by chanting and how do we get there? I wanted to go to the temple and get the license so that I can argue with actual information and experience. And I missed Japanese food [Laughs], you know how authentic Japanese restaurants are much more expensive overseas! So to solve that question, to reinforce myself as Japanese and to eat Japanese food every day, I decided to join the monk training.

“One monk told me that we must walk with the people...”

During the training, it was really tough for my denomination. Our training took 5 retreat sessions lasting 2-3 weeks in Kyoto and Tokyo. During that time, everything electronic was taken away; cell phones, iPods and iPads. We were not able to bring any food… or facial cream or supplements – anything! All of that was prohibited. They even did scrutinise scanning, even harder than the airport! They opened every single pocket!

But I still had difficult times when I was becoming a monk as some Buddhist choreographies are different depending on men or women and I felt like I didn’t belong to any of them. I sometimes thought, am I a huge threat or dishonour to the Buddhist community? I wasn’t. Buddhism is embracive of all different uniqueness; there is a saying that ‘red should shine red, blue should shine blue, yellow should shine yellow, and white should shine white.’ This saying encourages uniqueness to shine in their own colour. My master told me that I can do whichever choreography I wanted because sexuality does not matter - there is nothing wrong with any type of sexuality.

We woke up at 5:30am every morning and we did around five sessions of ceremonies where we sat with our legs crossed as you see in the tea ceremony. Our legs would go to sleep and it hurt – it was torture. We had to do that for around an hour and a half, 5 times a day. Even during meals, we were only given 5 minutes to eat and couldn’t talk. We also had classes and took exams and performance tests where we had to memorise all the materials we were given. I took five or six retests because I would get one letter wrong; it was really difficult.

In Japan, Buddhism has evolved to best suit the society and its era. Some people say that Japanese people are conservative and the government is so hard-headed, but many Japanese people have high literacy and are really aware of world trends. If they understand the concept, they will respect it. Japanese people adapted to western culture as quickly as they adopted western fashion. We used to only wear kimonos but people started to enjoy dresses and now they are trendsetting; we are really flexible and intelligent. One monk told me that, ‘We must walk with the people and not be too remote.’ Studying in the U.S and gaining confidence to come out has made me feel happier, lighter and liberated. It’s not just becoming a monk that has made me happier but also experiencing different cultures of the world, first-hand.

Now that I am certified as a monk, my mission is to tell people that everybody is equal. Through my experience living in different places and having travelled to different countries, I have realised that many people feel limited or even guilty because of the religion they grew up with. When I was in the U.S, a man even told me that he felt guilty to have a relationship with a man because he was told that homosexuality is a sin. I don’t mean to criticise any religion or compare with any belief systems but I want people to know that in Buddhism, I was told

I am a monk and can wear makeup and heels, and I am still

delivering the message of our equality and encouraging everybody to embrace their sexuality and differences. We are all powerful enough to change the world. As one of my favourite movies, Sister Act, shows; it’s not only about faith, it’s also about caring for each other, having fun and putting joy in the religious yet eternal message which is to respect and care for each other. So instead

“Celebration of diversity is proof of evolution for humankind and to deliver the message of equality internationally is something that I want to do.”

of being a quiet nun or a serene quiet monk, I’d rather be fun and bubbly and in sync with the other world. I think the fact that I can be celebrated, as a makeup artist and a monk, is such a big progression and I can move forward confidently with my identity. Celebration of diversity is proof of evolution for humankind and to deliver the message of equality internationally is something that I want to do. It’s something that I want to share with the people because I am diverse, I am celebrated and I am happy. And because we are equal, we are all capable of becoming whatever we desire. My career as a makeup artist comes together with my faith because I am only wanting people to feel empowered and I am using ancient knowledge to prove to them that we are equal. I am showing that by doing their makeup, I can make them look as beautiful and confident as anyone; I encourage and help people to find their true beauty. I do this because helping people helps me. It’s just that simple. Most of all, Buddhism has helped me greatly to further my career - when I thought I couldn’t do anymore, I could and I now know my perception of what I can’t, is not always a ‘can’t’. I can make a lot more things happen that I imagine myself to because I am the ‘Monk Who Wears Heels’.”

Interview and Words By Veronica Wong Diffa

Photographer: Dominic Phua

Photographer: Yoko Miyazaki

House Of B u r l e s q u e THE ‘TEMPEST’ WHO ‘ROSE’ TO SUCCESS

It’s not every day you win a pair of nipple tassels… at least not for everyone.

Here at House of Burlesque, it is as much a common occurrence as is the rain on a dreary London setting. Needless to say, this place lightens up a cold Friday evening with a touch of glamour and pizzazz at Grace Hall.

Grace Hall opened in 1927 as the bank and offices of Grace & Co, a New York family that owned a bank firm, and since 2017 has been restored to its original historical architecture for private hire. As of last summer, House of Burlesque has taken shelter under Grace Hall’s rooftop to bring us a spectacular themed cabaret show never to forget! Each raffle ticket led to a vault that had not yet been opened, and of course there was nothing left in the boxes but a few love letters, poems and the infamous nipple tassels that everyone hides in the bank…

With our complimentary raffle tickets in hand, we are kindly escorted to our table that’s closest to the bar – a perfect set up for a good few in the room. Dimmed lights, small quiet chatter and deliciously deadly cocktails – what more could you ask for? And so it begins. Spotlights flash through the hall of high-top tables and cosy velvet cushioned chairs, and, resting at the centre, our host sits poised in an unbuttoned evening tailcoat that exposes her black lace, leopard print, high waisted two-piece and, dazzling black heels. “We’ve got lots in store for you all this evening” she belts, smiling slyly, “We can’t wait for you to get involved”, she continues as she taps on the raffle tickets.

Each

vault’s

contents

was

followed

beautifully

choreographed performance ranging from classic traditional burlesque cabaret, very sultry and sexy like Marilyn Monroe, to neoburlesque performances with LED hoops and fire batons. Tempest Rose explains, “It’s very important to make sure that all styles of burlesque are being expressed on the stage. You’ll come to the show and see a classic burlesque performance, but you will also see neoburlesque, comedy burlesque… each show has a different vibe to it. It will lean more from one to the other… but you will still get a different range and type of burlesque expressed.”

Burlesque performers, Tempest Rose and Lola Labelle, opened House of Burlesque in 2009 and made their grand debut the following year. Having been a true staple show in many popular cabaret locations such as Café De Paris, Hippodrome Casino and most importantly, Madame Jojo’s in Soho, it’s no doubt that House of Burlesque made such a respectable reputation as one of the best shows to see. With a tremendous 13 years in burlesque, Tempest Rose has seen the industry grow and develop into a more modernized interpretation of the ever-entertaining cabaret performance – and with much to her own doing.

Much to their dismay, burlesque has been narrowed in its meaning, most commonly recounted by its mainstream definition of seductive moves, or what Tempest Rose describes as a “posh striptease”. House of Burlesque has shown that cabaret is not as straight forward as it seems and in fact, there are many different styles and varieties. Although we can appreciate this type of art form now, it wasn’t always as well known or widely performed “There is a period where the burlesque performer was kind of the striptease that happens in front of the curtains whilst they were changing the scenery of the skits. But it was so popular that by Gypsy Rose Lee’s era [in] the 30s and 40s, the whole show was dedicated to burlesque because it was the dominant feature. The initial impetus cabaret revival in particular, was the interest in burlesque. It’s grown massively and allows many companies like mine, not only to perform in small tiny jazz clubs and cabaret venues for maybe 100 people, but to also perform to 800 people in massive theatres that would only ever previously be reserved for

House of Burlesque was one of the few that created ‘theme shows’ as opposed to the classic shows where each performer was individual to themselves – Tempest Rose, burlesque performer and founder of House of Burlesque tells us, “The first show we did was a circus burlesque which was themed around the 7 deadly sins and was set in an abandoned circus at the turn of the last century. It’s very common now to have burlesque and cabaret shows designed around a concept or a narrative, but when we did it that wasn’t being done.” No wonder Grace Hall Bank was a perfect match for this entertainment company.

â&#x20AC;&#x153;...the whole show was dedicated to burlesque because it was the dominant feature. The initial impetus cabaret revival, in particular, was the interest in burlesque.â&#x20AC;?

Photographer: Veronica Wong Diffa

â&#x20AC;&#x153;...[burlesque] allows people to completely design their own representation and put that onto the stage.â&#x20AC;? Photographer: Veronica Wong Diffa

established plays or musicals. That’s very exciting.” Over the last decade, demand for burlesque shows have surged and is now appreciated as a well-established art form. Gone are the days where cabaret was only performed in circuses and underground club scenes, and now shine the plethora of shows, classes and academy’s you can attend… one of which House of Burlesque runs. The past few years have seen burlesque become a trend as what some may call ‘burlesqu-ercise’, the fusion of burlesque and exercise together for a fun and confidence-boosting type of fitness. Its natural sexual allure allows this art form to be mentally and physically uplifting, focussing on yourself and how you perceive your own sexuality – “I say to most women I meet, particularly if they are suffering from confidence issues, which a lot of us are, to go do a burlesque class with a good teacher. You will learn so much about yourself and you will find it very helpful. It will help us bond better [and] will help us be less judgemental with each other. Everyone loves it.” To Tempest Rose, Burlesque means freedom. Freedom of the body and the mind to do whatever it desires - “It’s very important in particular, I think, for women, and those who don’t exist within the traditional expectation of their gender or sexual identity… because burlesque allows people to completely design their own representation and put that onto the stage.”

“It really is ever changing and ever defined by the artists who do it.” Of course, with the world’s pandemic making the majority stay at home, House of Burlesque has temporarily closed its bank doors to the public. Social media has become their first point of call, using Instagram to stay in touch with their beloved fanbase during their weekly scheduled programme “Quarantease”, where they provide online classes and various Q&A sessions with the HOB performers, as they make costumes or do make-up in their living rooms - “And story hour! There is a cocktail hour, three times a week, where I read from a book that relates to the history of burlesque and the history of cabaret and circus. Everyone gets dressed up and has a drink with me in my living room!” Tempest Rose’s goal is to be up and running again as usual once it is safe to do so. In the meantime, House Of Burlesque will be working on adding more excitement and creativity to their show Lumiere that premiered at the beginning of the year; a show containing interactive HD screen graphics in every performance. It’s no doubt that House of Burlesque has adapted and developed their performances to best suit today’s society, creating new and innovative ways to perform this mesmerising art form – “It happened from the roots and in that way, burlesque is a really exciting, dynamic art form. It really is ever-changing and ever defined by the artists who do it.”

Interview and Words By Veronica Wong Diffa

Photographer: Veronica Wong Diffa

stroke of beauty PHOTOGRAPHER: Elizabeth Butler CONCEPT CREATION: Veronica Wong Diffa MAKE -UP ARTIST: Yasmin Howell MODELS: Allison Strang | Pippa Simmonds Alexandria Gerrard | Yasmin Howell VIDEOGRAPHY: Veronica Wong Diffa And a special thank you to HUDA Beauty

BASE - Moisturizer: B. RADIANT DAY CREAM | Foundation: NARS | Concealer: REVLON | Setting Powder: RIMMEL | Bronzer: BOBBI BROWN | Mascara: MAYBELLINE | Eyebrows: NYX EYELOOK - HUDA, Neon Orange Obsessions Palette | NYX, Epic Wear Black eye and body liquid liner CHEEKS - HUDA, Neon Orange Obsessions Palette | HUDA, Minted & Dinero Matte and Metal melted eyeshadows LIPS - NYX, Orangesicle butter gloss

[LEFT] BASE - Foundation: SMASH BOX | Concealer: COLLECTION | Setting Powder: RIMMEL | Eyebrows: BENEFIT EYE LOOK - HUDA, Neon Green Obsessions Palette | NYX, Epic Wear Blue eye and body liquid liner | HUDA, Limelight & Gold Chains Matte and Metal melted eyeshadows | SNAZAROO, White Classic Face Paint CHEEKS - HUDA, Neon pink Obsessions Palette | HUDA, Limelight & Gold Chains Matte and Metal melted eyeshadows LIPS - BEAUTY BAKERIE, Watermelon Slushie Lip Whip

BASE - Foundation: NARS | Concealer: MAKEUP REVOLUTION | Setting Powder: No.7 | Bronzer: PHYSICIANS FORMULA | Mascara: BENEFIT | Blush: MILANO | Eyebrows: BENEFIT EYE LOOK - HUDA, Mercury Retrograde Eyeshadow Palette | HUDA, Minted & Dinero Matte and Metal melted eyeshadows | SNAZAROO, White Classic Face Paint CHEEKS - HUDA, Neon pink Obsessions Palette LIPS - HUDA, Passionista Demi Matte cream lipstick

h i l kumar

FASHION GRADUATE

VWD: When did your love for design and creativity begin?

Akhila Kumar, 24 year old UCA fashion graduate, is remodelling the use of rice sacks in a memorable sustainable pre-collection. Rightfully named, ‘Fishing

AK: My auntie is a tailor in India, and I used to love watching her make clothes for clients. Whenever I visited, she would make me little material souvenirs to take back home. My Grandpa also used to be a weaver and he would weave all these beautiful silk fabrics. I was always interested in their craft and loved receiving hand-made gifts from them.

For Plastic’, Kumar took inspiration from her trip to India, where she saw the countries drastic changes to decrease ocean pollution. Here, she decided to create a collection made from materials found in the oceans and lakes of India, encouraging others to re-use and recycle materials. Akhila’s collection has been nominated to enter the

VWD: Is Fashion Design something you’ve always wanted to do?

Redress Design Award – a worldwide sustainable fashion design competition. Kumar gives Motion Magazine

AK: No, frankly not [Laughs]. It was something I admired. When I was young, I was more into science and I wanted to go in that direction. I came to the realisation that I wanted to study Fashion Design at around 18 years old. I realised that I’m good at it and I actually enjoy it. I thought that fashion was just clothes making; I didn’t think you could bring other elements into it like science. Once I started seeing that I could make good changes for the environment by working with sustainable products, I knew that Fashion Design is what I wanted to do. I’m good at it and enjoy it.

an insight into the development behind the vibrant collection and her career goals for the future.

VWD: When is a time you have blended fashion and science together? AK: I’ve always been into biology. When I first started my fashion course in first year, I stuck to Darwinism and looked at the moths, the butterflies and insects; just like Alexander McQueen, he’s one of my favourites. I focussed on nature a lot and I still do now!

Photographer: Elizabeth Butler

VWD: Do you have any inspirational artists and what do you like about them? AK: I look up to Alexander McQueen and Dior. With Alexander McQueen, I like how he’s never stuck to the trend forecast, like what WGSN predicts. He continuously applied the concept of nature. I also found it most interesting when he brought in other elements too - SS20 is one of my favourite collections. Dior, on the other hand, is very delicate, handmade, proper couture, and is a big house that has been around for years. That’s one of the reasons why I love Dior.

VWD: Describe your style of design in three words. AK: Long lasting, handmade, and sustainable. Those three are really important to me. It’s quite girly and quirky, as well as very vibrant, but sustainability is one aspect I try to maintain throughout.

VWD: What is your favourite part of designing? AK: Research is one of my favourite aspects, as well as pattern cutting. I’m also very into textiles, so I like to experiment and make different materials rather than using fabrics that are already out there.

VWD: What is your pre-collection about and what has it been nominated for? AK: I have been nominated to enter the Redress Design Award. It’s a sustainability award focussing on young designers who reuse and recycle materials to make garments. My course leader approached me and said my collection would be perfect for it! My pre-collection, called ‘Fishing For Plastic’ was inspired by ocean pollution and how the items that are chucked into the ocean affect marine life.

VWD: What is the inspiration behind your collection and how is it reflected? AK: My inspiration came from a trip I took to India. We stopped going on holiday there for while so when I went back after 8 years, in 2018, I found that the beaches were really clean compared to before. My uncle and I went to grab some fish early in the morning at 5am, to get the fish as fresh as possible, and when they were bringing the boats in, I saw that they were bringing in massive fish nets filled with plastic. They told me a story about how they started a recycling centre; the fishermen would bring in the catch, including all the plastic, and take it to be recycled. At the moment, they are shredding the plastics down and turning it into roads; it was really interesting to me. I got in touch with the recycling centre and they were more than happy to lend me a hand. They shipped over a few KGs of rice

Photographer: Elizabeth Butler

VWD: Do you think you have to go to university to get a good job in the creative industry?

sacks to me, which was one of the main items they were pulling in from the sea and some of the rivers. I used the rice sacks to make my garments rather than bought fabrics.

AK: Actually, I don’t! I wish I knew this sooner, but there are more opportunities! When I was doing an internship, I met lots of people that were only doing several internships. I realised in the fashion industry, once you get out of university, your degree is not the only thing that matters, they care so much about the experience. You learn more by being hands-on in a working situation; there are loads of apprenticeships available. Alexander McQueen didn’t exactly go to university; he started working with tailors and that’s where he acquired most of his skills!

VWD: Was it difficult making your collection sustainable and why is sustainability important to you? AK: I work at the V&A museum and have been exposed to how the world is trying to change for the better through their exhibitions and talks. I believe if we want to make a change, it’s best to re-use what we have rather than make more. When I first presented my collection idea to my teacher, he didn’t think it was going to work because they were just as worried as I was, that it was not going to look good. People may not want to wear or pay for it. We had loads of disagreements of some sorts because with the fashion industry, as much as they like it to be sustainable, it has to be something you can sell and something you can see on the catwalk. But, as soon as we started doing experiments, trying to manipulate the materials to make it look good as well as being recycled and sustainable, everything came together.

VWD: What’s your plan after graduation? AK: I might take a year to develop my research on sustainability; I want to know what materials I enjoy working with and what exactly my style is. I also want to go back to India and research into any potential manufacturers. I would like to see if there is anyone in the industry, in India, that I can work with to bring back what used to be around traditionally. These new manmade fabrics are not good for the environment, and you can get something similar with re-usable materials!

VWD: Where do you see your work developing in the future?

Interview and Words By Veronica Wong Diffa

AK: I want to keep working with sustainability. I attended an event at the V&A about ocean pollution and learnt how three plastic bottles can make an 8cm square of fabric. So rather than having these plastics sit in a dumpster, where it would take years for it to break down, you can re-use it! In the future, I would like to have my own label as I think it would tie in nicely with what my Grandpa used to do. I want to bring back those hand-made and hand-woven industries. It is an industry that is slowly dying little by little because you can buy woven fabrics, that are machine-made rather than handmade, for cheaper. I think hand-woven fabrics are better as they are done traditionally, only using natural processes and raw materials - it’s 100% good for the environment!

VWD: What advice would you give someone that wants to pursue a career in fashion? AK: I would say, you shouldn’t take it lightly. Some people don’t realise that Fashion Design is very time consuming; you need to put a lot of your time and effort into it. There will be lots of challenges, and it’s not going to be easy.

n d r e bergart

SHE SHOOTS AND SHE SCORES… WITH HER LATEST BASKETBALL BAG COLLECTION.

Andrea Bergart has driven her way up to success as an inspirational artist and designer. With her latest creations of basketball bags, made with original vibrant prints and colours, Bergart has seamlessly integrated sport and high fashion into everyday use.

Fashion and sport are not new to the common eye; for some we’re too familiar with this combination, using our Adidas leggings or Air Jordan’s as both gym wear and fashionable loungewear. But Andrea Bergart has twisted this idea, transforming a simple sporty product into functional fashion – so why turn a perfectly practical item into an equally useful handbag accessory?

fashion industry and it’s time someone makes what they want!” Bergart’s love for sports has left her well accustomed to the negative stigma of female basketball players – an issue that is quite commonly seen on Instagram and other socials when a sports agency posts about the WNBA (Women’s National Basketball Association) or female basketball players. “It’s really disheartening [and] I try to stay positive. The WNBA shouldn’t be compared to the NBA. It is its own style of play and game,” but with a little education and awareness, Bergart believes that society can correct this stigma. Her collection of self-made basketball bags is Bergart’s own way of expressing her appreciation for female athletes, encouraging their play by enhancing their confidence and motivation to thrive. “I love mixing sports with high fashion and showing that you can be a fierce athlete as well as stylish. Inspirational female athletes have had to overcome so much adversity and have so much discipline in their field. I admire their strength and focus and hope to apply that energy into my own studio practice.”

To Bergart art has been, and always will be, second nature – “I’ve been making things for as long as I can remember - paintings, jewellery, clothing!” However, designing bags and accessories has been her past years’ new adventure – “I like learning new things.” Having had the opportunity to assist American abstract artist, Chris Martin, in 2016 with his design collaboration with Dior, Bergart was able to appreciate the “level of craftsmanship and detail which set the bar high for [her] own design work.” This work, as well as finding open-minded creative artists in New York City, gave Bergart the inspiration to create her own unique collection of Basketball Bags – “I grew up playing sports and creating artwork; I identified as both an artist and an athlete but they felt very separate to me growing up. I didn’t start combining both of these interests until I moved to New York City where I found other like-minded creative athletes and started playing basketball with @downtowngirlsbball.”

“The idea of a handbag made from a ball seemed fun and useful, but most of all, I knew I wanted one!”

Bergart’s vision was to create a feeling of empowerment within her everyday life, an emotion she felt when she carried a basketball to and from her games with @downtowngirlsbball – “I felt… strong when I carried it in the rain and the streets of New York. The idea of a handbag made from a ball seemed fun and useful, but most of all, I knew I wanted one!” Thinking of her own teammates in mind, Bergart was able to approach this new design with a plethora of knowledge and research as “my teammates [are] my ideal person to carry my bags. I wanted to create a beautifully designed and refined bag that is also fused with a sense of power and fierceness. I feel this type of woman hasn’t been given enough attention in the

Integrated seamlessly within Bergart’s stylish designs is her loving relationship with Ghana, where “after graduate school, I was awarded a Fulbright scholarship to continue my research of the West African bead trade and textile industries.” Bergart’s paintings are where her unique mix of basketball and Ghanaian textures and patterns are most prominently seen - “I’m attracted to stylized flat motifs, bright colors, and bold designs found in African

37 Photographer: Maddy Talias

Photographer: Maddy Talias

batiks, printed and woven fabrics and beads. I love the clashing of these patterns and vibrations found in West Africa markets.” It is without a doubt that Bergart’s fluidity is emanated throughout her canvas paintings, amalgamating rich contrasting colours through patterned batiks of basketballs and various paint strokes to create a desired layered effect. Needless to say, it’s not the first time she has done the unexpected. In 2014, Bergart painted grimy and dusty cement trucks and transformed them into the likes of Goofy and various graphic prints inspired by Ghana. It’s Bergart’s alternative approach to problem-solving and creative thinking that has helped spark her sense of whimsy and innovative ideas – “I went to a progressive Elementary school where art was integrated into every subject we studied. We had classes called ‘Sloyd’ which is a handcraft-based approach to education - woodworking, mould-making, and other sculpture techniques were integrated into our everyday activities. This type of thinking, with your hands, and openness to diverse influences have helped me develop my designs.”

“I want that brush to lead me to an unknown place – someplace where rules are not relevant.”

Bergart’s work is a manifestation of an “experience of what both artists and athletes call ‘being in the flow’” which combines a mix of mental and physical attributes towards her work – “Trust your decision making and stay open to intuitive play. I think a lot about muscle memory and repetitive movements in both sports and art-making. I try and think about how many times I’ve stepped through a lay-up similarly to how I make gestures in painting. Where painting departs from sports, for me, is that I want the brush to lead me to an unknown place – someplace where rules are not relevant.” Andrea’s creative visions don’t stop on canvas, Bergart shares that she will have bootleg WNBA silk-screen t-shirts, and solar printed shirts and trousers coming this summer. Most exhilarating of all, Bergart will be painting a basketball court this Autumn with My Home Court and PC Galleries. Bergart’s interests, passions and hobbies are forever threaded within every art piece, intertwining her love for sports, art design and instinctive creative nature – she shoots and she scores.

Interview and Words By Veronica Wong Diffa

Photographer: Andrea Bergart Studio

more than meets the eye PHOTOGRAPHER: Elizabeth Butler CONCEPT CREATION: Veronica Wong Diffa STYLING: Veronica Wong Diffa MAKE-UP ARTIST: Amanda Ashbourn MODEL: Amanda Ashbourn

Top: COLLECTIVE THE LABEL | Trousers: PULL & BEAR | Shoes: PRETTY LITTLE THING | Earrings: PRETTY LITTLE THING

Jumpsuit: PRETTY LITTLE THING | Shoes: PRETTY LITTLE THING | Earrings: PRETTY LITTLE THING

Top: BERSHKA | Trousers: ASOS DESIGN | Boots: ASOS DESIGN | Earrings: PRETTY LITTLE THING

m o n F i e l d

GRAPHIC AND ILLUSTRATIONS ARTIST

VWD: How did you learn to do illustrations and graphics?

Looking for bespoke occasion cards, phone and laptop cases or even a digital canvas illustration? Simone Field does it all! South African born creative, Simone Field

SF: I studied art for A-levels and then I went to Reading College and did a foundation Art degree there. I went down the graphic design route when I did my foundation course and afterwards, I decided to take a step back from illustrations. Over the past 2 years, I’ve started illustrating again and am really trying to make it a fine art. My parents are also graphic designers and my sister is an artist, so it makes it easier because we’ve all got this creative touch.

is a self-taught illustrator and graphic artist. At the age of 25 she created her own bespoke business; ‘Moan’s Designs’. Being a new independent company, Simone has transformed the majority of her production to digital online illustrations that can be bought through Society6 and Redbubble to reduce extra waste production and to

VWD: How did you fall back in love with illustrations?

become more environmentally friendly. With her small but successful business thriving, Simone takes the time to speak to Motion Magazine and create some unique

SF: It’s hard to fall in love with art when you are doing it for A-levels, it just becomes such a nightmare [Laughs]. But after you’ve left it and had a step back from it for a year or two, you realise that actually, it’s quite therapeutic and a calming thing to do. I got back into illustrations about two years ago and I’ve been using a lot of Skillshare videos to learn different things; that’s how I have made it into a business.

graphic illustrations. All she wants is to bring a little bit of creativity and happiness into our everyday lives.

Skillshare is such a great platform for creative people to use. The other day, Photoshop updated and it’s been winding me up and I couldn’t figure out how to do something so simple, and so I went onto Skillshare and it fixed it for me! It’s just brilliant!

“Take yourself away from everything, especially social media. Just go out into nature and explore different places that you haven’t seen...”

Illustrator: Moan’s Designs

VWD: What’s your advice for aspiring graphic designers - do you need a degree to do graphics?

VWD: What do you like most about being in the creative industry?

SF: If you succeed really well in school and you enjoyed going to classes, then go ahead onto university because it is a place that you will learn very valuable information. But if you hated every second of school, then there are definitely other ways of doing it. You’ve got YouTube and you’ve got Skillshare - as long as you are creative and imaginative, you should be absolutely fine. But you have to put in the hard work because it is hard work to try and get yourself somewhere without having a degree. Sometimes you just have to take a step back – it gives you more perspective on what you want to do!

SF: I think it’s just meeting different people, isn’t it? Creative people are just so wacky! It’s nice to meet different people and hear about how they got into it and it’s just a nice community to be a part of.

VWD: If you weren’t an illustrator, what would your dream job be? SF: I could not tell you – I’m one of those really indecisive people [Laughs]! It would probably be something to do with books because I’m a massive reader so I’d probably be a proof reader or an editor, something like that. I don’t think I could completely get out of the creative industry. I wouldn’t be a doctor or anything, I’m just not that clever; my brain doesn’t work that way for various reasons [Laughs].

VWD: Where do you get your inspiration from? SF: It just depends on where I am and what I am doing! We went to Brighton at the beginning of the year and discovered a 70s cocktail bar; I did a piece of artwork that was inspired from the 70s décor that was in it. I also went to a museum one week and the ‘Gates of Babylon’ were on display and they inspired me to do a piece of work. It just depends on what I’ve seen. It could be a piece of art or it could be buildings – anything inspires me! It just has to be eye-catching and then I can make something from it.

You can buy Moan’s Designs via Society6 https://society6.com/ moansdesigns and Redbubble https://www.redbubble.com/people/ moans/shop?asc=u

VWD: What is your advice for creative artists that are struggling to find inspiration?

Interview and Words By Veronica Wong Diffa

SF: Take yourself away from everything, especially social media. Just go out into nature and explore different places that you haven’t seen because that’s mainly where you get inspiration from. You know, the natural side of things. Pinterest can be great but sometimes it’s so overwhelming when you’re trying to find inspiration, so I always just try and take a step back. Make trips with friends and find different things.

VWD: What’s your favourite thing to draw? SF: I like calligraphy – it’s my favourite thing to do. But when it comes to drawing, I like to illustrate pictures of my friends – it’s great fun! It’s my favourite thing to do, just illustrating people!

VWD: How do you like working best? SF: I mainly work with creators; I’ve done a couple of peoples YouTube illustrations. I’ve got a friend who has a channel, she does very well and I do her merch design for her. Through her, I’ve done designs and banners for her YouTube friend that does a lot of travelling. I like to work with people more than companies. That way you’re going off of someone’s vision - I like it to be more natural, like your talking to a person and not a robot. And I don’t mind it not being the perfect brief, just tell me vaguely what you want, so that I have an idea!

Illustrator: Moanâ&#x20AC;&#x2122;s Designs

another world

PHOTOGRAPHER: Veronica Wong Diffa ILLUSTRATOR: Simone Field CONCEPT CREATION: Veronica Wong Diffa MAKE-UP ARTIST: Yasmin Howell MODELS: Jessica Aquino | Antonette Contaoe Alexandria Gerrard | Samira Awadalla

k i m n o b l e THE ARTIST OF ALL TRADES

“I don’t speak to them, I don’t see them, I don’t hear them. I don’t really have anything to do with them [laughs].”

Surreal artist, Kim Noble, is not an artist you can forget. Her artwork, for many, is an amalgamation of skill and precision that not many artists can achieve on their own. From abstract paintings to life-like portraits, Kim is able to do it all with the aid of several identities that she embodies. Kim was diagnosed with DID, Dissociative Identity Disorder, that allows different identities to form within one body. It was only when being visited by a support worker that the personalities’ artistic talents came to surface. Patricia, the main personality of the body, talked Motion magazine through their history and explains just a few of the different personality’s artistic traits.

Patricia, but I accept the body’s name so I don’t mind being called Kim. Kim is the body’s name; it’s a birth name. She disappeared when we were about 17 years old and at that point, Hayley took over. She became the main personality and Kim wasn’t out at all. When Hayley disappeared - she is still around but doesn’t come out as often - Bonny took over and she was the main person bringing up our daughter, Aimee. So there have been about three main personalities who will do the day-to-day things, like paying bills and all that. There’s only about three of us that understand DID. Ken understands DID; he says he hasn’t got it but he understands that I, Patricia, has got it. So, he accepts it but he believes he is his own person and not part of anybody else; the majority of them don’t know they have DID. I think it’s mainly because the abuse and DID come hand-in-hand, so if you learn about DID, you have to accept the abuse and I believe that they are not ready to accept the abuse or want to know about it. Even now, I’m still learning about the other personalities and their characteristics.

“DID happens when you’ve been a victim or a survivor of abuse. The personalities will form and split at a very young age; I think it’s before the age of four. I’m not a medical person, [laughs] but that’s how I see it and how it presents itself to me. A personality will take over my body and I [Patricia] have no memory of what’s happened while that personality is present.

When I started treatment, I had a support worker that was in her last year of training as an art therapist and, during her visits she encouraged us to start painting. We were like, ‘No I can’t paint’, and all this jazz and she said, ‘Well, let just try’. We got some old rolls of wallpaper and using Aimee’s paint we just started painting. At that point, I think there were five personalities that were painting – me [Patricia], Bonny, Judy, Ria and Missy. About five months after, our support worker felt we should take our artwork more seriously so we went out and bought some canvas and acrylic paints and the rest is history.

I started having problems that were noticeable when I was about seven years old and at that time, I didn’t understand DID but knew something was going on. I always felt I was being blamed or getting into trouble at school when I hadn’t done anything; it was actually another personality in the body. At 14, I was diagnosed with Dissociative disorder and about 23 years ago I was diagnosed with DID; I have had psychotherapy from a specialised clinic in London ever since. Before I was diagnosed, I knew I had other identities because I was staying with a friend and she noticed that there were different personalities when she was talking to them; they’d say that their name was different to mine and so she started to log the names. There are about 20 main personalities and some of them are the ones that paint. Patricia is the main personality at the moment. I’m

More personalities joined as time went on; some only joined four years ago! There are two personalities of which I don’t know who they are. One, I call Anon, because she usually paints at night so nobody has really spoken to her and the other one that just started painting four years ago, I call No Name. Obviously, No Name

Painting: ‘The Twins’ By Kim Noble

is not their real name, they will have a name but there’s no way about this that you can just speak to the person [laughs].

as an artist people ask, ‘What was going on there, what were you feeling?’ I can only say how I [Patricia] would interpret it, which is what anybody can do. It’s not my painting so I don’t know what they saw or felt at the time. It can be very difficult. I do leave notes sometimes, asking them about their paintings but very rarely do I get any response. The only one that responds is Judy telling me to mind my own business and to go get a life. What’s it got to do with me [Laughs]!

Exhibiting was interesting at the beginning because I had to decide whether I wanted to mention DID. I wanted to see if I was liked as an artist for the work and not the diagnosis. A friend took my work to a gallery one day, and they said, ‘Tell her to come back when her style is settled’, and that was very difficult because it wasn’t ever going to settle and that gave me more motivation to continue.

But I like that people have their own interpretations of the paintings. I know people always want to know what the painting’s

When I started taking them to galleries, they always wanted to know more about the paintings and I thought, ‘I should probably explain the DID.’ At times my diagnosis of DID became more interesting than the work and for me, I don’t talk about DID unless it is in relation to the artwork. It’s difficult sometimes because

about, but the problem I have is that it’s not my painting so I actually can’t say [Laughs]. That might be why I like to know what the viewer thinks rather than what the artist thinks.

anon

Painting: ‘Secret Edge’ By Kim Noble

[Huffs] The thing is, some of her paintings are quite large. There are a couple that are about 6 foot and they take so long to dry. One day - it was in the early days when we were probably all learning a bit more - her painting looked dry on the surface but the underneath wasn’t. It was in the middle of our studio and I needed it to be moved, so I stood it up and because of the weight of it, the painting toppled and white and black paint poured down my head [laughs]! For one thing, the painting was ruined [laughs]! It does take a long time to dry and it is fragile for quite a long time, but I do like her work.

Anon, is one of my favourite artists. I take her paintings to be quite mysterious; she is also mysterious herself because she paints at night and nobody knows what her name is or what her personality is like. I think over time, she has made the figures more obvious, whereas in the early days I thought it had a lot more movement. The figures looked a bit more blurry … could it be a figure or wasn’t it? They looked very abstract, whether it is and whether it isn’t. Is it spirits… is it things flying? But now, I think they are definitely figures. Like the ones in the ‘Silent Prayer’ painting, there’s definitely a woman and a girl kneeling down. She just pours the paint on thick and uses minimum touch so the paint is quite fresh.

ken

Painting: ‘Where Do You Go To’ By Kim Noble

Ken. He’s interesting in his work because he puts the paint on very thick and adds a lot of texture.

do it the other way around - instead of putting it on the wall, put the painting on the floor and press the wallpaper on top. He’s done it a few times like that but I think he likes his own method.

When he started, all he wanted to paint was a train. That’s all he wanted to paint and he could never paint a train [Laughs]. So out of frustration he slapped the canvas onto the wall and when he pulled it off, he liked the texture it made. He turns them round as well, and when he pulls it off the walls, the texture is all spikey and the colours are mixed in a fresh way.

He still keeps thinking he’s going to paint a train and then nothing ever comes out like a train [Laughs]. That’s all he wants to paint. And some of them are far from trains as you can see.

He really does use a lot of paint, I mean, so much of it is wasted because he’s left it on the wall! If I can come out afterwards, I don’t always, I have to scrape it all off otherwise it dries thick and pointed! I left out some wallpaper one day and tried to get him to

ria

Painting: ‘My Hands Are Tied’ Kim Noble

Then there are the bright colours of Ria’s - I do really like her paintings. I find it really strange because they’re obviously pictures of abuse, which is not very nice, yet the colours are all so bright which people associate with happiness. Usually, horrible pictures are very dark and morbid but she has said that she has done bright colours because they can’t be missed, and she is right - they’re so damn bright.

When she did her first painting, Aimee was young, and I didn’t want her to see the painting. There was something about it where I felt the canvas was dirty; that I couldn’t hold it with my hands. I had to hold it with my jumper sleeves I pulled down or a towel, even though it was not dirty - it wasn’t wet or anything, it’s just that I didn’t like this painting and I needed to put it out of sight. There was some kind of emotional connection there.

In her paintings, she gets a print of the one below and then puts it above like dissociation. So even though I’m not aware that she is aware she’s got DID, she is aware of dissociation because of the way she puts it in her paintings.

Sometimes they’re hard to show in exhibitions, not just because of the content but because the colours overpower other paintings that are there. They are so vivid, but she said that people have got to see it.

In the early days that I was seeing Ria, it was very difficult.

suz y

Painting: ‘Pure’ By Kim Noble

Suzy’s paintings are very interesting. When she first started, she kept painting the gold picture of ‘The Pure One’; it’s a mother and baby with scribble over it but the baby is untouched. She did loads and loads of those; I think she’s done about seven or eight of them. One day, there was one with a gold curtain over it, and when you lifted the curtain, the woman was there but there was no baby she never painted one of those paintings again. That’s all she kept doing when she first started to paint and after that, she copied pictures of celebrities and I thought it was an improvement from just doing this mother and baby. She started to look outside of herself.

judy

Painting: ‘Tears Imprisoned’ By Kim Noble

Judy is another one of my favourite artists. Her work has changed since she first started painting. I think it’s got a lot more texture; it’s got a lot more layering and scratching of the paint. It’s a lot more interesting than what she used to do. One day I wanted Judy’s painting… well you see, another problem I have is that I think a painting is finished and sometimes it’s not. There was an exhibition coming up so, I took one of Judy’s to be framed and she was moaning about me taking it to be framed and that it wasn’t finished. She said why don’t I mind my own business and get a life and stop interfering with her work [Laughs]. There are some funny times.

ke y

Painting: ‘Golden’ By Kim Noble

This is Key’s work. Key’s paintings have got a spiritual take on it – I [Patricia] don’t know anything about the Kabbalah or the Tree of Life. A Rabbi analysed her paintings and said that her paintings have got meaning in the Kabbalah. He looked at them and explained about the two pillars on either side; he was saying how much all of Key’s work, even the ones that don’t look as though they are of the Kabbalah, like the ‘Heaven’s Gate’ paintings, have some connection with Hebrew and to the Kabbalah. That was quite interesting.

A lot of the artwork, I [Patricia] title; it’s very rare that they give it a title. They don’t sign it either. So, I sign this little squiggle that I do on the paintings - it’s Kim, ‘K’ and ‘M’ joined together. I do that on every painting so that it represents the body. I [Patricia] obviously can’t put my signature on it because it’s not my work [Laughs]. I definitely have an emotional connection to all the paintings. I think one of the first tell-tale signs was when I had a small collection shown at my first exhibition and all the artist’s pieces were on the wall. Nobody else was there, I had just gone in to look around and I thought, wow, this is all from inside one body. This is the closest I’m ever going to get to meeting and understanding these other personalities. It was then that it got quite emotional because they are in my body and they are doing all this work. I had no idea that they could paint; if there hadn’t been someone encouraging us to paint on the back of wallpaper, I would have never realised that there are so many talented artists. It was quite amazing.

“This is the closest I’m ever going to get to meeting and understanding these other personalities.” For myself, I’m an artist and DID is just a part of my life. Yes, DID is an interesting diagnosis but it’s the norm for me and calling myself an artist is more important. To me, a good painting is a painting that stirs up some emotion in me, whether it’s positive or negative. I first realised that when I walked into a gallery and there was a painting of a lone suitcase and I thought, how bizarre is that? I read the write up of it and it was this artist whose daughter was just going off to university and her mother had been put into a nursing home because she had Alzheimer’s that suitcase represented everybody leaving her and it was really quite emotional. That’s why sometimes I think it is important that people know I’ve got DID and understand how my life fits into the paintings. I think you get more of a feeling or an understanding of the paintings. I know that integration can be people’s aims, but mine has never been that aim. In the early days, I had difficulty understanding integration because I thought it meant killing off lots of personalities and only one personality would be around. What personality would that be? I didn’t really have an understanding as I do now, which is that they would all blend into one, taking different parts of each personality… I still don’t quite understand it but I just know that we don’t want nor have ever wanted integration. I’d lose all the different artists [Laughs]! What style would be there? I don’t want just Anon’s work, who is one of my favourite artists, because at the end of the day she’s only out at night so what would happen? [Laughs] I think for us, it’s definitely not our aim.”

Interview and Words By Veronica Wong Diffa Painting: ‘The Naming’ By Kim Noble

Painting: by Kim Noble

Y a m i l e Herrera Herrera SALSA PERFORMER AND TEACHER

It is hard to get Yamile Herrera Herrera off her feet. Whilst

VWD: Has dance always been your passion?

Rosalia – Di Mi Nombre is playing in the background of

folklore group, it is no doubt that Yamile has lived a very

YHH: Yes always! I remember when I was young, at 13 years old in secondary school, I decided to audition for a Colombian Folklore group. I had never danced properly before and decided to audition with 80 children. I was looking over at all the other people dancing and I thought I wasn’t going to be picked - this was not my time. But to my surprise, I was one of twenty students that got a position in the dance company - I was dancing and it felt so good! From that moment, I began dancing in the frontline and I was so proud of it; we performed a lot in my city, in competitions and different

energetic and dance-driven life.

parades. All my life, I’ve wanted to be a dancer.

Yamile began her professional dance studies at the better

VWD: Why do you enjoy salsa?

a well-lit photo studio, Yamile, a Colombian-born salsa teacher, takes a break from our shoot to answer some questions about how she moulded her love of dance into a career. Having started at the young age of 13 years old, dancing for her country in a traditional Colombian

part of 30 years old where she learnt and taught salsa

YHH: Why? [gasps] It’s something about the blood. When I listen to the music, it’s like something has switched on in me and I can’t stop moving. It’s fluid. It’s like the blood in my veins “la sangre de mis venas”. It’s one of my passions because I love to dance and I love to teach salsa. Some people don’t understand that it is not just about the words and the moves, it’s like the music is running inside of me.

in Colombia, Medellin. In 2013, she moved to London, where she performed and taught salsa at, Cali Swing; an all-ages Colombian salsa group that got up to the semifinals of Britains Got Talent 2018. Once a performer and now a well-established dance teacher, specialising in Latin Rhythms such as Cuban style salsa, bachata and

But if someone said to me ‘let’s dance salsa’ and another person said, ‘let’s dance tango’, I would run and dance tango [laughs]. I would put my heels on and not think twice about it. When I listen to tango it’s not just my blood, it’s my mind. I feel glamorous – it’s completely different from salsa. Salsa is more relaxing and fun but tango is elegant and precise. It’s like a hug; I feel comfortable and secure. It’s completely different.

cross-body style to say the least, Yamile tells Motion Magazine how she started her professional career over 20 years ago. There’s no doubt, everyone wants to look as fit and beautiful as Yamile at 47 years old!

Photographer: Robyn Slator

VWD: What emotions does dance give you?

VWD: What type of dance would you like to try that you haven’t?

YHH: Different ones! It depends on the music. Sometimes it’s more sweet, sometimes it’s more passionate, sometimes it’s more fun. They give me different emotions. I dance to different songs and in different ways they speak to me.

YHH: Swing! I would love to learn swing. I was learning ballroom in London and I loved the Latin dances - it was beautiful. But yes, swing, it’s one of the activities I would like to share with my husband.

VWD: What is your favourite song to dance to?

Interview and Words By Veronica Wong Diffa

YHH: Bueno (well). In salsa I have many, but one of them specifically doesn’t have a voice, it’s just instruments - Acid by Ray Barretto. Another is romantic, Flor Palida by Marc Anthony, it’s sweet, it’s romantic, it’s soft; I love it. I also like Ran Kan Kan – Tito Puente, it’s quite energetic. And for tango, one of my favourite musicians is Carlos Di Sarli.

VWD: Do you have an inspirational dancer? YHH: Oh yes! One of my favourite salsa dancers is Griselle Ponce; she is organic and looks very sincere when dancing. This lady is perfect, elegant and precise. When I saw her dancing, it was as if she was feeling how I feel when I start to dance, because everything is so fluid. She is amazing and her energy transports me to another world. With tango, I have a couple; Jonathan and Clarisa are such an amazing couple! Their technique and movements are precise and beautiful. Mariana Montes is also an icon and a legend - her style is clean and is definitely one of the most original techniques. She’s beautiful!

VWD: Has there been a time when dance has helped you in your personal life? YHH: Yes, of course! Dance has allowed me to understand and control my body. I have learnt that dance can help you feel more confident to express emotions physically and I am happiest when I can help others develop that feeling of freedom through dance. It gives me energy and makes me feel young.

VWD: If you could do any other job, what would it be? YHH: I would never stop dancing! Even if I lose my leg or arm, I would keep dancing! [laughs] But I love to do beautiful things with my hands; I find handcrafting quite relaxing. For example, I would love to be a designer. When I want a new costume, I try to do it by myself. I don’t have a big imagination but if I think of something, I try to make it. It may not be to everyone’s taste, but it will be perfect for me. [laughs] And embroidery, I love it. I would love to have more time to do embroidery, it’s what relaxes me.

Photographer: Robyn Slator

bl ank c anvas PHOTOGRAPHER: Robyn Slator CONCEPT CREATION: Veronica Wong Diffa STYLING: Veronica Wong Diffa MAKE-UP ARTIST: Veronica Wong Diffa MODELS: Yamile Herrera Herrera

Dress: PRETTY LITTLE THING | Shoes: YAMILEâ&#x20AC;&#x2122;S OWN

Dress: FOREVER UNIQUE | Shoes: YAMILEâ&#x20AC;&#x2122;S OWN

gw e n r u s s e l l “CREATING PERIOD COSTUMES FEEDS MY SOUL”

“I mean, you have to be certifyably insane to do this job!” [Laughs]

Gwen Russell, lady’s Period Costumier, has spent enough time in the industry to tell Motion the ins and outs of costume making. With an incredible 35 years spent within the industry, Gwen has worked on films such as Dangerous Liaisons, Wuthering Heights and Harry Potter as well as spectacular theatre productions such as The Lion King, Les Miserables and Dreamgirls to name a few. Gwen takes a moment from her packed schedule of cutting and sewing to speak about her journey through the trade, the obstacles she has faced and her real thoughts about the future of costume making.

period right through to the 1950s, learning how to construct the undergarments, the frames and silhouettes for each period. We worked on various shows with Jean, like the Metropolitan Ballet, doing Romeo and Juliet with one of the greatest ballet designers at the time, Nicholas Georgiadis. We also worked on Arabella, designed by Julia Trevelyan Oman, for the Amsterdam Opera - it was a great experience for us.

“We worked on various shows with Jean, like the metropolitan ballet, doing Romeo and Juliet...”

“I was making costumes before I even became professional; I’ve been making my own clothes since I was about 10. After secondary school, I studied for three years at the Royal Scottish Academy of Music and Drama, now called the Scottish Conservatoire, and became a drama teacher. I made a lot of costumes when I was there, and that’s when I decided I wanted to become a Costumier. I began working at Glasgow Citizens Theatre for a season, but due to a lack of work in the city I decided to go back to teaching as a speech drama teacher. I taught drama for three years but my heart was always thinking of the theatre and costumes.

Jean Hunnisett was the one who encouraged Janette and I to freelance together. The first job we did when we came out of college was Die Fledermaus at the Northern Opera, making for semi principle artists, which was amazing. Five years later, Jean put us forward for a costume job on Dangerous Liaisons, where we made all the costumes for Michelle Pfeiffer. That was our first Oscarwinning film. I think of all of the costumes I’ve made, and there’s an awful lot of them with 35 years in the business [laughs], my favourite is Dangerous Liaisons. Janette and I love doing the 18th century, and Michelle Pfeiffer was just a delight to make for.

After deciding to step away from my teaching career, I discovered a 9-month period costume cutting course in London at the London College of Fashion. I managed to get little grants from various private charities and moved to London in 1983, living on £50 a week to pay for my travel and food... just as well I knew how to cook [laughs]. I studied at LCF under one of the top period costume makers in the world, Jean Hunnisett, and graduated with a diplomaship in period costume cutting, as well as a life-long business partner, Janette Haslam.

As a Costumier, my job consists of working with the designer, interpreting the design, and interpreting that design in such a way that it will fit the artist. You could have a drawing that looks like Audrey Hepburn, but an opera singer that has a completely different figure. It’s important that you make your artist feel the best that she can be.

Jean Hunnisett’s course was for people who had been in the theatre and could sew. We learnt to cut costumes from the medieval

Michelle Pfeiffer in ‘Dangerous Liaisons’ @ GwenRussell.com

Christina Ricci in ‘Penelope’ @ GwenRussell.com

DREAMGIRLS @ Dreamgirlsthemusical.com

“It’s like being an artist, you can’t help but want to create something that looks the best it can be and more.”

You are essentially manipulating a designer into a slightly different mindset because the design may not work for the artist’s silhouette. It’s all got to do with communication.

don’t care what it looks like - as long as it looks right on the outside, they don’t care about the fabric or construction. I find that a little difficult.

It’s always important to consider silhouette and fabrics when working on stage or film. When I get a design, I do a lot of research so that my eye is absolutely right. You need to be able to look at a design and know exactly where that inspiration has been taken from. You build up this huge amount of memory and knowledge of history; you never stop learning. A lot of this is in my head because I’ve done it for so long, but it doesn’t mean I don’t go back to my books. I always go back to my books - you need to know your history.

I come from a time where quality mattered. The production companies want so much more back financially that they become very short-sighted and some will ask you, ‘Can’t you make it cheaper?’. Well sure, I could make it cheaper but it will last for a year instead of five. They have to spend the money on the production because at the end of the day, if you don’t buy quality fabrics, they’ll start to shred and fall to pieces, and then they have to be made again. These costumes have to be able to withstand eight performances a week for at least two years. Having poor quality costumes for less time is false economy.

You also have to think about what the artist is doing on stage; are they moving a lot, do they have to get themselves in and out of a costume on stage, or is there a quick change off stage? Again, you’re working as originally as possible to the design and period but you still make it so that they can stick their hands up above their heads and high kick. You have to consider so many different things and that’s why I love creating costumes. I love getting a design and I love building the toile. I like to create from a piece of paper that’s got a few scribbles and transform it into a 3D silhouette that looks exactly like the design and better. I just love doing that.

Being a Period Costumier is absolutely not a rich profession [laughs]. I always say this to my students: If money is your motivation, this is not the career to have. You choose this career because it’s something you want to do; it’s something you love doing. These motivations are the only way you will ever get through the hours and hours of work. I mean, you have to be certifiably insane to do this job! [laughs] You really do have to be a little bit nuts! When you see your work on stage and screen, and you know you have nailed it, it is such a buzz and that’s enough for me.

“A designer said...‘You can always tell which costume is one of yours because there has been so much love put into it’...”

It’s not an easy job. I meet people who look at all the artists I have worked with – like Michelle Pfeiffer, Nicole Kidman, Robert De Niro, Tom Cruz and Brad Pitt - and they comment, ‘Oh wow. How amazing.’ But it is not glamorous when you’re working at 3am in the morning and you’ve been doing it for five days straight [Laughs]. But the thing is, I enjoy and love what I do. A designer said to me, ‘You can always tell which costume is one of yours because there has been so much love put into it’ and that’s exactly how I feel about it. It’s like being an artist, you can’t help but want to create something that looks the best it can be and more. It feeds my soul.”

Amongst the many costumes I have made, Janette and I have worked on The Lion King for the last 20 years making the same set of costumes for the theatre production. We make the jungle scene costumes in the second act where the two cubs meet as adults; it’s a big love scene while they sing ‘Can you feel the love tonight’. These are very much prop costumes, which is not our usual purview, and when we saw the designs originally, we thought ‘Oh I don’t want to make those’ [laughs]. Nobody wanted to make them because they were just so complicated [laughs]. We have been patterning and making these 5 designs right from the original production that opened in London in 2000. We additionally make for the German, Madrid, Amsterdam and Paris shows which should be showing again in September.

Interview and Words By Veronica Wong Diffa

In May 2020 I will also be working on a new production of Beauty and the Beast; I will be making the costumes for Belle. The designs are very different from the original production I worked on 25 years ago - they have a far more international feel about them because they want to have many productions all around the world. It’s going to be very exciting. I honestly don’t know if quality period costume making will always be a staple accessory in the industry. There have been huge changes afoot because of money. A lot of modern shows, within the stage and film industry, buy ready-made costumes because it is cheaper. You’re always going to have stage shows that want bespoke costumes, but unfortunately some new designers and production teams are really not interested in quality. They’re interested in quantity and getting something on that stage. A lot of the time they

the prince of egypt HOW DOES THIS TRULY EPIC TALE TRANSLATE TO THE WEST END STAGE?

Theatre blogger and all-round musical theatre enthusiast, @thecheapseats_, shares his thoughts on this much anticipated brand-new musical, directed by Scott Schwartz and featuring music from the award-winning composers of ‘Wicked’ and ‘Godspell’.

When I first heard that the DreamWorks movie, The Prince of Egypt, was being adapted into a musical, I was most definitely sceptical. I had seen the film as a child and learnt the stories of Moses at school, so I was curious to see how they would transfer this epic story live on stage. Let’s not forget the fact the original film is also an animated motion picture, which is surprising when you know the challenging themes, events and storyline this film tackles.

The Prince of Egypt tells the story of the two young princes of Ancient Egypt; Ramses, the first-born prince who’s destined to be the next pharaoh, and his brother Moses, a Hebrew born child given up by his mother as a baby to escape a genocide. Moses was adopted into the royal Egyptian family after the queen finds him cast aside the river Nile. Over the course of the show, both princes struggle with their ultimate destinies. For Ramses - his path to lead and protect his country, whilst for Moses - his orders from God to free his true people from slavery. These destinies threaten to tear a brotherhood apart and lead both on a path to change the course of history forever.

“...truly spectacular and a visual feast to the eyes.”

Let me start by saying this show most definitely has its strengths and weaknesses. The sheer scale of this show was an element I was very much anticipating and is definitely needed when filling the humungous 2100-seater Dominion Theatre. Upon entering the theatre, the set design initially blew me away – successfully transforming the theatre into an Egyptian sandscape that extended into the auditorium through beautiful tasselled backdrops. However, as the production was underway it was disappointing to find that the majority of the production was confined to a small area of the stage; a platform where the actors would walk upon and stay for the majority of the action. The set design was also limited to mostly just large Egyptian blocks that were arranged and modified by the ensemble to create different props, such as temples and thrones. Apart from this, the majority of

For those who aren’t aware, The Prince Of Egypt is an adaptation of the biblical story of Moses, written in the Book of Exodus. Oh yes, the man who parted the red sea, received a message from God sent through a burning bush, and journeyed through an Egyptian sandstorm to free the Hebrew people. Definitely not the easiest content to transfer to the stage! However, this brand-new theatre adaptation has laid fresh eyes on this truly classic narrative and film. Through the power of music, movement and unique set design, a new version of this well-known tale has been created at London’s Dominion Theatre.

â&#x20AC;&#x153;The talent of this ensemble is immense and the level of energy these performers radiate was incredible.â&#x20AC;?

Photographer: Darren Bell

â&#x20AC;&#x153;...Ultimately, this show definitely leaves the audience wanting more...â&#x20AC;?

Photographer: Sam Bradely Cox

the physical storytelling was left to the ensemble and projections in the show.

the original film. However, there are enough spectacular numbers that left me singing the songs on the train ride home.

The projections were definitely one of the stronger elements and make use of the whole theatre, including the large backdrop of the stage, as well as the tasselled drapes that extend into the audience. These are used at multiple moments to transport audiences through different areas of Egypt, as well as during significant moments of the story such as the parting of the Red Sea. These moments were well and truly spectacular and a visual feast to the eyes. However, the scenes that come between these memorable moments struggle to match their level of excellence.

The cast of the show does a superb job of singing this score. The full ensemble numbers are definitely the most special, hitting the audience like a powerful wall of sound. So if you haven’t guessed already, the vocals and orchestrations really wowed me and are enough of a reason to see this show on their own. The principle cast also have beautiful voices, most significantly the female leads, Christine Allado and Alexia Khadime, whose rendition of ‘When You Believe’ was simply perfection.

The clearest problem to me was the script, which struggled to balance humour and drama, and ultimately failed at keeping the audience engaged. It’s most definitely a difficult story to tackle. Some moments felt dragged out whilst others seemed rushed, and therefore the pacing of this show may have been what threw me off.

“...there are enough spectacular numbers that left me singing the songs on the train ride home”

And now for a ‘The Cheap Seat’ tip. For this show, there a few ways of getting some affordable tickets. I used the app TodayTix, which is my go-to platform to snap up my tickets. They often run sales on specific productions for a limited time, in which you can access cheaper tickets. They also run rush schemes for shows, of which The Prince of Egypt is one of. For this, a limited amount of tickets are released on the app at 10am on the day of the performance. These are priced at £25 and usually have an amazing view. Go and download this app ASAP to get yourself a whole lot of West-End tickets, even when you’re on a budget. As a whole, The Prince of Egypt is definitely a muchanticipated spectacle of a show that lives up to its hype in some ways more than others. One of such, is that the show struggles to fill the humungous Dominion Theatre; an issue that in some instances was successfully overcome by the music and spectacular projections. However ultimately, this show definitely leaves the audience wanting more. Get yourself down to the Dominion Theatre to make up your mind and get ready to travel back to Ancient Egypt.

Aside from this, there are many aspects of the production that still made me feel invested and entertained throughout the show. Most notably, the incredible ensemble had the tricky task of being the heart of the storytelling of this piece. Due to the stripped-back set design, most of the physical action and storytelling on the stage was left to them. They tell the story through movement and take some of the tricky elements of the plot, such as the sandstorms, chariot races and bush fire’s and translate this to the audience through interpretive dance, and circus-like tricks and lifts. These scenes are also helped by the previously mentioned projections.

Words By Sam Bradley Cox (@thecheapseats_)

This method of storytelling was hard to follow unless you were very familiar with the story of the show, such as, the cast interpreting the bush fire, which was slightly unclear without prior knowledge to this plot point. I’d imagine for a newbie to the show they would struggle at times to catch every little detail, which in an epic tale like this, can be crucial. The choreography at times was whacky, for sure. For example, the whole cast rolling along the stage to signify sand was a tad too far for me. However, for the most part, the movement in this show was brilliant and unique. The talent of this ensemble is immense and the level of energy these performers radiated was incredible. Another way that the production really shone, was through its orchestrations and vocal performances. The music in the show is written by Stephan Schwartz, who also wrote the music for Wicked, so I was of course expecting big things. The show still features the classic music from the film, however new music has also been added for the stage. Be prepared for goose-bumps galore because the show sounded absolutely beautiful. The newer material written by Schwartz does struggle to match the brilliance of the music from

artiste PHOTOGRAPHER: Robyn Slator CONCEPT CREATION: Veronica Wong Diffa STYLING: Veronica Wong Diffa MAKE-UP ARTIST: Yasmin Howell MODEL: Yasmin Howell

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