Through the Lens by Rachel Campbell

Issue 1 ÂŁ5.00 Summer 2012

Contents

blems” “Other people’s pro

Kirk’s Originals

FASHION

A matter over Matter

CULTURE

ART

10 Roberto Piqueras’ street fashion show

10 Google glasses

42 A matter over Matter

11 Leggings out for the lads

13 Breton “Other people’s problems”

44 Reality’s doomsday

12 Having a veil of a time

14 Top 10 film characters with specs

18 Digital Print

24 Tortoise Shell Frames

20 Tender age in bloom Part 1

26 Legal hallucinogens

25 Top Summer sunglasses by OAK 28 Kirk Oiginals 36 RockOptica 38 Tender age in bloom Part 2

bloom Tender age in

RockOptica Glasses for the fashionably mod-ern

Cover: Photograph by Antoniya Kuneva Modelled by Sophie Jepson

TOMFORD.COM 8

EDITORIAL

DESIGN

Editor-in-Chief / Fashion Director Rachel Campbell

Creative Art Director Antoniya Kuneva

Sub-Editor Hardeep Gill

Digital Director Rachel Campbell

Staff Writer Rachel Campbell

Web Designer Antoniya Kuneva Photography Shakill Hussain Antoniya Kuneva Harriet Babbage Illustrations Mike Dennis Antoniya Kuneva

Thanks to Heather Campbell, Carl Dagnall, Rob De Niet, Fat Cat Records, Harriet Babbage, Hardeep Gill, Paul Tierney

All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publishers. The views expressed in Through The Lens are those of the retrospective contributors and are not necessarily shared by the magazine or its staff.

ÂŠ 2012 THROUGH THE LENS Published by 1 Spy Limited 22D Hook Road Epsom Surrey KT19 8TR Tel: 0751 234 3379 E-mail: throughthelensmag@gmail.com

Per.cep.tion; n Immediate or intuitive recognition or appreciation; as of moral, psychological, or aesthetic qualities; insight; intuition: an artist of rare perception.

Welcome to Through The Lens, In a world where everything is read at face value and judgements are made on first impressions and the clothes we are wearing, perceptions mean everything. Through the Lens provides a deeper meaning by taking a closer look and magnifying up and coming creatives to show you something from a different perspective. Whether it be showcasing a band that combines different genres of music in a ground breaking way or a new design aesthetic within the fashion industry, Through the Lens guides you into the wider world showing an alternative way to look at things.

Our first issue is a celebration and upmost appreciation for spectacles in all their glory. Through the Lens has a passion for every shape, size and style of spectacles; whether you’re a prescribed wearer or simply an onlooker. We want to bring together a catalogue of the best and most innovative designers in the industry who look to the past and future within their collections. Everyone featured within Through the Lens has an adoration for their creations within their field of practice. Ranging from artists capturing the sound of ice cracking to accompany an installation sculpture to a print designer hunting down an image of a passion flower in the correct shade of pink for weeks to design the perfect print. Through the Lens wants to show you people with an inspirational attachment to their work, displaying the positive roles in a creative industry. Within Issue 1 we demonstrate the development of romance, from the initial moments of intense passion towards a person or object, to a progression of true love. Whether it be a romance in bloom over the summer months, or a desire you can’t suppress over a vintage pair of glasses. Through the Lens wants you to find your inner happiness and wear it with pride; as there’s nothing more attractive than confidence and there’s nothing more important than happiness. Bring them together and enjoy a summer of affection, adoration and appreciation with Through the Lens.

Rachel Campbell Editor - in - Chief

MAG NIFIED GOOGLE GLASSES

Is Google influencing a new fashion trend a la Star Trek’s Geordi La Forge or taking over the world one mode of technology at a time? Long gone are the days we were restricted to a dial-up cable in order to go online, we are now cable-less and computer-less thanks to smart phones and tablets occupying our hands. Now thanks to Google, we can even have our hands free whilst we browse, chat, walk and talk. Introducing Google’s Internet glasses, a not so stylish accessory to the fash-pack but able to provide similar thrills as a new pair of Laboutins for the geeky. The prototype glasses will display the internet between your

TREND REPORT

LEGGINGS OUT FOR THE LADS

eyes; allowing maps and news headlines to be visible within the frames lenses. They hold the ability to initiate video calls on the move and take images in front of your eyes. At first glance, they appear the perfect gift for the gadget fiend who has it all. With the choice factor removed, Google has the upper hand, determining when you got online and what you see - literally unable to look away all for the benefit of a free hand. Then what about those already wearing glasses, do they do the unthinkable and double up or will Google create an add-on for regular ophthalmic frames? Google are you getting too big for your boots forcing a futuristic way of life on our eyes? Answers on a postcard to the Through the Lens offices please. T

Google’s prototype of futuristic specs Image courtesy of Co.Design

IKE Spring/Summer 2013

How do you showcase your latest collection in a creative way outside of the main fashion weeks and still get people talking about it? The answer would be to hold a show in the back of a Bethnal Green estate. The location chosen to display Roberto Piqueras’ inspiration behind the collection specifically celebrating East London freedom. Despite high rise flats forming the backdrop combined with the odd siren heard from the main road this was all serious high -fashion for Piqueras. Styled by Alexis Knox, collaborating with Jeffrey Campbell and Reebok who supplied sky scraper heels and trainers in every shade imaginable.

Taking his unisex models off the runway and allowing them to walk free on the tarmac’d back alley inches from the crowd. You instantly gained an insight into Roberto’s ideas of beauty, with influences from personal style within his area. Using models with strong personalities a rainbow of hair walked, faces adorned with stick on tattoos replicating diamonds and jewels. This collection was all about London, each piece alive with prints and patterns. Designed to not silence either gender, ignoring masculine and feminine silhouettes but focus instead on Piqueras’ new unisex; allowing the patterns to come alive on the wearer. A London landmark, the Queen’s face was repeated across T-shirt dresses with Big Ben, french fries and an assortment of kaleidoscope patterns draping the models limbs.

The experience was a symbol of Piqueras’ love for the city and a pivotal movement away from fashion conformities. A foghorn alerted the crowd of the release of each new model walking, no soundtrack was needed to accompany the collection; each look sang for him. Choosing to work with fabrics and styles that Roberto wears himself, his look is the perfect combination of street style sportswear that shocks the Tumblr generation. T

Location: Bethnal Green estate Date: March 2nd 2012 Freebies: Temporary bling tattoos

Illustr ation by

ROBERTO PIQUERAS’ STREET FASHION SHOW

IKE

Photo by Konstantinos Menelaou

There was a fearless approach to contemporary fashion at the Spring Summer 2013 Parsons School of Design Menswear shows. In a constant rhythm, the fashion pendulum swung away from traditional tailored pieces standing tall on their own, into a futuristic combination with luxe sportswear. Practical elements such as hooded jackets and rain macs were entwined with the classic shapes of a suit and formal wear, bringing a casual, more wearable approach to this summers look. Models were walking for almost every designer with shorts layered over leggings, teaming almost as flawlessly as polished gold. Shorts of all length, colour and fabric ranging from leather, poplin to jersey were paired over cotton leggings in shades of black, white, grey with the occasional print thrown in. Sounding more superhero spandex than heroic and super, this trend is more approachable than first imagined. Parson’s graduate IKE took inspiration from Herman Hesse’s novel ‘Demian’; the story of a boy growing into a man which developed alongside a fantasy of adoration for a father’s

suit during high school. Mixing elements of high school with basketball references, kneelength shorts are paired against leather varsity jackets with paneled mesh. The tailoring is developed with a vent system, allowing movement and air during sports and everyday activities. His suits have vented panels across the back and below the armpits, ideal for impromptu sports games. The leggings are less bodycon lycra exposing all manhood, but a modern twist on a full leg. They provide a streamlined physique, exposing elements of the leg whilst providing protection. Keeping the collection masculine, leggings are teamed with trainers; exposed toes in a sandal style which are designed as a summer adaptation to a classic Air Jordan style high top. Providing an overall smart-casual look that is transitional from relaxed to formal; something that menswear has finally hit the nail on the head with. This recreational trend en-captures a playful and resilient style allowing a move between youth and manhood, a trend with character, confidence and cool. The girls have theirs out, so guys, buck up brave it and bare your legs with pride. T

NEW RELEASE

TREND REPORT

BRETON ‘Other People’s Problems’

Image by Fatcat Records

Sipping coffee outside a Spanish cafe, Breton are excited to be back in their neck of the woods. Bouncing around Corsica Studios post soundcheck, positivity is spreading like a bout of the measles.

Celebrating the launch of their debut album, Other People’s Problems, Through The Lens talks Sigur Ros, Iceland and Rihanna with the Breton boys.

Jean Paul Gaultier Spring 2012 Couture

Having a of a time.

Jil Sander Ready-to

-wear Spring 2012

Words by Rachel Campbell

Summer 2011 was reminiscent as the one hot for weddings - the ‘Summer Of Love’. It seems 2012 can’t seem to shake the romantic bug, only this time round it’s a slightly less fancy, no frills or congregation affair for the independent woman. Couture shows were filled with the usual larger than life impractical gowns this season, destined to be rarely seen out of the protective overcoats they are encased in. The latest accessory making a bold statement was the veil, something we could, or should all be wearing. No really, think more Morticia Adams’ classic elegance without the long black hair, as Jean Paul Gaultier allowed his odes to Winehouse walk with a layer of intricate lace in black and cream protecting their faces from the harsh realities of the streets. Paired with classic Gaultier corsets and high waisted knickers, Gaultier gave the veil a gothic sex appeal stripping it of any virginal elements, whilst still tapping into summers romantically twee trend. Jil Sander opted for a more everyday approach to black lace with fascinators tipped to the side of the models heads, accessorising two-piece gingham suits perfectly. It screamed 50‘s Pan-Am chic, swapping a practical air-hostess two-piece for a plunging bare chest. As the woman of 2012, it’s no longer a necessary need for the extravagant big white wedding. Walk your own tarmaced aisle this season and allow your headpiece to showcase glamorous importance on your big day. T

Forming in an unlikely way, Breton formed in 2009 to push the visibility of their short films by creating a soundtrack to accompany them. Originally starting out with jammed soundscapes they soon developed into the tight package of audio-visuals you see today. Pre - recording Other People’s Problems in the BretonLab, the new album had a typical SouthLondon grey feel to it. Flying out to Sigur Ros’ studio in Iceland to edit changed their sound as well as altering the way they listen to music. With 24-hour sunlight and roaming horses in fields for neighbours, the studio had a different vibe lending the album to be pre-amped and mixed in new ways. “It still feels unbelievable we did that, seeing Sigur Ros’ name written on the guitars, being in the same room that Jonsi sat there recording!” Dan beamed.

Making you feel alive during their performances, Breton no longer hold the mystery their hooded stage shows used to create. Performing headline shows they aren’t restricted to tiny spaces to project their audio-visuals anymore, able to abstain from wearing black hoods for fear of blocking the projections. “I hope our shows feel different to how a straight up guitar show or film would make you feel because it would be different than either of the two. I want them to tell all their friends and dance.” Mixing the sounds of friends Tom Vek, Chapel Club and The Temper Trap, Breton re-mixes have proven a total hit. “We get commissioned to cut up songs and try and turn them into a Breton song. It would be really cool to collaborate with a London grime artist, but we aren’t street enough for that. However, anything with Geoff Barrow from Portishead would be amazing, or Rihanna. God we love Rihanna.” Describing themselves symbolically as postmp3-core professional blaggers; Breton are not only a contemporary hyperbole but a raging paradox of the new generation, combining heavy pop and electronica transitioning your mind from day to night. T

Breton’s new album called: ‘Other People’s Problems’

TOP 10 FILM CHARACTERS WITH SPECS A who’s who of the A-listers and Z-listers on screen making spectacles work. Words by Rachel Campbell Illustrations by Mike Dennis

RAOUL DUKE

Jonny Depp (Fear and Loathing in Las Vegas 1998) Raoul Duke, the hedonistic gonzo journalist portraying events in Hunter S. Thompson’s life, struggles to differentiate reality from the vivid hallucinations due to a near-constant perpetual state of intoxication. Adding to his addictions, Raoul is never without his cigarette holder hanging from his bottom lip, smoking to fill the gaps across the desert to Vegas whilst stopping the his mouth from gurning. The gold tinted aviator’s are a crucial disguise, covering his red bleary-eyes in the aftermath of a neverending binge. Something most noticeable to us on a Sunday morning after the night before.

VELMA DINKLEY

Linda Cardellini (Scooby-Doo 2002)

CLARK KENT Christopher Reeve (Superman 1978)

Where would Scooby Doo be without Velma? The cleverest of the bunch, Velma’s intelligence and well-read obscure subjects lend her to be the reliable girl who without fail solves the mystery in each story alongside the help of Daphne or Fred. Due to her glasses, she’s not always portrayed as the most popular character, but, her heavy frames make a statement to the world about who she is as a woman and what she stands for; not one to mess with, she is determined to catch the bad guys and seeing they get the justice they deserve.

Clark’s dandy-like style coverts his alter persona of Superman beneath a suit during his 9-5 at the Daily Planet newspaper. His retro tortoise shell square frames add to the depiction of an intelligent, well-grounded man looking anything but suspicious. Winning over the heart of fellow journalist, Lois Lane, with his masculine facial structure and strong build, Clark is the perfect hero to protect lives. Without his glasses, Superman’s identity could be discovered due to his bare face whilst in costume. His frames are a staple to live a normal life under cover.

GEORGE SMILEY

NAPOLEON DYNAMITE

ANNELLE DUPUY DESOTO

George Smiley is the King of Cool. A retired spy, he is a well-spoken anti-Bond character with great intelligence and an all-seeing sense of wisdom. Smiley takes his profession seriously, despite being out of sync with his employers, continuing to hunt down a Soviet mole within the company. Glasses play an important role for Smiley, with the frames acting as clues within past and present flashbacks in the complex narrative showing Smiley’s two different pairs. Without the tortoise shell frames, Smiley’s introvert character would lack in his power of manipulation and excellence within his role.

Being a spotty, ginger depressive teenager doesn’t really give Napoleon anything to make it in this small-town life. Bullied at school by jocks and at home by his weird family, Napoleon’s glasses are a harmonious symbol of his popularity, or lack of. His hatred for every living thing is relatable with our own years of high-school angst. In an attempt to reject the cool kids of Preston, drifting off into his own universe where idiots don’t exist, Ligers will be a common household pet and he won’t be so awkward around Debbie. Yes, without Napoleon we couldn’t possibly believe there were any worst teenage years than our own.

Anelle makes up one sixth of the Steel Magnolias, a group of friends in the late 80’s with larger than life hair and problems to match. It unites them as friends displaying their ‘steel’ strength as women. Anelle, the beauty school graduate, is the stereotypical girl with looks, blonde hair and a pretty smile. Her dainty cat eye glasses in pastel shades, shows the delicate nature that she possesses as a woman; whilst adding the seriousness she holds with her beliefs in religion, then later as a wife and mother.

Garry Oldman (Tinker Tailor Soldier Spy 2011)

Jon Heder (Napoleon Dynamite 2004)

Daryl Hannah (Steel Magnolias 1989)

GEORGE FALCONER

Colin Firth (A single man 2009)

Illustration by Mike Dennis

Colin Firth symbolises the grief and depression inhibited within the life of George Falconer, a middle-aged professor living in California after the death of his long term partner. George embodies the classic style of the 1960’s. Wearing a sharp black and white suit repeatedly each day; an obsession we notice that he can’t shake within his sadness. His thickrimmed black glasses display his intelligence as a professor with an admiration of fashion and style; something slightly abnormal for a heterosexual society of the past. George’s glasses provide a mask for his grievances, allowing him to face the day looking normal behind them.

VICKI VALE

LOUIS TULLY

ALABAMA WHITMAN

A fictional character with brains that still makes the Sexiest Women in comics list. This blonde bombshell makes a beautiful attachment to Batman’s arms, with her creation based loosely around Marilyn Monroe. Vicki works hard in the name of journalism, plays hard with Bruce Wayne and gets herself caught up in the troubles of Gotham City bound by her appearance. Miss Vale is a modern woman questioning everything - Batman’s identity included. Her large round frames are a necessity to be taken seriously in her profession.

With his slicked back hair and awkward smile peeping out above his staple turtleneck sweaters, Louis Tully would be classed as a Williamsburg hipster if Ghostbuster’s was remade in 2012’s geek-chic era. But as it stands he is the lovable geek, nervous around girls, boys, ghosts and ghouls. Louis glasses define his nerd-like persona, separating him from the other Ghostbusters. Alas, he has his life motto sorted “stay fit, keep sharp, and make good decisions.” You’ve hit the nail on the head there Louis, something we should all take note of, nerdinator or not.

Her short blonde hair and eclectic fashions are part and parcel to Alabama’s addictive personality. Her cow print suede skirt and polka dot crop tops add fuel to the fire with Clarence’s whirlwind romance. Proving their love with tattoos of each other, her accessories on the body are classic statements that last a life time. Her turquoise Ray Ban Wayfarers protect her eyes in their getaway drive across America. Similarly acting as a shield from gangsters fists in a motel room, adding strength to her fighting figure. Alabama we salute you and your actions of love.

Kim Basinger (Batman 1989)

Rick Moranis (Ghostbusters 1984)

Patricia Arquette (True Romance 1993)

DIGITAL PRINT

With his latest A/W12 collection influenced from his mothers Bolivian heritage, it would only be fair for Oscar Quiroz to base his next collection on his fathers Colombian background. The London based designer, known for his ability to craft tailoring together with sharp street wear, has gone back to his roots focussing on old colonial slaves in traditional Colombian cotton fields. Using his signature combination of natural fabrics in neutral muted tones, the collection is brought to life with eccentric prints based around nature. Designed to dress the 21st century man, Oscar has added leather detailing and gold zips - his unique detailing a statement to be expected. Sitting down with print designer Renée Lindel, natural shapes based around flora and fauna were discussed, branching out from Columbia to look to South America as a whole for inspiration. The sky and the sea were influences for the prints, with the passion flower and tropical fish amongst the coral reef chosen to fulfil the ‘tacky’, almost Versace-like brilliant Quiroz had required. Renée had a difficult task on hand, finding an extraordinary pattern that could fit into an Oscar Quiroz menswear collection whilst holding a Colonial. On top of this she had to persuade Quiroz, who is not a print person, that it was a winning formula. With Quiroz being a scientifically minded person, research developed looking into the geometry of shapes with Renée discovering that in nature, flowers especially, there is a set pattern of shapes made up of circles and lines that can be replicated to create

the same flower. One of the prints for the collection follows the pattern of an orchid flower, with a visible vinyl pattern on top outlining the geometry. Following a basic pattern of three circles joined together, the shapes form a pentagram like star, research further discovered that the pentagram shape developed from old botanic designs made from twigs as an earth sign. The idea for a print on top of a print layering designs on top of one another is providing something fresh and new within digital printing. Renée describes the two prints as being unnatural in natures most natural state, with prints of luminous jellyfish and the coral reef taking over the fabric. Despite the bright pinks and blues they are in fact a natural colour deriving from nature, we can expect to see the orchid flower and the jellyfish producing patterns in shades of white and grey combined with turquoise, nudes and bronzes. Renée builds the colours together like a puzzle working on top of each other, creating different shades and hues within the colour scale on the same object. Using Liberty fabrics in a cotton poplin, fabrics are kept natural within the collection. The poplin provides a colonial sheer crisp material for shirts, alongside cotton jersey T-shirts and silk scarves. Sourcing an image strong and bright enough to create the print pattern on the fabrics provided, with a lot of hunting going into the flora and tropical sea themed images. Renée then decided on photographing real orchid flowers to design the print for Quiroz. T

London-based designer Oscar Quiroz, takes a step away from traditional knitwear in his latest menswear collection for Spring/Summer 2013. Through The Lens talks to print designer Renée Lindel about the inspirations and development behind the Colombian influenced prints. Words by Rachel Campbell

TENDER AGE 22

IN BLOOM

Part 1

Photography by Harriet Babbage Styling by Rachel Campbell Sunglasses by Grey Ant Cat eye glasses by vintage Models: Sophie Jepson and Jordan Campbell

FASH I O N M O M EN T

Tortoise Shell Frames Style can be hard to find and even harder to pull off at the best of times. It needs to be pulled off as effortless whilst still making a statement and attracting the attention of others. For an accessory to achieve this, it has to be monumental in it’s adaptation in flattering both sexes; providing an understated glamour for women and a refined sartorial elegance for men. Introducing the classic tortoise shell frame glasses, a material providing subtle tones to the faces of many for hundreds of years both for it’s function and form.

The original tortoise shell derived from the Hawksbill sea turtle, becoming a popular source for many accessories in the 20th Century. The durable nature of the Hawksbill’s shell allowed for it to be easily re-shaped; combined with it’s beautiful appearance in shades of browns and oranges burning together, it appealed to manufacturers to use for the production of combs, glasses frames, knitting needles and jewellery. With iconic symbols such as Harold Lloyd opting to wear a tortoise shell frame for it’s strong design aesthetic, his choices removed the stigma held before to eyewear, developing an appreciation and acceptance for eye wear. For the first time, glasses were chosen as a fashionable item with people choosing to make a bold statement on the face, ignoring the traditional metal frames they were used to. In a post-war era, fashion bounced back with character and energy amidst a desire to make a point within the changing rights of society during the 50’s and 60’s. The popularity of tortoise shell glasses during this period was influenced with the design of the Ray Ban Wayfarer. In 1973 a ban was introduced stopping all tortoise shell commerce as the

Hawksbill becoming an endangered species. Since then, the style and look that the shell provided has proved ever-popular with the synthetic Tortex substitute created. A renaissance was enjoyed with the yuppies of the 1980’s, portrayed beautifully in Bret Easton Ellis’ American Psycho; portraying angst in the height of consumerism where image became everything. The workplace became a playground to display the latest gadgets, flaunt the latest suit and embody a style that provoked jealousy from co-workers and envy amongst friends; all this encapsulated by a tortoise shell frame. Standing the test of time, the more recent hipster style of the naughties has shown an adoration for a geek-chic look - adopting tortoise shell and horn rimmed spectacles whether requiring a prescription or not. The Ray Ban Wayfarer style in tortoise shell reclaimed it’s popularity and can now be purchased in high street opticians as well as vintage originals proving highly sought after. With the success of American period TV show Mad Men sparking a revival of retro clothing and fashions, the high street shops have copied and produced their own versions of tortoise shell frames. This classic frame provides a unique inner happiness when placed on the face, the colours blend and adapt to the skin tone enhancing character. Style is evoked on the wearer, a character who does not want to simply replicate a style. It is an accessory that can do no wrong, on the young and old, male and female; the tortoise shell frame is a gift that just gives and gives. T

SHOPPING

Our top Summer sunglasses by New York boutique www.oak.nyc.com GREY ANT STATUS SUNGLASSES CLEAR £160

A. OK CURVED BROW SUNGLASSES TORTOISE SHELL £14

HENRY HOLLAND FOR LE SPECS HOOD EYES SUNGLASSES PURPLE £55

Words by Rachel Campbell Image by mietteshoppe.com

LEGAL

HALLUCINOGENS Words by Rachel Campbell

Welcome to the virtual reality where you need not leave the house to eat, breathe or generally live. Why go outside, when anything you could possibly need is available, and accessible, online within the walls of your house anytime of the day catered around your needs. Such being, with legal highs available at your own request from your own brain, there is no longer the need for awkward small talk persuading your drug dealer to help reach an altered state of mind. It is commonly known that ancient philosophers used to induce hallucinogen style trips on their minds during some of their greatest discoveries, long before the days of heavily chemical based drugs available today. It would appear that these tried-and-tested recreational stimulants that induce hallucinations are putting their stamp back on the market. Whether it’s a down-trodden state of mind in this double-dip recession that is leading people to source new ways of escapism; or simply the reality of being unable to fork out for a hit, there are numerous ways to achieve paranormal experiences through neuropsychology. Countless websites and YouTube videos are appearing, providing a ‘how to’ on the traditional Ganzfeld effect. Alongside this, online companies are buying into a manipulative audience, selling ‘scientifically proven’ methods in the form of a new high-school craze - i-Dosing. The original pioneers leading to the current development of brain wave manipulation sparked the idea on a mundane bus ride

through Marseilles. Sound poet Brion Gysin recorded a feeling of a ‘transcendental storm’ through colour visions from the flickering of sunlight onto his closed eyelids, as the bus drove through the trees. He claims to have experienced this vision created by a multidimensional kaleidoscope whirling in front of his eyes.

effect’. German for “complete field”, it describes the technique of controlled sensory input where the mind is exposed to an unstructured stimulation field. Used in parapsychologist’s experiments, the Ganzfeld effect is used to induce states of consciousness, hallucinations and cause sensory distortions through deprivation in the bodies senses.

The only requirements to try this out in your own bedroom are a ping pong ball cut in half - to place over your eyelids - and a set of headphones to play white noise. You don’t even need to worry about the music with a whole catalogue of white noise soundtracks at your fingertips on YouTube whilst you go under in your home made isolation chamber.

Following on from the release of the book The Living Brain, written by neurophysiologist Dr. Walter, the first Flicker machine was created in 1959 by Ian Sommerville. This simple machine played kaleidoscope images over the eyelids, which produced permanent images of constant patterns. Sommerville describes an ‘unbearable feeling of spacial movement’ as he first went under before suddenly feeling ‘higher than the Earth’ once out of it. His perception of the world had increased and all conceptions of tiredness had dropped.

By quietening mental noises around the subject, a mild, unpatterned stimuli is provided to the visual and auditory senses. Unable to see, the brain amplifies neural noise in order to look for the missing visual signals. The subject reaches a height of visual perception which results in “seeing black” or apparent blindness whilst under; this gives rise to hallucinations similar in dream production because of the brains state of sensory development during sleep.

German psychologist Wolfgang Metzger looked into the perception of the ‘homogenous visual field’ in the 1920’s and 1930’s through the Ganzfeld effect. Parapsychologists believed it would provide a psi-conducive state - a level of consciousness that allows you to hold out of body experiences. From 1974 through to 1981, 42 Ganzfeld experiments were conducted for the Journal of Parapsychology, with parapsychologist Charles Honorton confirming that 55% of the studies produced positive results within the subjects minds.

These positive pleasures brought about the construction of the Dream Machine in 1961, a development of Sommerville’s Flicker Machine; a cylinder with holes attached to a turntable containing a light bulb inside. Set to spin at 78 RPM, the light flickers at a frequency of around 20 Hz, similar to the frequency of Alpha-brain waves in a non-aroused brain. Through the subject sitting in front of the machine with their eyes closed, similar feelings of an elevated state of mind are experienced as Gysin first felt on the bus. The most popular method of legal hallucinogens is the traditional ‘Ganzfeld

The method of the Ganzfeld effect can be traced as far back as to the ancient Greeks, with philosopher and mathematician Pythagoras choosing to retreat to dark caves for long periods of time in order to reach wisdom. Described as a ‘prisoners cinema’, your brain begins to produce colours through a lack of light. Trapped miners and arctic explorers are able to reach similar states of mind with reported hallucinations after being exposed to complete darkness for so long. Home made Blue Peter style creations have taken over, thanks to YouTube showing paranormal activity videos of people ‘under’, documenting their conversations mid-trip and displaying their mind making transitions.

But what is it about staring at an unchanging field of colour that makes people want to try it out so badly, even if the end result is only 50/50 certain? The obvious answer is the attraction now the fear of illegal drug taking has been removed. With the body not consuming illegal substances, the Ganzfeld effect allows you to control what level your mind reaches without the comedown. Proving popular with ‘internet geeks’ and high school kids, they don’t have to worry about bragging about acid-trips and other experimental activities young people put themselves through. There is also the added bonus, that the

Ganzfeld self-discovery allows you to find a different perception without being too far gone with a drug to forget what you discovered in the trip, other than what the inside of your palm looks like.

the virtual stimulant more accessible than street drugs. With a mini moral panic forming, schools in Oklahoma have taken action banning iPods, with the worry that children are getting high during class.

Taking recreational stimulations to the mass market, i-Doser has developed as a community for the online network, fulfilling all your tripping needs from as little as $3. They claim that through the use of auditory tones in an attempt to alter consciousness, you can create a simulated mood or experience. After producing CD’s and MP3‘s for over a decade, the website i-doser.com now allows you to download the software direct to your PC or smart phone to create playlists and purchase individual songs or packages, offering similar effects as marijuana, opium and cocaine use. The tracks, usually 30-40 minutes long claim to be used for relaxation, drug-like effects as well as mental improvement.

But is this really a danger or more mumbojumbo fed to the minds of gullible young ones? i-Doser holds videos on it’s site displaying studies by psychiatrists on brain waves whilst listening to their sounds. It shows the brain waves are constant at times, however sporadic movements were present similar to being under the influence. Like drug taking, the main risks involved for young people is that their brains aren’t properly developed. It’s still too early for studies to see if this level of stimulation has any long term effects on the mental state of the subject.

By playing two different frequency sounds in each ear, the sounds meet creating a binaural brainwave experience; the perception arises within the brain, then synthesizing third frequencies allowing you to enter a different state of mind. These low-frequency infrasonic weapons typically operate between 0 and 20hz which claim to help the subject ponder life’s mysteries at the end of each track. Proving a new craze within American High Schools, parents have become terrified over the fear of the unknown. Many believe their children will become ‘cyber drug fiends’ with

However, whilst tuning into their ‘free doses’ available for guests, a euphoric state of mind wasn’t experienced quite as vividly described as on forums. The tracks played a range of snippets, from noises of a woman reaching an orgasm to another of heavy rain against an electronic beat. It’s certain that i-Doser provides a legal, affordable and safe alternative to physical drugs; but it would seem the results they give are definitely more for the younger brain which is more subjective to trying out beliefs. Ideal for those who would find this a fun recreational activity on a Friday night, not quite designed for those looking for an in-house alternative to a substance filled Warehouse rave. T

Illustration by Antoniya Kuneva

Jason Kirk ignored the traditions of his forefathers after growing up in a long history of conservative optic practices, he chose instead to reflect the avant-garde designs of his Grandfather through his work. Noticing a gap within London’s optical industry; witnessing drab, medicinal frames repeating themselves on the face, Jason sought to provide a passionate and exciting range of glasses. That is exactly what him and partner Karen have achieved, celebrating 20 years of innovative designs for the independent, extrovert wearer.

industry alive in Europe is important. There are some brilliantly skilled people that have been making glasses for decades, and Kirk Originals wants to support them.”

A strong believer that a pair of glasses is the first and foremost expression of personality, Jason sits in a pair of lime green and turquoise acrylic glasses; his passionate and lively personality immediately shows. “A pair of glasses is the first and last thing people see when talking to you. They immediately say so much about the person, making a statement The new Beam collection for 2012, steps on the first impression.” With frames made entirely of glitter or only away from the with glitter on the inside restrictions acetate “If you’re bothered about of the frames, you can held as the traditional say as much or as little property bearer for people questioning your about yourself in a glasses. Introducing glasses, they wouldn’t be pair of Kirk Originals. instead, a raw acrylic, “There’s no question that enables a marvel the right pair at all” the person wearing the of transparent colours, frames has a sparkly almost weightless feel and flexible design aesthetics. “It was a personality, but they don’t necessarily want to deconstructive approach to the product” Jason show you. It’s up to them to show you what’s exclaims. “We took it back to the beginning, inside the glasses and inside the personality.” by adjusting the chemicals within acrylic, we solved the scientific problem that enabled us to Describing the designs as bold, confident create a design with comfortable, adjustable and irreverent, the frames are a clear extension of the Kirk Originals wearer. They and light properties.” have the confidence Light, literally being the key influence on the and independence to development of the collection. “Kirk Originals choose something for have always done big, heavy, chunky glasses themselves, ignoring so we had to figure out how we could go what people expect them even bigger and chunkier on the face without to wear. Jason describes adding weight.” Moving to the other end of the wearer as having the light spectrum, and using it’s most obvious a punk attitude in that meaning, Jason chose a brighter range of sense, it’s not about how colours in his designs. With black and tortoise you look in the glasses shell frames dominating the market over the but how you feel in them. last few years, retro designs and shapes had “If you’re bothered about people questioning been extracted and copied in their exact form. your glasses, they wouldn’t be the right pair “To me, asking what people were wearing in at all” he says confidently describing his past 1969 and copying it isn’t a creative approach judgements from passers-by whilst wearing a to finding and designing the best glasses.” pair of fluorescent pink frames teamed with Instead, Kirk Originals chooses the best of a a black tuxedo. particular era, enhancing it with a new twist The punk rejection of conformity stands giving it a modern context. out within the impressive flagship store on Combining old with the new is enforced by Conduit Street. Walking through the glass the French hand-made production process, doors you are immediately welcomed by using techniques by the same companies his hundreds of pairs of glasses jumping off grandfather used. “British manufacturing has the wall grabbing your attention - this is no died of death” Jason explains with a sadness ordinary opticians, you are no longer in in his voice, “keeping the manufacturing Specsavers. “We began by creating a list

of adjectives that describes what an opticians is, and swore if any of these traits appeared in our shop we weren’t going to open” laughs Jason. It really is that obvious, with the store painted black floor-to-ceiling contradicting the usual clinical white walls within an opticians, Jason and Karen have created an experience within the store. They want people to come inside Kirk Originals as if they were browsing for a pair of shoes on a Saturday afternoon, try on glasses and hang out. The tripod-like structures showcasing the glasses on the wall designed to keep the glasses alive, avoids the sterile and motionless feel other opticians give by placing them on a shelf. “Most of our glasses have movement within their designs: whether it’s glitter on the frame or a kinetic on the side with images of a graphic equaliser moving as you move. It’s about showing the frames’ personality off, allowing the glasses to interact with the audience as they walk into the shop. I want my customers to feel like a star.” With that said, all eyes are on you from the googly, false lash bearing eyes behind the frames, showing the glasses in action as you walk past them. There is a special vibe you get around Jason, who is determined to de-mystisize the optical

“Asking what people were wearing in 1969 and copying it isn’t a creative approach to finding and designing the best glasses.”

Through The Lens talks to eye wear designer Jason Kirk about his latest collection of glasses for 2012 - Beam.

Image courtesy of Through the lens

Words by Rachel Campbell.

industry by showing customers the process that goes into the production of his frames. Fictional short films are projected onto the back wall starring the main man himself as a James Bond style character saving the day. “I wholeheartedly respect the medical side of our profession, but they have to wake up and realise it will die it’s death unless they understand they have to sell in order to survive. By taking a more commercial route that gives customers an insight into what we do proves important, they see that as a brand we don’t take ourselves too seriously as designers and are in fact an approachable, family brand people can enjoy and get involved with.” T

Photography by Shakil Hussain Styling by Rachel Campbell Glasses by Kirk Original Fruit and vegetables by M&S

R o ck O p t i c a

Glasses for the fashionably mod-ern Words by Rachel Campbell. 38

39 Images by RockOptica

Sitting along the Hasting’s sea front, Tom Herringford’s eyewear boutique The Optical Lounge could easily fit into a 1960‘s mod film with a Vespa parked in the window of a white wash wooden-clad shopfront. Nestled within the doors, holds cutting edge designs from the industry such as Oliver Goldsmith to Kirks Originals, as well as his own collection RockOptica fitting into the store like peas in a pod. Listed as EyeStylist’s designer of the month for April, Tom talks to Through The Lens about his unisex debut collection and the importance of investment eyewear. RockOptica inhabits a unique ability to reference key elements of past decades; taking striking classic details and placing them in a modern context, creating a collection that brings the styles together in a harmonious fit. Living in a saturated market where history is being repeated onto the high street through quickly churned out unconvincing replicas for a pittance. Tom manages to create new versions of classics with ideas of textures, shades and aesthetics chosen from the ground up. Always straying from the regular design conventions, art teachers were in despair during his time at art school over his lack of reasoning behind ideas in sketchbooks. The phrase ‘no rhyme no reason’ sums Tom’s mind frame, as a self-professed glasses nerd for 20 years, inspiration is drawn from his favourite eyewear pieces throughout history apposed to fitting with current trends. Not guided by art

of fashion, Tom asks himself what he wants to focus on with his designs, choosing to reflect his own zeitgeist. Whether it be a shape inspired by science fiction, a nod to detail in the colours from an old Now #2 record cover, or simply a classic 1960’s style influenced by Grace Kelly, no detail left forgotten. With delicate versions embodying sweeping lines, the shape dips and accentuates the bare eyebrow on a woman’s face with a feminine lace detail. Creating his own ‘punk tortoise shell’ as a vivid extension to the classic style alongside a ‘black & feathered’ design nodding to the eclectic colours and patterns from the 80‘s; designs provide a striking frame giving a fighting feeling on the face. Describing his designs as not making much sense to a lot of people, he proclaims how together it looks pretty sweet as a collection. RockOptica’s heavy retro vibes provide modernity for the customer who is strong enough within their character to appreciate and desire well-produced eyewear. With a discerning nature, they strive to have something different; refusing to walk around in something designed by Gok Wan, and quite rightly so. With the frames positioned at a slightly higher end of the spectacle market, Tom’s well-crafted designs hold a precision finish similar to a well engineered watch. Designing adeptly, sharp angles are disguised through subtle colours and tortoise shell shapes held together by traditional barrelled hinges shot through pin joints. These old fashioned

techniques used by his own Grandfather have proven to be a stronger and more practical method giving an ultimately nicer finish of a higher quality. “It’s not just about being traditional, it’s about being pragmatic.” Tom states with confidence, “the finish A) looks wicked and B) is just wicked really.” The debut collection can be admired separately and attributed as a collective, ideal for the modern wearer who understands the need for more than one pair of glasses. “Like a well tailored coat or elaborate pair of heels, the right pair of spectacles can change your appearance showcasing your mood and adjust your image for the better or worse.” Tom describes the almost catastrophic mistakes the British make with their dress, laughing. “People still insist on only owning one pair from Specsavers and attempting to team them with a Boateng suit. I don’t see the point in that, you’ve just fucked the whole thing up with the glasses immediately.” Describing the British as having a ginormous hangover from the NHS, people are still dependent on free spectacles that were available until the mid-80’s. “There is an apprehension within society that has been carried forward to not spend money on frames and lenses. Over here people still believe it is still science and go to get their eyes ‘fixed’” Tom explains. “In the States and in Europe where there has never been an NHS system, people understand the need to wear amazing glasses that look good and last. It has in a sense become a fashion business.”

To this day, high street chain opticians such as Vision Express and Specsavers have opened littering out minds with deals seeming almost too be good to be true. With a ‘buy one get one free’ deal and adverts throwing another pair of sunglasses in for good measure, Tom believe’s it’s important that his glasses satisfy the needs of his customer. It is a piece they are wearing everyday so they have to fit, last and look impressive day after day, standing the test of time. In this sense it’s vital RockOptica’s collection provides a spectacle that has hidden depth, a simple frame that doesn’t need fancy colours of gimmicks to work and most importantly, doesn’t try too hard. The end result is stylish and sharp with an almost tailored appeal, it’s not hard to see why his customers are a trendy bunch, ranging from 20 all the way up to the age of 70. Accompanying RockOptica’s stylish frames like a hand in glove are his black and white vintage ad campaigns. Shot beautifully in a French nouvelle vague 1960’s style, the monochrome adverts portray Tom himself in a crisp 1960’s suit alongside a 1970’s looking female in a Fleetwood Mac-esque dress. Combining Mad Men influences with 60’s pepperbox style, the images convey beauty and elegance across the decades mirroring the way that RockOptica’s frames are a celebration rediscovering elements of the past. T

TENDER AGE IN

BLOOM

Part 2

Photography by Harriet Babbage Styling by Rachel Campbell Rosebud glasses stylistâ&#x20AC;&#x2122;s own Models: Sophie Jepson and Jordan Campbell

“Five years ago, people weren’t aware what powers the internet was capable of.” Hackney based visual artist Quayola explores the perceptions within artwork. Producing digital art, his video installations analyse the relationships between sound and time, the real and the fake and geometry with evolution. Fascinated by digital fabrication processes, Quayola builds a new system when generating art. Previous works in his Strata series have taken classic artworks of figurative paintings and historical sculptures, detaching the layers to focus and study on the visual characteristics in new means. Taking digital images of the original piece and using custom software, a new starting point is created to generate a moving piece of art with a different aesthetic, language and new rules, which, at the same time contain all the original characteristics.

Visual artist Davide “Quayola” Quayons talks to Through The Lens about his latest installation Matter, the future of the art industry and cracking ice in Switzerland. Words by Rachel Campbell.

Image courtesy of Quayola

The finished product, a display of appreciation for the physicality of form and sound sensations through a platform of digital sculptures and installations. The colossal artworks, accompanied by a soundtrack of classical and electronic music - adapted to fit each piece synchronise the sound to a physical space; bringing the digital form to a real almosttouchable state. Showcasing exhibitions at renowned galleries across the globe, Quayola’s latest installation Matter can be seen at the Park Avenue Armory in New York.

Switzerland. Based on Rodin’s sculpture ‘The Thinker’, Matter developed as a timebased digital sculpture. Displayed through multiple high-resolution floor to ceiling projectors, Matter describes the continuous articulation of a block of co-matter that start out as a few simple cubic geometry pieces. Eventually over time this simple, primitive, geometry transforms into complex clusters of smaller geometries that form the actual sculpture. Quayola is interested in the stage in-between the simple and complex; an unfinished transformation which have blocks retaining both properties. One with a regional surface, and one containing the complex level of perfection, that, combined create the regional sculpture. The sound sensation that Matter creates as an artwork was an essential aspect in creation, without being the main focal point of the installation. Previously producing heavily electronic based soundtracks, Quayola worked with sound designers to take on a more organic sound. By recording the process of ice cracking into it’s melted state in the Swiss valley, Matter was given a geographical connection to the history of the brand; yet using a system of granular synthesis, the original sound twisted leaves the finished sound quite different.

Quayola believes it is essential to create a physicality within his sculptures. Through producing artworks in digital mediums, With the exhibition forming as a living in a physical space is important to commissioned piece by luxurious Swiss create pieces possessing a physicality watch brand Audemars Piguet. Matter in which you can almost touch them. To developed as the 40th anniversary reach this level, a synchronized sound celebration of the iconic is key; acting as a Royal Oak, a watch connexion to develop “A display of originally produced sound sensations in the seventies. As and aid Quayola’s appreciation for a brand heavily evolving projects. the physicality of involved with the art Looking across previous world, Audemars form and sound works you can see Piguet have created similarities within, due to sensations.” a luxury entourage; a metaphor generating collaborating with the system through sound patrons of the Tate to produce installations and image. With each project following relating to the brand’s ethos in a not on where the other left, a similar structure is so literal way. With Matter holding an refined within a perpetual and visual score. interesting nature of commission, the This evolves into a linear structure which watch specialists successfully introduce the viewer can in turn personally translate elements of culture to the brand by working and read. alongside artists for the touring exhibition. Starting in New York, the installation will Producing individual artworks that travel across Europe’s capital cities for the change perspective in an ambiguous and next 6 months; ending in it’s home land personal way, specific to Quayola’s own

eyes, stops him producing mainstream pieces designed to show one set of views flattening alternative viewpoints. Using technology that requires small custom made software prevents the artwork being mass-reproduced; his own hand-made tools place effects relating to subject of choice rather than for the sake of it. Instead of saying ‘this is where I want to be at this specific time’, Quayola’s future can be broken down into a series of processable layers. The first layer relates to himself, the ideas for further works to produce and where he wants to show them. Keeping the exploration to similar ideas within the Strata series, Quayola will expand on production types by going further in-depth working on them for longer periods of time. The latter layer revolves around the establishments and industries within the art world; interested in what the future hold’s for them in relation to the evolution of the internet. With the industries mechanisms playing a big part in an artists ability to produce and display art. Five years ago, people weren’t aware what powers the internet was capable of. A new technology that has now completely re-shaped society in a complex level, it provides contradictions for artists when showcasing their work. Providing an essential source of inspiration, the internet acts as an input and output of information, allowing people to discover and view Quayola’s work online. Contrasting to this, as a digital artist, the internet can only display short hints of work, as choosing to display installations, a physical space is only accessible to a limited number of people to experience. Quayola is disinterested in a future shifting to purely an internet based world. Finding the context in which you view his work incredibly important, the size of his installations and experience provided through watching them in a certain context can change their meaning completely. Something which the internet leaves you with no control of. Downloading and viewing a piece of art online cannot be replaced by the physical perception the scale within the exhibition space provides. In that sense, Quayola’s artwork explores something with a heart which will always be best to experience in the flesh. T

Welcome to living life through your flat screen. Words by Rachel Campbell.

Welcome to living life through your flat screen.

Words by Rachel Campbell.

End Piece showcases the vast number of electrical sets cast aside providing a wave of sadness as you witness a catalogue of the unwanted before your eyes. Many disregarded for a newer, high-definition screen’s ability to display Sky’s 600+ channels live 24-hours a day. So when did we get so addicted, deciding that 5 channels just wasn’t enough to satisfy? Sociologist Jean Baudrillard claims we live in a ‘desert of the real’; a world in which TV, film and advertising appear more real to us than the reality that surrounds us. Evident in almost all social class categories, more viewers are repeatedly tuning into a soap opera nightly rather than

the evening news. People tare gaining more emotional attachment to a fictional character on a TV programme than within their own relationships, providing soaring ratings during major story lines in soaps. Exploding as phenomenon in the late 90’s and early 00’s, reality TV proved successful due to shows such as Big Brother which allowed an unlimited all-access view into ‘real’ characters lives on our screens, presenting purportedly unscripted dramatic or humorous situations. With ordinary people selected instead of professional actors chosen purposely to fit certain stereotypes, the ‘girl next door’ ‘likely lad’ and ‘underdog’ are all characters the audience. However, recording a group of people continuously won’t always allow for constant entertaining content; producers are left to glamorise mundane elements of life editing the show to a ‘best bits’ highlight show leaving the viewer restricted to what they see. Reality TV shows portray to us a ‘modified form of reality’ by using sensationalised versions of real life, they attract audiences with their use of exotic locations or outlandish sets/costumes as bait. The Big Brother house for example, creates a media illusion of live reality with the set of the house seeming so far removed from reality making your own

life feel realistic. A recent trend in ‘reality’ television shows have seen the likes of The Only Way is Essex and Made In Chelsea give both ITV and Channel 4 record week night ratings as well as creating a constant buzz on social networking sites over the story lines for seemingly real characters. With these shows “scripting some scenes for entertainment purposes”, we as the audience are manipulated to believe we are witnessing a segment of reality, despite being simply shown an illusion of reality made entirely through direction and post-production editing. Television has now created a model for viewers to re-enact and carry out in reality, acting as an influence for our actions. Baudrillard claims in a post-modern society, ‘we live in a world where attachments to reality have been lost, so an illusion is possible’. Images of celebrities saturate reality to a point where experience can only take place at a remove; the world can only be experienced through filters of preconceptions and expectations seen via a television screen. If a 50-inch HD plasma can act as a metaphor for our society, it shows the importance of image meaning everything - the bigger proving better. What a shame we can’t rewind to a time where our lives revolved outside of virtual sitcoms on 5 channels. T

Photo courtesy of P3 exhibitions

Collage by Through the lens

Filling P3 Ambika’s subterranean space with an eery muffled buzz of the soon to be no-more analogue channels; David Hall casts a thick net exhibiting 1,001 aging TV sets screaming their metaphorical lungs one last time before they are laid to rest. A further exploration of Hall’s 1970 television exhibition, End Piece heralds the end of analogue television in time for the digital switchover. From the beginning of April, each set loses connection one by one from the Crystal Palace transmitter, before all transmission ceases on April 18th (the landmark day of the digital switchover.)