pedestal decadence

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Issue #1 - DECADENCE v DECAY

Editor's page

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Contributors

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What's all the Fuss about?

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Pretty Gritty

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Playtime

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Nature Feels

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Straight Faced

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D-4, 7. :-)5;

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Attention to Detail

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A drop in the Ocean

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Skyscrapers

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1:;< )6, .7:-57;< ?7=4, 413- <7 ;)A ?-4+75- <7 <0- >-:A D:;< -,1<176 7. -,-;<)4 5)/)B16- -,-;<)4 0); *--6 +:-)<-, <7 ;07?+);- )6, =6+7>-: ) ?-)4<0 7. <)4-6< <0)< 5)A 0)>- /76- =667<1+-, 16 ;=+0 )6 =6;<)*4- +415)<- -,-;<)4 1; 0-:- <7 +-4-*:)<- <0- 8-784- 16 .);0176 :)<0-: <0)6 <0- .);0176 1<;-4. )6, 1; 16;81:-, *A )44 <0)< 1; 6-? )6, -@+1<16/ 16 <0- +:-)<1>- 16,=;<:A *A ;07?16/ A7= ?07 )6, ?0)< <7 ?)<+0 7=< .7: 16 <0- .=<=:- 6+7=:)/16/ 6-? <)4-6< )447?; -,-;<)4 <7 +=:)<- <0- *:)>- .:-;0 )6, 57;< 1667>)<1>- .)+-; 7. .);0176 7+=;16/ 76 ,-;1/6-:; 57,-4; 807<7/:)80-:; .);0176 ;<A41;<; 144=;<:)<7:; )6, 0)1: )6, 5)3- =8 ):<1;< ?- ?7:3 ); ) 84)<.7:5 <7 8:757<- <0- 57;< =619=- )6, =6=;=)4 <)4-6< ):7=6, >-: <0- 4);< 576<0; ?- 0)>- ;+7=:-, <0- /47*- .7: <0- <)4-6<-, 6-? .)+-; <0)< ?- .-4< 16+7:87:)<-, )6, :-8:-;-6<-, <0- <:=- ;81:1< 7. -,-;<)4 6+- ?- 0), 81<+0-, <0- 1,-) 7. <0- 8=*41+)<176 <7 <0-;- +:-)<1>- 57;< ?-:- 57:- <0)6 -)/-: <7 +76<:1*=<- 516=; ) .-? ,1>); )6, *- 16>74>-, 16 ) 8:72-+< <0)< ?); +47;- <7 <0-1: 0-):<; )6, 9=1<- .:)634A <0-1: 41>-41077, #0:7=/0 <0- +0)44-6/16/ /:=-4416/ 8:7+-;; 7. ;-4-+<176 )6, -41516)<176 ?- ?-:- )*4- <7 +077;- <0- 8-:.-+< *4-6, 7. <)4-6< )6, 0)>- ?7:3-, ;1,- *A ;1,- ?1<0 7=: +76<:1*=<7:; ); ?- .--4 <0)< ->-:A76- ; ?7:3 <-44; ) 8-:;76)4 ;<7:A ?01+0 1; ?0A ?- 8:757<- <0- 8-:;76)4 <7=+0

#0- ;841< <0-5- 7. ( -+),-6+- )6, -+)A .7: <0- D:;< 1;;=- 7. <0- 5)/)B16- )447?-, -,-;<)4 ; +76<:1*=<7:; <7 ?7:3 <7?):,; ) ,-;1:-, <0-5- <0)< 1; :-8:-;-6<)<1>- 7. /47*)4 1;;=-; )6, +=::-6< )..)1:; )6, 16<:7,=+-, ) :-)4 ;-6;- 7. ;<:=+<=:- <7 <0- 8=*41+)<176 #0- <0-5- 7. -+),-6+- 0); ;07?+);-, <0- 57;< aesthetically pleasing collaborations to take shape that are *);-, 76 8-:;76)4 16<-:8:-<)<176 7. ?0)< 1; :-8:-;-6<)<1>- 7. ,-+),-6+- 16 <7,)A; ;7+1-<A #01; :-8:-;-6<)<176 0); *--6 ,7+=5-6<-, <0:7=/0 ) >-:A *:7), ;-4-+<176 7. +:-)<1>- 7=<+75-; )6, ?- 0)>- -627A-, +)8<=:16/ <01; .7: A7=: >1-?16/ 84-);=:- &- 078- A7= ):- 16<:1/=-, *A <0- )*=6,)6+- 7. <)4-6< <0)< ;=::7=6,; A7= ); ?- ,-D61<-4A ?-:-

6

1BB1- -?;-A Editor

Editor in Chief Lizzie Lewsey Creative Direction Lizzie Lewsey Fashion Lisa Field Yasmin Ward Lizzie Lewsey Art & Design Hannah Rose Barclay Mariel Clayton Photography Chris Aadland Adam Fussell Lizzie Lewsey Lulu McCardle Make-Up and Hair Olivia Head India Myott Livvy Stokes Beca Tuffnell

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Photography by Adam Fussell 6<-:>1-? *A 1BB1- -?;-A

Adam Fussell has been tipped for big things in the world of fashion photography and he is one creative who is not afraid to explore all possibilities and expand the boundaries of imagination. Fussell’s decadent eye behind the lens has resulted in the most beautiful images that are aesthetically pleasing and visually brilliant and having graduated from Leeds University of Art with a 1st class degree in Visual Communications under a year ago, this young creative has managed to conjure up quite an impressive list of clients based on the ‘word of mouth’ of his excellence and professionalism. Fussell’s clients include; David Oldham, Sun Lee, Squiz Hamilton, Grant Thomas and Elliot Morgan. Fussell has also assisted on many shoots for Vogue, Tatler, Elle and Marie Claire and his hard work and dedications has allowed him to build an exciting portfolio of work that shows a wealth of talent and sets him aside from his peers.

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potential and the rest is history.

A7=: 7?6 <016/; ?0-:-); ?0-6 A7= /7 16<7 <0- :-)4 ?7:4, 1< ; <0- Is the life of a fashion photographer last thing you have to think about as grand and exciting as it 1; A7= :-)44A )6, ?0)< A7= ?)6< <7 sounds? Pedestal takes this ,7 <; 413- A7= ):- <:A16/ <7 /-< <7 ?0-:- A7= 6--, <7 /-< *);1+)44A from Adam Fussell and is truly )6, 1< ; ) 476/ 0):, :7), .7: )6A76- beaming with excitement to <0)< ; )*7=< <7 ,7 1< ;7 *- 8:-8):-, meet the next David Bailey. <7 *- ;07+3-, 8:-<<A 5=+0 Tell us about the qualities that make you stand out as a fashion photographer? Persistence I think is probably <0- 57;< 1587:<)6< <016/ <7 0)>- ); 1<; )6 16,=;<:A ?0-:- A7=: 67< /716/ <7 ;<):< ?7:316/ ?1<0 <0- 8-784- A7= ?)6< <7 ?7:3 ?1<0 7>-:61/0< <; 57:- 7. ) 5):)<076 :)<0-: <0)6 ) ;8:16< )6, A7= :- ;7:< 7. +018816/ )< 1< )6, A7= 0)>- <7 D6, ) /77, <-)5 7. 8-784- <7 ?7:3 ?1<0 ); 1<; 67< )44 )*7=< <0- 807<7/:)80-: 1<; )*7=< <0- <-)5 <0- 57,-4 <0- 5)3- =8 <0- ;<A416/ )6, ->-:A<016/ -4;- ):7=6, <0)<

After you seal the deal from a client what do you do to prepare? Normally I get sent a mood board .:75 ) +41-6< ;7 ?144 0)>- ) 4773 )< <0- :-.-:-6+- 15)/-; )6, 0)>- 413- )6 ):+01>- 7. 15)/-; <0)< 0)>- .7: :-.-:-6+16/ <0-6 ?144 8=< 5A 7?6 577, *7):, <7/-<0-: )6, ?7:3 7=< 47+)<176 7: 1. 1<; ;<=,17 ?7:3 7=< ?0)< ;7:< 7. 41/0<16/ )5 /716/ <7 =;- <0-6 think about models and get an idea 7. ?0)< ?)6< <7 ;077< 16 5A 0-),

What is your proudest career achievement to date? How have you found the transition &-44 .7=6, 7=< <?7 ,)A; )/7 <0)< from university to professional )6 15)/- 7. 516- 1; *-16/ =;-, 16 ) *773 <0)< ; *-16/ /1>-6 <7 <0- work? (was you ready for it?) Having come from a household 7?0-:- 6-): A7= +)6< 8:-8):- 9=--6 .7: 0-: ,1)576, 2=*14-- of sporting hero’s, Fussell’s .7: 1< 1< ?); ) 5);;1>- ;07+3 )6, 1< ?- ?-:- >-:A 158:-;;-, *A <01; career choice has gone against ,7-;6 < 0)88-6 ;<:)1/0< )?)A )6, the grain of what was set out 1<; 5)A*- 413- ) 576<0 7: ;7 ?0-6 for him and even till more A7= D61;0 <0)< A7= >- /7< <7 ;<):< Have you had any surreal recent years, Fussell himself -):616/ 576-A )6, D6,16/ A7=: 7?6 moments so far in your career? ?7:3 ;<144 ,76 < 367? A-< 1<; 413- ) ,76 < 367? <0163 5A 41.- be showcased through the *1/ ;07+3 <7 <0- ;A;<-5 1<; :-)44A everything is surreal really because medium of illustration. However, tough trying to make it because 5A 41.- 5-)6 6->-: 367? ?0)< ; one serendipitous moment that )< $61 A7= 0)>- D6)6+1)4 *)+316/ going to happen and it could be allowed Adam put down the )6, A7= ,76 < 0)>- <7 ?7::A )*7=< ) "=6,)A 61/0< )6, ?144 0)>- 67 pen and ink, in exchange for a 576-A A7= >- /7< ;75-?0-:- <7 ?7:3 84)66-, .7: <0)< ?--3 )6, camera helped him to realise his ;<)A )6, A7= 2=;< +76+-6<:)<- 76 then like everyday something

)6A76- -4;- <0)< ?7=4, ?7:3 16 )6 7.D+- 27* <7 ,7 ?0)< ,7 ?7=4, D6, 1< 9=1<- ;<:)6/- *=< <0)< ; ?0)< 413- 16 41.- Who or what inspires you on a daily basis? #01; 1; ;=+0 ) <7=/0 9=-;<176 <0163 413- )457;< )6A<016/ :-)44A < +7=4, *- 41<-:)44A )6A<016/ 413- +7=4, *- -)<16/ *:-)3.);< 76- 57:616/ and the light is coming through <0- ?16,7? 8716<; )< 01; 31<+0-6 ?16,7? 16 01; .)514A 075- ?144 <0163 )0 (, 413- <7 ;077< ;75-76- =;16/ <0)< ?16,7? 41/0< 0-:- 7: 1< +7=4, *- 1. 5 7=< 76 <0- ;<:--< )6, ;-- ) 61+- *=14,16/ 7: ->-6 ?0-6 5 ?)<+016/ ) D45 <0-:- +7=4, *- ) ;+-6- )6, 5 16;81:-, *A <0)< Almost anything is inspirational; <0163 ?1<0 5- 1< ; :-)44A *:7),

“IT’S  MORE  "IT’S  MORE  OF  A  OF  A  MARATHON,  MARATHON  RATHER  RATHER  THAN  A  THAN  A  SPRINT" SPRINT�

Do you prefer studio of outside work? -D61<-4A 8:-.-: ;077<16/ 47+)<176; 2=;< *-+)=;- 8:-.-: =;16/ 6)<=:)4 41/0< ); )887;-, <7 ;<=,17 *=< 1< )4;7 ,-8-6,; 76 ?0)< 27* A7= ):- ,716/ ); <0-:- ):- 8:7; )6, +76; <7 *7<0 Do you work with a team of solo? #0-:- ):- ) .-? 8-784- <0)< ?7:3 ?1<0 5)164A *=< 1<; 2=;< 5- 67:5)44A ,76 < 367? , ;)A 1< ?); 5)164A 2=;< 5- ?7:316/ 76 5A 7?6 )6, <0-6 D6,16/ 7<0-: +:-)<1>-; ?07;- ?7:3 413- <7 +744)*7:)<- ?1<0 ) 4) 8-,-;<)4

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As a fashion photographer what do you think is the most important aspect to bear in mind whilst shooting? <0163 07? A7= ):- 87:<:)A16/ <0- ;=*2-+< <7 <0- >1-?-: <0-:- ):- ) 47< 7. 807<7/:)80-:; ;=+0 ); #-::A !1+0):,;76 <0)< ;-@=)41B- <0-1: ;=*2-+< -;8-+1)44A .-5)4-; <0)< ;07? 07? 0- 87:<:)A; ?75-6 )6, 1<; ;75-<016/ )5 >-:A )?):- 7. )6, <0163 07? )5 /716/ <7 portray this musician or actor in .:76< 7. <0- +)5-:) ); <0163 A7= have to take in their persona and I <0163 .);0176 1; ,1..-:-6< <7 87:<:)1< ;<=.. *-+)=;- ?1<0 .);0176 A7= +:-)<- <016/; )887;-, <7 )+<=)44A +)8<=:16/ ;75-76- .7: ?07 <0-A ):- <0-1: -;;-6+- <0163 0)>16/ ) +4-): 1,-) 7. 07? A7= ?)6< ) 8-:;76 <7 *- ;07?6 <7 ?075->-: <0- 15)/- ?144 *- ;07?6 <7 1; 76- 7. <0- 57;< 1587:<)6< <016/; <7 +76;1,-:

Do the clothes compliment your photography or would you say it’s the other way round? < 67:5)44A ;<):<; ?1<0 )6 1,-) 16 5A 0-), 7. ;75-<016/ <0)< ?)6< <7 ;077< <0-6 ?144 *=14, =8 ) 577, *7):, 7. 15)/-; )6, +47<0-; )6, look at recent collections that I <0163 ?144 ?7:3 ?1<0 <0)< )6, 1<; normally the clothes that come ).<-: *=< 1< ,-8-6,; ); <0-:- +)6 *- 7<0-: 27*; <0)< ):- +41-6< *);-, and the clothes are already there ;7 0)>- <7 ;077< ?0)< 1; 16 .:76< 7. 5- "7 A-)0 1< ?7:3; *7<0 ?)A;

Being an avid fan or yours we follow you on twitter and hav been intrigued by a tweet you posted stating that you are “getting praised, not paid�, would you say that this is a fair representation of many fashion photographers? ' " A-; ,-D61<-4A 413- 5-6<176-, <7 A7= -):4A A7= /-< 47<; 7. 8-784- ;)A16/ +)6 A7= ,7 <01; 27* .7: 5- 1<; .:-- <01; <15- *=< <0-:- ?144 *- 8)1, ?7:3 +7516/ )6, 7. <0- <15- <0)< ; ) 41- )6, <0163 <0)< 8-784- <:A <7 <)3- A7= .7: ) .:-- :1,- ); 5=+0 ); <0-A +)6 *=< >- ;7:< 7. /7< =;-, <7 1< 67? )6, 5 8=<<16/ 5A .77< ,7?6 ?0-:-); *-.7:- ?7=4, ;077< ;7:< 7. )457;< )6A<016/ *=< 67? .--4 413- )5 16 ) ;<:76/-: 84)+- ?1<0 5A ?7:3 )6, .--4 +)6 <=:6 ,7?6 ?7:3 <0)< ?76< /-< 8)1, .7:

6<-:>1-? *A 1BB1- -?;-A Photography by Adam Fussell

Do you feel that your photography documents the decadent aspect of fashion? -627A ?7:316/ ?1<0 -@8-6;1>- clothes that are classed as high end I think this is once again yes and 67 )6, 1<; 76- 7. <0-5 <016/; ?0-:- ?0)< ) ;077< ?144 16E=-6+- <0- 7=<+75- 0)>- ;07< <016/; <0)< ):- :-)44A :)? )6, :=//-, <0)< +7=4, *- +4);;-, ); /:1<<A )6, ?7=4,6 < :-)44A *- +76;1,-:-, ); 01/0 -6, *=< <0-6 477316/ <7 .=<=:- 8:72-+<; )5 shooting a story soon that is going to be shot on bond street outside 0)6-4 )6, 1<; =;16/ -@8-6;1>- designer clothes and is very ,-+),-6< "7 A-; *- 076-;< ?)6< <7 *- 16 ) 84)+- ?0-:- )5 ;077<16/ 01/0 -6, .);0176 )6, <7 ,7 <01; .7+=; 76 <0- 57:- /4)57:7=; ;<=..

"I'M Â GETTING Â PRAISED, Â NOT Â PAID"

When we sent you the brief for the decadence and decay issue of pedestal what were your initial thoughts about it? 413-, <0- 1,-) 7. <0- 5)/)B16- )6, 07? 1< ?7=4, *- ) .)1: :-8:-;-6<)<176 7. ;7+1-<A )6, )< D:;< ,1,6 < <0163 5A ?7:3 ?7=4, D< 16 <0-:- )< )44 *=< obviously you did and I can see 67? 477316/ )< <0- 81-+-; <0)< 0)>- *--6 ;-4-+<-, 07? 1< ?144 D< 16 <7 <0- ,-+),-6+- )6, ,-+)A *:1-. <0163 <0)< <0- 76,76 :17<; ?-:- 2=;< ) 5);;1>- <=:616/ 8716< .7: ?0)< 1; happening at the moment and its probably a long time coming really )6, 1< ,1, 16;81:- 76- 7. 5A 57:- :-+-6< -,1<7:1)4; ?01+0 ?); +)44-, ( :1< )6, 4)57=: )6, <0- 1,-) )< D:;< ?); <7 ;077< ) ;<7:A <0)< ?7=4, 0)>- *--6 <0- 76,76 :17<; D>- A-):; 4)<-: 1. <0)< 0), ;81:)4-, 7=< 7. +76<:74 )6, +)::1-, 76 )6, /7< <7 ) 8716< 7. ,-+)A <7 ;)A <0)< <0-:- ?7=4, 2=;< *- /)6/; 7. 8-784- 2=;< 413- <0- D45 ?)::17:; )6, <0)< ; ?0)< 1<; ;7:< 7. *);-, 76 ;7 ;=887;- 5A ?7:3 1; >-:A 16 D<<16/ ?1<0 <01; <0-5- )6, 413- <0- 1,-) Fussell has many projects lined up for the future and his growing

recently and with regards to aesthetic qualities that a photographer of Adams level possesses, we are sue a future transition to the big screen would be inevitable for this young creative and we highly recommend that you watch this space.

“ ecadence is a ,1.D+=4< ?7:, <7 =;- since it has become little more than ) <-:5 7. )*=;- applied by critics to anything they do not yet understand 7: ?01+0 ;--5; <7 ,1..-: .:75 <0-1: 57:)4 +76+-8<; G :6-;< -516/?)A At Pedestal Magazine we have always thought of sophistication as rather a feeble substitute for decadence. In a free society, government people. If people want change at the top, they will have to live in different ways. Our major social problems are not the cause of our decadence. They Photography by Lulu McCardle Hair/Make-up by India Myott Styling by Yasmin Ward

Photography by Mariel Clayton &7:,; *A 1BB1- -?;-A

Mariel Clayton is a doll 807<7/:)80-: ?1<0 ) ;=*>-:;1>- ;-6;- 7. 0=57=: )6, 8);;176 .7: )44 <016/; /:)801+ 16 6)<=:- ?01+0 )447?; 0-: 15)/-; <7 ,-D61<-4A ,)6+- 16 <0- :-)45 7. +76<:7>-:;A ( 7: ):*1- 7: .7: ?7:;- ):1-4 ; 807<7/:)80A 7. ,744; /76- ?:76/ 1; ,--84A disturbing in all the right ?)A; #0:7=/0 <0- =;- 7. )6 7*2-+< ;-< 7=< <7 .=-4 <0- 15)/16)<176 7. 1667+-6< +014,:-6 ):1-4 1; )*4- <7 ,-+76;<:=+< <0- >-:A +7:- 7. ;7+1-<A )6, =6:)>-4 ) ?7:4, 7. <:=<0; <0)< ):- 67:5)44A ;?-8< =6,-: <0- +):8-< 7. 76-; )41*= :-)5 07=;- -,-;<)4 5)/)B16- ?); 16;<)6<4A ,:)?6 <7 ):1-4 ; ?7:3 ); 0-: ;161;<-: 7=<4773 and outrageous approach <7 57,-:6 ):< ;07?+);-; <0- 4->-4 7. ,-;8)1: ?- are truly approaching due to the unrealistic role models a decadent ;7+1-<A 0); 8:7,=+-,

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Celebration

17

Discourse

Why did you choose Barbie? -+)=;- 0)<- ):*1- 16<-6;-4A ,1;413- <0- ;<-:-7<A8- <0)< <0- C1,-)4G .-5)4- D<; 67 +=::-6< )=<0-6<1+ .-5)4- .7:5 '7= +)6 < /-< <7 *- ):*1- ?1<07=< )6 7+-)6 ; ?7:<0 7. 8-:7@1,- 84);<1+ ;=:/-:1-; )6, ) +7584-<- 4)+3 7. 16<-441/-6+- ;7 1< irritates me immensely that this is the toy 7. +071+- ?75-6 /1>- <7 <0-1: ,)=/0<-:; <7 -5=4)<- How concretely do you see the scenes in your mind before composing them? Sometimes I see a complete picture in 5A 0-), ,7?6 <7 <0- 4);< ,-<)14 )6, )44 0)>- <7 ,7 1; :-+:-)<- 1< ?1<0 <0- 8:78; 7<0-: <15-; 1< 51/0< 2=;< *- ) 8):<1+=4): 81-+- 7. ) 81+<=:- <0)< ?144 <0-6 *=14, 76 < ; 0):, <7 -@84)16 *-+)=;- 5A mind tends to think up these things .);<-: <0-6 +76;+17=;4A +758:-0-6, <0-5 ;7 ?014- 367? -@)+<4A ?0)< ?)6< <7 ,7 1< <)3-; 5- ) ?014- <7 D44 16 <0- ,-<)14; 6->-: ,:-)5 7. 31<<-6; )6, :)16*7?; )6, E7?-:; #0-:- ; 8:7*)*4A ) 5-,1+)<176 .7: <0)< ;7:< 7. <016/ *=< then the pictures ?7=4,6 < *- ); /77, Is there a feminist statement happening within your work? 78- 5 )+<=)44A )6<1 .-5161;< ,76 < *-41->- 16 1< *-+)=;- <0163 <0- 5-;;)/- <0)< C.-5161;5G 1; <:A16/ <7 convey has escalated to a ridiculous )6, =6.)1: ,-5761B)<176 7. 5-6 ,76 < *-41->- <0??)< 5-6 )6, ?75-6 ):- -9=)4 *-+)=;- 47/1+)44A <0-A ):-6 < 7?->-: <0)< ,7-;6 < 5-)6 <0-A +)6 < *- <:-)<-, -9=)44A )6, .-5161;5 1; 67< 16<-:-;<-, 16 <0)< <0163 <0)< 5-6 0)>- been emasculated by contemporary 5-,1) <7 <0- 8716< ?0-:- <0-A ):- <:-)<-, 413- 155)<=:- 15*-+141+ +014,:-6 ?07 0)>- 67<016/ <7 +76<:1*=<- =64-;; 1< ; ;75-<016/ <7 ,-:1,- 7: 57+3 )6, .-5161;5 84)A; ) 4):/- 8):< 16 8-:8-<=)<16/ <0)< +0):)+<-:1B)<176 Your pieces poke fun at the state of society and look at how excess and greed can have negative effects on ones life, was this intentional? &0-6 +:-)<- 81+<=:-; 5 67< ,716/ 1< ?1<0 ;75- ;7:< 7. )/-6,) 7: ;7+1)4 5-;;)/- 2=;< <0163 1< ; .=66A ;?--< 41<<4- 8-:.-+< ):*1- <0- 8;A+078)<0 5 67< 7=< <7 ;-6, ) 5-;;)/- 5 2=;< 7=< <7 0)>- ) *1< 7. .=6 )6, ;0):- 1< ?1<0

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Disposable

Equality

21

Devotion

Consequence

!-;7=:+-.=4

the hidden humour in everyday ;+-6):17; )6, ->-6 <07=/0 4)A<76 ; 15)/-; ):- 7.<-6 *:=<)4 .=44 7. ;-@ )6, >174-6+- <0-A ,1;84)A )6, :-E-+< 76 <0- ,):3 ;1,- 7. <0- ?-;<-:6 ;7+1-<A 4)A<76 +)44; 0-:;-4. ) C 744 807<7/:)80-: ?1<0 ) ;=*>-:;1>- ;-6;- 7. 0=57=:G )6, 1< ?); ):1-4 ;

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?1;0.=4 <016316/ )6, )<<-6<176 <7 ,-<)14 <0)< )447?-, C)6 ->14 16E=-6+-G <7 *- -5*:)+-, <0:7=/07=< 0-: ?7:3 >-: <0- +7=:;- 7. ;->-:)4 A-):; her collection has highlighted many cultural issues that needed to be ),,:-;;-, @<:-5- 5)618=4)<176 7. 5=6,)6- 7*2-+<; )447?; 4)A<76

<7 ,-41>-: ) 87?-:.=4 5-;;)/- <0)< +)6 *- 16<-:8:-<-, 16 5)6A ?)A; )6, 1< ?); <01; -4-5-6< <7 0-: ?7:3 <0)< 16;<)6<4A ;8):3-, -,-;<)4 ; interest in the outrageous artist and ?- 4773 .7:?):, <7 ;--16/ ?0)< <0- .=<=:- 074,; .7: ):*1- ?- ?7=4, 47>- <7 ;-- ) ;07?,7?6 ?1<0 16,AH

Commitment Your art is very unique, where do you draw your inspiration from? ?7=4, 0)>- <7 ;)A 5A 5)16 16;81:)<176; ):- )+<=)44A +):<7761;<; In cartoons you can suspend :-)41<A ?014- 8=<<16/ <0- 273- 16 ) +76<-587:):A +76<-@< ?01+0 1; ?0)<

<:A <7 ,7 )5 ) *1/ .)6 7. 14-; )6, ,76 < 367? 1. :-)44A 0)>- ) .)>7=:1<- )4>16 )6, 7**-; ):<1;< . 0), <7 81+3 76- F 8:7*)*4A %-:5--: 47>- 07? 16 01; 81+<=:-; A7= Who are your favourite artists? .--4 413- A7= >- 16<-::=8<-, ;75-<016/ 47>- <0- ;3-<+016/ ; )6, +0):+7)4 ;<=,1-; 7. !-6)1;;)6+- ):<1;<; 5)164A .<-: <)4316/ <7 ):1-4 1< 0); 4-.< -76):,7 )6, 1+0-4)6/-47 57:- =; ?1<0 ) :-.:-;016/ 7=<4773 76 <0)6 413- <0- )+<=)4 8)16<16/; 41.- <0)< )447?; =; <7 1,-6<1.A &7:,; *A 1BB1- -?;-A

&7:,; *A 1BB1- -?;-A Photography by Chris Aadland

:75 -):41-;< <15-; 0=5)6 *-16/; 0)>- 67<1+-, 8)<<-:6; 16 6)<=:- 61/0< )6, ,)A <1,-; )6, 4=6): +A+4-; <0- +0)6/16/ ;-);76; 84)6< ;=++-;;176 )6, )615)4 51/:)<176 &014- :-+7/61B16/ 8)<<-:6; +76.-::-, /:-)< ;=:>1>)4 ),>)6<)/- ?- ):- 67? 16 ,)6/-: .:75 7=: 7?6 ;=++-;; 16 5=4<184A16/ 7=: 6=5*-:; )6, )4<-:16/ <07;- 8)<<-:6; .7: 7=: 7?6 8=:87;-; < 1; 158-:)<1>- <0)< ?- -6/)/- )/)16 ?1<0 <0- 8)<<-:6; 7. 6)<=:- *=< <01; <15- ?1<0 )?):-6-;; 7. 7=: 158)+< ); ) ;8-+1-; 7? ?144 /:7?16/ 0=5)6 878=4)<176; )..-+< <0- 0-)4<0 7. -+7;A;<-5; ; 47;; 7. ;8-+1-; ;1584A ) :-/:-<<)*4- *A 8:7,=+< 7. 0=5)6 -@8)6;176 : 1; <0- 84)6-< 8);;16/ 16<7 ) 6-? -87+0 16 2=;< ) .-? 0=5)6 /-6-:)<176; );0176 photographer Chris Aadland has captured the -..-+<; 7. =5)6 )6, )<=:- <0)< 5--<; 16 ) ;-:1-; 7. 15)/-; <0)< :-.-:; <7 <0- ,1;<16/=1;016/ +0):)+<-:1;<1+; 7. 16,1>1,=)4; #0- 16;81:)<176 *-016, ),4)6, ; );+-<1+)44A 84-);16/ 15)/-; +75-; .:75 <0- ?)A; 7. <016316/ .--416/ )6, )+<16/ <0)< 0=5)6; <-6, <7 0)>- 6)<=:)44A #0- 9=-;<176; 7. ?0)< <0-;- +0):)+<-:1;<1+; ):- ?0)< +)=;-; <0-5 )6, 07? D@-, 0=5)6 6)<=:- 1; ):- )576/;< <0- 74,-;< )6, 57;< 1587:<)6< 9=-;<176; 16 ?-;<-:6 80147;780A These questions have particularly important 15841+)<176; 16 -<01+; 8741<1+; )6, <0-747/A This is partly because human nature can be :-/):,-, ); *7<0 ) ;7=:+- 7. 67:5; 7. +76,=+< 7: ?)A; 7. 41.- ); ?-44 ); 8:-;-6<16/ 7*;<)+4-; 7: +76;<:)16<; 76 41>16/ ) /77, 41.- #0-:- ):- 5)6A ?)A; <7 16<-:8:-< ),4)6, ; ?7:3 *);-, 76 1<; <1<4- )6, <0- +7584-@ 15841+)<176; 7.

;=+0 9=-;<176; ):- )4;7 ,-)4< ?1<0 16 ):< )6, 41<-:)<=:- ?014- <0- 5=4<184- *:)6+0-; 7. <0- =5)61<1-; <7/-<0-: .7:5 )6 1587:<)6< ,75)16 7. 169=1:A 16<7 0=5)6 6)<=:- )6, <0- 9=-;<176 7. ?0)< 1< 5-)6; <7 *- 0=5)6 ),4)6, ?); :)1;-, 16 -:/-6 7:?)A .<-: D61;016/ ;-+76,):A ;+0774 ;<=,A16/ ):< )6, ,-;1/6 )< <0- )/- 7. 16

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0- ?); ,-D61<- <7 8=:;=- ) +):--: ); ) 807<7/:)80-: - ;<):<-, 01; ;<=,1-; )< 7:?-/1)6 "+0774 7. :-)<1>- "<=,1-; 476/ ?1<0 01; )+),-51+ )+<1>1<1-; 0- )4;7 ;<):<-, ;077<16/ .7: ) .-? <16A 8=*41+)<176; .-;<1>)4; ;=+0 ); 7>- -;<1>)4 5=;1+1)6; )6, ) ;<=,-6< 6-?;8)8-: ?01+0 0-48-, 015 <7 /)16 ) >):1-, 4->-4 7. ?7:3 -@8-:1-6+- <0)< 0); )1,-, -@<-6;1>- 367?4-,/- 7. <0- ,1..-:-6< /-6:-; 16 807<7/:)80A :),=)<16/ ?1<0 C -;< "<=,-6< ?7:3G 16 807<7/:)80A 16

0- ,-+1,-, <7 :-47+)<- )*:7), )6, ;<):<-, ;<=,A16/ .7: ) )+0-47: Hons degree at Solent University in "7=<0)58<76 $ ?0-:- 0- +=::-6<4A :-;1,-; Aadland believes that a photograph should 16+4=,- ) 8-:;76; +0):1;5) ->-6 1. 1< 1; 5-)6< .7: ) .);0176 ;8:-), ):< /)44-:A 7: ) +755-:+1)4 poster as it still is a portrait and should be true <7 1<; 7:1/16)4 .7:5 ),4)6, +4);;-; 015;-4. ); ) 87:<:)1< 807<7/:)80-: and although he has only been <)316/ 807<7/:)80; 8:7.-;;176)44A .7: <?7 A-):; 0- )4:-),A 367?; <0)< <01; 1; ?0)< ,1:-+<176 0- ?)6<; <7 ,->-478 16 )6, 0- ?)6<; <7 ;07? <0- ?7:4, 2=;< ?0)< 0- 1; +)8)*4- 7. Aadland states that “you can truly succeed )< ?0)< A7= 47>- )44 1< <)3-; 1; ,-<-:516)<176G and this attitude is evident throughout his 87:<.7417 7. ?7:3 <0)< ;07?; ) 01/0 4->-4 7. ,-,1+)<176 <7 01; +:).< ),4)6, ;<)<-; <0)< 01; +:-)<1>- 16E=-6+-; 57;<4A +75- .:75 D45; <7 8=:;=- 6-@< 0- ?144 7.<-6 D6, 015;-4. 477316/ <0:7=/0 <0- *773; 7. <0- 74, 5);<-:; 7. 807<7/:)80A ;=+0 ); -66 -?<76 >-,76 )6, -1;-4

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;-:17=; .)+1)4 -@8:-;;176 /1>16/ 67 ->1,-6+- 7. 16<-:-;< 7: )5=;-5-6< -@)516-; <0- ,-+),-6+- )6, 5-)616/4-;;6-;; 7. 57,-:6 ?-;<-:6 41.- < )4;7 87;-; <0- 9=-;<176 . ?- 41>- 16 ;=+0 ) /:-)< )6, 8:7;8-:7=; ?7:4, )6, ?- ):- 41>16/ 476/-: *-<<-: )6, 0-)4<01-: <0)6 *-.7:- ?0A ):- ?- ;7 =60)88A Photography by Adam Fussell :-)<1>- 1:-+<176 *A 1BB1- -?;-A

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Lisa Field - Fashion Designer &7:,; *A 1BB1- -?;-A

#0- 1,-)41;<1+ <0-5- 7. (5)3- ,7 )6, 5-6, 0); <)3-6 76 ) 6-? 41.- .7:5 <0)63; <7 ,-;1/6-: 1;) 1-4, ?07 1; <0- .7=6,-: 7. online clothing brand ")4>)/- 47<016/ company that prides themselves on being environmentally .:1-6,4A 1; ?-44 6--,-, 16 ) .);0176 ;7+1-<A that is obsessed ?1<0 ,1;:-/):, ")4>)/- ; )88:7)+0 <7 :--6-:/1B16/ +47<016/ has been seen as ) *:-)<0 7. .:-;0 )1: )6, 2=;< <0- ?)3- =8 +)44 <0- .);0176 industry needs in a ;7+1-<A ?0-:- ;7+1)4 )?):6-;; 1; *-+7516/ ) ,)14A 7++=::-6+- Salvage Clothing is

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directed at young ?75-6 ?07 41>- <7 shop vintage and incorporate the vintage ?)A 7. 41.- *=< ;<144 maintain a certain level 7. =83--8 .7: ?0)< 1; +=::-6< 16 .);0176 Salvage garments have all been recycled )6, (;)4>)/-, <7 *- on trend and unique and through trend led 0)6, ,:)?6 8:16<; *A 1;) 0-:;-4. <0- +=;<751B)<176 <)3-; ;0)8- -,-;<)4 5)/)B16- ?); .7:<=6)<- enough to be granted behind-the-scene )++-;; <7 ")4>)/- ; ?-*;1<- 807<7 ;077< ?01+0 5-)6< ?- /7< <7 have a sneak peek at )44 <0- ,-*=< +744-+<176

"<A416/ *A 1BB1- -?;-A 07<7/:)80A *A 1;) 1-4, 1BB1- -?;-A Make-Up by India Myott Hair by Olivia Head Clothing by Salvage Vintage

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Make up and Hair by Livvy Stokes #0- /:7?16/ /)8 *-<?--6 ).E=-6+- )6, 87>-:<A 1; .);< -@8)6,16/ )6, ,-;81<- <0- ;<)6,):,; 7. 41>16/ *-16/ )< ) 01/0-: 4->-4 <0)6 ->-: *-.7:- 16+:-);16/ ,1;+76<-6< )*7=< <0- /=4. *-<?--6 :1+0 )6, 877: 0); ?1,-6-, ,:)5)<1+)44A 7>-: <0- 8);< A-): -784- ):- .7:+-, <7 (:1,- 7=< <0- ;<7:5 <0)<

1; <0- +=::-6< D6)6+1)4 ;<)<- 7. <0- -+767my and any changes made are seen as 16;1/61D+)6< )6, =6413-4A <7 5)3- ) ,:);<1+ +0)6/- 6;81:-, *A 8)+- 7. ;7+1)4 +0)6/- )6, <0- )<57;80-:1+ 577, -@8-:1-6+-, *A )44 1>>A "<73-; 0); +:-)<-, ) 5)3- =8 4773 <0)< :-E-+<; <0- ,-8<0; 7. <0- 6)<176

Make-Up and Hair by -+) #=..6-4 &7:,; *A 1BB1- -?;-A

The relationship *-<?--6 .);0176 )6, architecture is not a particularly oblique 76- 7<0 ):- *);-, 76 ;<:=+<=:- ;0)8- and prettying up *);1+ 6-+-;;1<1-; )6 -4-5-6< 16 ?01+0 -+) #=..6-44 0); -@847:-, 16 /:-)< ,-<)14 ?1<0 0-:

0)1: :)1;16/ +:-)<176; The relationship *-<?--6 .);0176 )6, architects is less ,1;+=;;-, '-< ->-6 a glance both groups ):- 2=;< ); ;<A4- conscious as each 7<0-: :+01<-+<=:- 1; 5)316/ 1<; 8:-;-6+- .-4< 16 +=<<16/ -,/- .);0176

#0- 841)*4- 5-<)4; 5-5*:)6- ;<:=+<=:-; 41/0<?-1/0< /4);;-; and plastics used in building construction are creeping onto the +)<?)43 )6, +)6 *- ;--6 ); <0- .7=6,)<176; 7. 5)6A 57,-:6 creations in hair and make up design too

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