The First Issue by MR H

THE

COLLECTIVE Issue 1

Discussing and showcasing arts, style and design. Please take a copy with our compliments 1 1

CONTENTS 5

Editor’s Le er A note from Collec ve Editor, Lee Joseph Hagan

Fallout Factory We chat to the crea ve minds behind the Liverpool gallery that supports and promotes emerging ar sts

Fact Collec ve finds out more about Fact’s collabora on with Channel Four

Drumming Up Respect We review Europe’s leading taiko drum group as they performed at the Liverpool Philharmonic this month

Zandra Rhodes Collec ve catches up with the Princess of Punk herself

Beautylicious Take a look at our top style and beauty pics for this season

Collec ve Predic on Each issue Collec ve predicts a future rising star – meet designer Georgia Shields

Our Fashion History We delve into Liverpool’s stylish past

Art in Print Tate Liverpool

Novotel A stylish and contemporary stay at this city centre hotel

MgMaStudio We chat to the men behind Liverpool’s young, crea ve architecture and design agency

Interiors A look at the latest collec ons from Elaine Cunningham

The Vault We take a look inside Signature Living’s latest venture

The Irish Fes val Collec ve discovers what this year’s fes val had to oﬀer

Eric’s Photographer and writer Melanie Smith shares her favourite moments from Liverpool’s legendary club

Social Images A look at this years Vogue Ball

A La e with… Ellie Phillips - the creator of the eagerly an cipated Liverpool Music Awards

Disclaimer No part of this magazine may be reproduced without prior permission of the publisher. Whilst every care is taken, the publisher can take no responsibility for omissions or errors. All prices and details are correct at the me of going to print, the publisher can take no responsibility for change therea er.

24-hour arty people Gallery / Cinema / Cafe / Bar 88 Wood Street, Liverpool, L1 4DQ fact.co.uk / 0151 707 4464

Editor

Hello and welcome to the first issue of The Collec ve Magazine! It has been a very exci ng me for me and the team as we have pulled together to create something we believe is innova ve and relevant and showcases Liverpool. At The Collec ve we dig deep, in an eﬀort to find tomorrows crea vity, today. Collec ve Predic ons - In this issue we talk to a very talented young lady, Georgia Shields about her unique, structural fashion designs created as a student studying with Liverpool Community College. Another highlight comes from an interview conducted with the inspira onal arts graduates from Fallout Factory. These gents have had the focus and tenacity to open their own art gallery and to challenge the commercial struggles ar sts face today. Art and fashion are the same at Collec ve HQ, so we had our fashion editor style them so we can tell the chaps out there how to achieve the look. The illustra on on the front cover comes from the incredibly talented Kerry Jones of Love Amelia. Kerry based her whole brand on the love of her li le girl and Zandra Rhodes herself ‘loved’ the illustra on created. Go Kerry! It was an honour to meet Zandra during our interview and when I asked her what she thought of Liverpool, she described the city as crea ve, vibrant and exci ng. I hope you enjoy my interview with her and the preview of her A/W showcase. I am very proud of our Art in Print feature which samples the best exhibi ons from your favourite art galleries, brought to you by The Collec ve. Please feel free to tear out the pages, frame them, put them on your fridge, just enjoy. We are now channeling our inner fes vi es to bring you an extra special Christmas Collec ve. Already got Mariah’s Christmas Album playing at HQ!...... Lee Joseph Hagan Editor

Above: Portrait... Viktorija Grigorjevaite www.vggv.co.uk Shirt and Bow Tie: Reiss, Liverpool 1 Jacket: Editor’s own, vintage

I dedicate this issue to my Granddad who passed away recently, and I would like to highlight the care he was shown by the incredible staﬀ at the Marie Curie Hospice, Woolton. Anyone wishing to donate please go to www.mariecurie.org.uk

The Collec ve Team Editor: Lee Joseph Hagan Lee@thecollec vebrand.com

Contributers:

Design Editor: Diane Tremarco Diane@dtmediaonline.com

Vicky Anderson - Writer

Ma Welsh - Writer

Features Editor: Joanna Mo ram Joanne@thecollec vebrand.com

Viktorija Grigorjevaite photography h p://www.vggv.co.uk

Fashion Editor: Siobhan Noble Siobhan@thecollec vebrand.com

Lee Edward photography h p://www.lee-edward.co.uk

Front Cover illustra on created by Kerry Jones for Love Amelia. h p://www.loveamelia.co.uk

Kate Robson photography h p://www.kate-robson.co.uk Published by H of H Publishing Ltd 5

For careers in

Fashion Design & Retail

Visit: www.liv-coll.ac.uk Tel: 0151 252 3000 6

Fall Out Factory

Photograph: Viktorija Grigorjevaite

As their Liverpool art gallery con nues to go from strength to strength, Joanne Mo ram chats to the entrepreneurial graduates who have taken the art world into their own hands. In recent years, the papers have been filled with stories aout how young people leaving higher educa on are finding it nearly impossible to find work a er they graduate. Finding just any job is diﬃcult enough, but finding one in their chosen industry is even harder. But there are graduates who have strived to do something about their predicament - meet the creators of Fallout Factory. A gallery and crea ve space on Liverpool’s Dale Street, Fallout Factory was started up from scratch by Reggie Orme, Adam Bresnen, Chris Parker and Will Blackwell. I met up with Reggie, Adam and Chris for a coﬀee and a chat about their new venture and how it all began.

Get the look? Award winning hair stylist Dion Paddan, owner of Hooka Salons Liverpool tells Collec ve how he styled the hair of Reggie (right) and Chris (middle) ‘’Reggie’s hair was clippered very ghtly up to past the temple area to expose the scalp throughout the back and sides. I le some length below the crown to make the length blend through with all the hair from the top. I razored his hair quite heavily to remove bulk and applied a new American Crew product, Ultrama e, before and blow-drying it in to create hold and support. Once dry i applied Pomade which is a high shine, high hold product and finished oﬀ with a strong hairspray’’. ‘’Chris’s hair was le long throughout but razored to remove a lot of weight and to loosen up the style. I applied Kevin Murphy Hair Resort spray to bulk the hair and give it a slightly dir er, lived in texture. Once dried, I applied L’oreal Superdust to create a dry textured finish. Both the products were used to make the hair look styled but without looking like there was any product used’’. Clothing was provided by Weavers Dorr who oﬀer the finest menswear apparel and related products located on Bu on Street City Centre, Liverpool L2 6PS. www.weaversdorr.com

Chris (le ) : Edwin Japan Old Timer Tee White 39.99 Nudie Jeans Co. Grim Tim Jeans 110 Adam:(middle) : Universal Works Worker Chambray Shirt Edwin Japan ED-55 Chinos Malt Brown 79.99 Reggie: (right) : Oliver Spencer Portland Jacket in Navy 275 Norse Projects Aisle Striped Oxford Shirt in Blue 110 Edwin Japan ED-55 Chino in Terra Red 79.99

Photography: Lee Edward Photography www.lee-edward.co.uk Stylist: Siobhan Noble Loca on: Fall Out Factory, 97 Dale Street, Liverpool, L2 2JD 9

A er gradua ng from university, with Reggie and Adam both having studied Fine Arts whilst Chris studied Marke ng, they found the same diﬃcul es as countless other students when trying to find work.

Fallout Factory’s aim is to support and promote emerging ar sts through exhibi ons, commissions, residencies, and collabora ve opportuni es. The gallery func ons as an incuba on space for the crea on and display of artworks.

“The art scene in Liverpool wasn’t very inspira onal and there were only a handful of internships going”, explains Reggie. “Its hard to support yourself anyway doing an internship for free. Also the people exhibi ng in the galleries in Liverpool are o en from out of the city and have already made a name for themselves in the art world. It’s all very commercialised, no one uses space for up and coming ar sts in Liverpool.

The end product is that innova ve new works are created out of a collabora ve process. It encourages par cipants to work with new collaborators, with unfamiliar media, and within a s mula ng and unique social environment. The gallery produces monthly events and dozens of smaller exhibi ons per year, as well as an ar st led program and workshops that serve the ar s c communi es and general public of Liverpool.

“We came up with the idea for crea ng a gallery or a space. I remembered I had read an ar cle about the Russian Army. Whilst marching, one soldier fell out of line, and it reminded me of someone falling out of society. An ar st isn’t part of conven onal society; they are part of a loan reality. That’s how we thought of the name Fallout Factory”. With the concept in place the boy’s next move was to put their plan into ac on, and help came along in the form of the Liverpool John Moores Enterprise Programme. “LJMU is probably the main reason we were able to do this”, says Chris. “Its 30% of a masters course and it’s aim is to help new businesses start up. You don’t have to be from LJMU, you can be from anywhere in the country and apply. They give you so much support, from helping you write a business plan to helping you with accounts and finances. They give you bursaries as well, and get you in touch with loads of diﬀerent contacts. We had the concept and the place already, and then when we came across the programme we put it into prac ce from there. We have a lot to thank LJMU for in terms of were we are now”.

“The first exhibi on we did wasn’t actually in the gallery it was in Leaf on Parliament Street. That was with Liverpool Sound City in 2010 to gain experience in events and project management. It went really well and the manager at the me was really impressed with us. No Direc on was the first branded exhibi on we did by a Papua New Guinean ar st Eric Bridgeman. That was when I thought, ‘we are star ng to get there now’, it was how we had envisioned Fallout Factory. It generated a buzz”, remembers Chris. “It wasn’t a typical art show with pieces on the wall; it was sculptures, and projec on. It was quite controversial. Some people interpret art in diﬀerent ways, one of the prints on the wall looked like a gollywog doll, so we had a few complaints. That wasn’t what it was intended to be though it was actually a clown”, says Reggie. ”But that is what art is meant to do, raise a ques on”, says Chris. We knew were going in the right direc on, because we had people talking about us. Nega ve or not it’s a reac on”.

Despite being created by graduates, Fallout Factory is not just a student haunt. The boys have people of all ages wan ng to get involved. “We originally thought our market would be for young people, as when it was in the concept stages we envisioned it for students as that was our main demographic. But because of were we are based, we had a bit of a re-brand. We did the website and the logo and went down a slightly more corporate route to widen the market, and since then have had interest from various diﬀerent people of all ages and back grounds”, Chris says. “Even the ar sts themselves, I thought would be mostly students, but 50 percent of the ar sts that exhibit are interna onal ar sts. That’s what I was most surprised about as I thought it would be fairly local”. So what advice would these young entrepreneurs give to recent art graduates dealing with the same struggles as they had? “Students should s ck to it, be dedicated and love what they

do. If you think you are going to come into this business and earn lots of money then it’s not for you. If you are willing to work 15 hour days, then you will do fine. It’s not a part me job”, advises Chris. “We want to oﬀer our gallery to help others who are in the posi on we were in. Our space is s ll growing and we want it to inspire others”, says Reggie. “We always want volunteers, interns and people to come to us with ideas”. Fallout Factory not only provides a unique opportunity for new talent around the Merseyside area, but it is also showcasing some amazing events, exhibi ons and performances in the coming months – a definite must-visit for the art lovers of Liverpool. For more informa on on Fallout Factory visit www. fallou actory.co.uk Photograph: Viktorija Grigorjevaite

The exhibi ons at FACT are o en considered the hidden gems of Liverpool’s arts scene, but now a collabora on with Channel 4 is seeing the venue take work out of the gallery – and onto television. Ar sts including Marina Abramovic, Johan Grimonprez, Hollywood actor James Franco, Palme d’Or winning director Apichatpong Weerasethakul and Turner Prize winners Mark Wallinger and Mark Leckey are all making a transi on to the small screen with new work as part of Channel 4’s Random Acts. They are among the 25 ar sts that have been commissioned and curated by Jacqui Davies and FACT for a strand of the network’s ar st-led three-minute short films. All of the ar sts involved in Random Acts have an interest in television as subject or context, and have made works that embody, expand or reflect on the medium, subver ng and challenging its aesthe cs and poli cs. Random Acts is a short-form daily arts strand on Channel 4. It launched in 2011, and in its first year showcased 260 specially-commissioned three-minute films chosen for their bold expressions of crea vity. Trea ng television as art, rather than about art, Random Acts exists to enable a diverse supply of established ar sts and emerging talent to create their own pieces without the restraints of the conven ons of arts television.

FACT (Founda on for Art and Crea ve Technology) has been leading the UK video, film and new media arts scene for more than 20 years with ground-breaking exhibi ons, educa on and research projects. It aims to pioneer new forms of ar s c and social interac on with individuals and communi es. Wri en by:Vicky Anderson

FACT’s strand has been curated by independent producer and curator Jacqui Davies, and FACT’s CEO Mike Stubbs. It features a wealth of interna onally established and up-and-coming ar sts. Some, including Semiconductor, John Akomfrah and Apichatpong Weerasethakul are directly linked to Liverpool, having had work commissioned by and exhibited or shown in FACT in the past. Mike Stubbs said: “We have curated a series of extraordinary, surprising and challenging three minute films with a variety of exci ng and well-known ar sts, as well as some real talents to watch. “FACT is Britain’s primary new media centre, and to commission short works from ar sts of this calibre is a great opportunity to move beyond the conven onal gallery space, and increase our reach as art moves outside the building.” The series began at the end of September with Marina Abramovic’s Dangerous Games. Each work is broadcast on Channel 4 before being made available to view online.

figures to reflect on the histories of ar st working with the medium of television, from early broadcast interrup ons to contemporary approaches and the rise of new media. Those taking part include digital media ar st Chip Lord, one of the founders of Californian pioneers Ant Farm in 1968; New York-based ar st Marisa Olson, a digital ar st and curator who once developed a work in which she audi oned for American Idol; and Channel 4’s commissioning editor for arts, Tabitha Jackson. There will be performances by Ronald Fraser-Munroe and Jeremy Bailey. Jacqui Davies said: “Cura ng 25 films for Random Acts presented a chance to work with some of the best and most exci ng interna onal ar sts prac cing today. In the programme of works there is no house style or dominant aesthe c, just fantas c work ranging from poe c to intensely poli cal, subversive, mischievous, awkward, aesthe c, minimal, to downright sexy.”

Meanwhile, Random Acts will be celebrated as part of the Liverpool Biennial, with a one-day event of performance and talks at FACT on October 26.

Tabitha Jackson, commissioning editor for arts at Channel 4 added: “We are delighted that our first partnership with FACT has resulted in such an extraordinary set of films. Long may it con nue!”

Random Acts: Ar st Interven ons into Broadcast also marks the first anniversary of the series, and will bring together ar sts and key

Each Random Act film will be available to view a er its television broadcast at: randomacts.channel4.com, www. artplayer.tv and www.jacquidvies.com.

DRUMMING UP RESPECT With over one thousand performances across the UK, Japan and Europe over the last decade, the Mugenkyo Taiko Drummers brought their spectacular stage show to Liverpool this month. The Collec ve reportsâ&#x20AC;Ś

Exploding rhythms on huge taiko drums, interwoven with layers of percussive soundscapes and elegant bamboo flutes in a spellbinding display of precise choreography and athle cism. This is just a taste of what audiences can expect from the UK’s first and only professional touring taiko group, the Mugenkyo Taiko Drummers. A er previously gracing the stages of such pres gious venues as the London Queen Elizabeth Hall, Brighton Theatre Royal and the Glasgow Pavilion Theatre, this unique stage show came to Liverpool’s Philharmonic Hall on 15th October.

Kurumaya Sensei in Fukui on the west coast of Japan for two years, before returning to the UK in 1994 to form Mugenkyo with co-founder Miyuki Williams.

Through years of rigorous touring as Europe’s leading taiko drum group, Mugenkyo have developed a gri y yet passionate style that is uniquely their own, retaining the tradi onal spirit of taiko whilst also crea ng a new and contemporary sound.

Next year they will be looking ahead and planning for their 20 year anniversary. “I can’t see our rollercoaster ride coming to an end just yet. We’ve achieved so much in the last 18 years of Mugenkyo but we are always driven to achieve more. We’ve got so many promising players coming through the system right now which is a very exci ng prospect for the coming years. We’re planning on expanding our Dojo and our teaching work, as well as working on more exci ng collabora ons”, adds Neil.

Mugenkyo present taiko as a modern and theatrical performing art, with precise choreography, drama c ligh ng and a variety of costumes, ranging from the post-apocalyp c industrial, to gorgeous earthy silks. The concert is extremely diverse, incorpora ng powerful rhythms on an array of instruments, soulful voices, layers of percussive soundscapes and innova ve dance ghtly integrated with the taiko drums. Neil Mackie is a founding member of Mugenkyo and was originally a kit drummer in a variety of rock bands in his home town of Bristol and later London. He went on to train with

This year the group toured Japan and were honoured to play alongside some of the world’s greatest taiko players. “It was also an overwhelming experience in that so many people in Japan looked a er us and made us feel so welcome. It is a country driven by the greater good of society as a whole and not by individual selfishness”, says Neil.

Mugenkyo have succeeded in crea ng a new musical path, developing the genre in new direc ons with both their own concert performance and their wide-ranging ar s c collabora ons - truly an experience not to be missed. For more informa on on the Mugenkyo Taiko Drummers and their tour dates visit www.liverpoolphil.com

Lee Joseph Hagan interviews...

and showcases her fabulous Autumn/Winter Collec on

The infamous, self-styled, Princess of Punk, Zandra Rhodes, chats to our Editor Lee Joseph Hagan about pyjamas, hair dye and all things fashion. Drama c, glamorous and outrageous, there is no mistaking the Bri sh fashion icon that is Zandra Rhodes. During the opening of the ‘Welcome to my World’ exhibi on in Liverpool by acclaimed ar st Duggie Fields, I spo ed her straight away; her shocking pink trademark bob contrasted wonderfully with her theatrical blue eye make up and navy dress, which was covered in a pink embellished print and accessorized with the largest mirrored gold bangle that I have ever seen. Born in Kent, Zandra was introduced to the world of fashion by her mother, a fi er for the Paris Fashion House of Worth and later a lecturer at Medway College of Art. Zandra herself studied at Medway College and then at The Royal College of Art in London, majoring in printed tex le design. Zandra’s outlandish designs made her an integral part of the new wave of Bri sh designers who put London at the forefront of the interna onal fashion scene in the 1970’s. It was when she pioneered a pink and black jersey collec on complete with holes and beaded safety pins that she earned her name, the ‘Princess of Punk’. The list of celebri es who have worn Zandra’s designs is endless and diverse, including Diana, Princess of Wales, Jackie Onassis, Elizabeth Taylor, Kylie Minogue, Paris Hilton, Helen Mirren, Kate Moss and Sarah Jessica Parker. But her talents stretch further than dresses and printed tex les, it also encompasses jewellery and wrapping paper as well as a collabora on with MAC to produce a limited edi on make-up range. Most interes ngly, in recent years, she has diversified into designing the sets and costumes for operas interna onally. Despite her hec c lifestyle, Zandra made me in her busy schedule for a quick chat with me whilst visi ng Liverpool…

Lee: How old were you when you first used fashion as part of your iden ty? Zandra: I suppose I have always been involved, as my mother was always sewing at home when she wasn’t teaching in the fashion department of the Art College. We always had wonderful fashion magazines around with amazing things to look at. Lee: How does it feel to be called a fashion icon? Zandra: A great honour that I have to live up to. Lee: Has there been a constant inspira on source for your designs or does it change? Zandra: It can be anything, from my friends such as Duggie (Fields), to going on working/sketching adventures. From what I draw in my sketchbook I develop new ideas, for example, the great Ayers Rock in the centre of Australia. Lee: Do you currently have a muse? And who have been your past muses? Zandra: I don’t have a muse currently. In the past I have had ar st Maxine Smith, an inspira onal woman now living in Los Angeles. Also Chelita Secunda, a fashion stylist who was also the muse of designer Ossie Clark and Duggie Fields has painted her. Lee: What do you wear for bed? Zandra: Classic striped sa n pajamas. Lee: Do you ever wear black? Zandra: Very, very seldom, and then only if I’ve done it over with a Zandra Rhodes print on it, or masses of statement Andrew Logan jewellery and large Zandra Rhodes wiggle beaded necklaces.

Lee: Where you born with pink hair? Zandra: (smiles) No! Green hair! In the far away days of 1971. As a tex le designer I first went to Leonard, the top London hairdresser a er Vidal Sassoon. I got Daniel who worked for him to bleach strands of hair and then dye them green. I then stuck feathers on the ends. Then in 1980 I went to China. Red China. So I dyed my hair pink! Lee: Do your accessories have super powers? Zandra: (smiles) Of course my accessories have super powers. I put them all together to create the final image. Each day I put together the story on myself, whether it’s a printed t-shirt or an elegant evening blouse. Lee: Have you ever had a fashion disaster or a wardrobe malfunc on publicly? Zandra: Several! My first grand ball I went to in La Jolla, the zipper of my ball gown broke and I had to walk out holding my dress together. Lee: You have designed for many diﬀerent celebri es over the years, who would you like to work with next? Zandra: I would love to dress Kate Middleton or Lady Gaga. Lee: Who would you most like to invite over for high tea and light refreshments? Zandra: I’d put together a great combina on of powerful women, alive or dead. Diana Vreeland, the ul mate high priestess of fashion, with her amazing make-up, would totally dominate the room. Also, Louise Nevilson, Lady Sculptress and Lady Gaga. I think the room would be electric! Maybe even too electric!

Lee: What one piece of advice would you give to young designers trying to break into the fashion industry? Zandra: Follow your dreams by whatever means it takes. Never give up! Lee: What do you do on Sunday a ernoons? Zandra: Work! I use every day equally. Sunday is a bit more peaceful as the daily phone calls aren’t there. Lee: Do you have any ambi ons you haven’t fulfilled yet? Zandra: I would like to become like Chanel, with an interna onally recognized brand kept alive a er my death. Lee: What’s next for the Zandra Rhodes brand? Zandra: The sky’s the limit! I’d like to do a cookery book, perhaps a book about my life in general – an exposé. I am also doing a flower fairy book with flower fairies of the California desert. For more informa on on Zandra Rhodes and to view her autumn winter collec on, visit www.zandrarhodes.com

Acqua Di Parma Shaving Brush Stand £195, johnlewis.com

Alexander McQueen Printed Silk Bow Tie £99, harveynichols.com

Lanvin Tu Fru Swarovski Ring £285, selfridges.com

Beau licious... Marc Jacobs Daisy Eau de Toile e, 100ml £56, johnlewis.com

Tateossian Round Knot Cuﬄinks £90, tateossian.com

Vivienne Westwood Skull Leather Gloves £18, selfridges.com

Clarins Eye Quartet Mineral Pale e £30, selfridges.com

Mulberry Quilted Nappa Gloves £150 Flannels L1 flannelsfashion.com

Mulberry Metallic Snake Del Rey £100, Flannels L1 flannelsfashion.com

Tigerz Global Wool Blazer £625, Ted Baker, Liverpool One

COLLECTIVE Prediction... Here at The Collec ve, we are always keen to promote young, up and coming talent in our city. This issue we meet Georgia Shields, the 22 year old fashion designer from Liverpool who is working hard to fulfil her design dreams. “Since an early age I have tried to design my own clothes with minimum resources”, remembers Georgia. “I always used scrap fabrics or old clothes and I like to personalise clothing, whether it’s by adding a small accessory or by adding sleeves to a garment. My cousin Joanne took the same course as I did at Liverpool Community College, which inspired me to follow in her footsteps”. Georgia studied an FDA in Fashion and Clothing technology at Liverpool Community College where her first assignment was to create a fashion line suitable for Liverpool’s Met Quarter. Although a daun ng task for a young designer, Georgia took it all in her stride; “A er researching and designing my collec on, I created a range of classic separates in pure fabrics inspired by Parisian women”, Georgia explains. “I then had to present my work to a panel of managers at the Met Quarter. My work was short listed to the final five and was displayed at the Met Quarter in May 2011”. Shortly a er she was then asked to design a garment suitable for a Seven Deadly Sins event and fashion show which took place in the Liverpool bar Modo. “My sin was ‘ glu ony’ and I was one of the seven winners. I had just three weeks to produce my garment, which was inspired by cupcakes”, says Georgia.

Georgia’s final collec on at the end of her two year course at Liverpool Community College was en tled ‘Artcouture’ and was all about the art of fashion. Georgia brought some of her collec on with her when we met and I was immediately impressed by her statement pieces which were both structural and sophis cated. “The concept was architecture with a twist of Japanese fashion”, she explains. “Structure is the key within my designs; oversized propor ons, exaggerated angles and strong silhoue es, always with the emphasis on structure. “I take a lot of inspira on from Japanese designers such as Rei Kawakubo and Issey Miyake. I also like Husseins Chalayan’s work. He is known for his innova ve use of material. If I could design for anybody it would definitely have to be Lady Gaga. She’s known for her bizarre style and is very daring. She isn’t afraid to be diﬀerent; I think my sense of style would fit her perfectly”. A er gradua ng from the Community College in June this year with an overall grade of Dis nc on, Georgia now studies BA Fashion Design with Garment Technology at Birmingham City University. Although she has a long and ring commute on the train to get there, she knows it will all be worth while. She is currently working on her first project for her course; “It involves researching designers who I feel work in a conceptual and innova ve way”, she says, “I have now been given a design from within my research.

It is a coat with an inserted jacket from the Viktor & Rolf readyto-wear autumn winter collec on”. So where does our young designer see herself in the future? “Firstly I want to concentrate on finishing my degree”, she says. “Whilst at college I did a six week placement at Matalan’s head oﬃce. I loved the experience; I think that’s what made me discover how much I love the business side of things as well as designing. I learnt a lot, from how they got their garments produced overseas to how long the process takes. Because of that I like the thought of a career in the business side of fashion such as a fashion buyer”. With her unique, structural designs coupled with her hard working a tude, we at The Collec ve have no doubt that Georgia Shields is a name the fashion world will be very familiar with in the near future. For more informa on on Georgia’s course or any of the other courses available at Liverpool Community College visit www.liv-coll.ac.uk

OUR FASHION HISTORY Looking around Liverpool today, it is unsurprising that only four years ago our great city held the coveted title of European Capital of Culture. Built on an illustrious heritage that spans back over 800 years, Liverpool has a global reputation for sport, music and architecture. With more museums, theatres, galleries and listed buildings than any other region outside of London, the cityâ&#x20AC;&#x2122;s cultural wealth has long been a major tourist attraction. But can the same be said for fashion? Yes we may be style conscious but do we have substance to go with it? After World War II, the 1950s and 1960s saw something never before seen here in Liverpool; a new and exciting music scene that liberated a generation. As this sound went worldwide so did the fashions that went hand in hand. Shorter skirts, a free fitting form and an altogether more relaxed attitude than their war-ravaged parents. An explosion of colour and prints came and stuck around, seemingly for good. The Beatles of course were a huge influence on menâ&#x20AC;&#x2122;s fashion; from the moptop haircut and Edwardian collarless suits in their early years, to the psychedelic era of the late 60s, followed by their Indian influenced fashions.

By the 1980’s Liverpool was suﬀering under a harsh Thatcher rule and all too familiar recession. The country found itself in a grip of economic decline and widespread job loss, and because this aﬀected the port and its related trades, unemployment his Liverpool the hardest. An an dote for teenagers facing a life of just £20 a week dole was to dress up, go out and become part of one of the many style tribes of that me. It gave young people a purpose and a crea ve focus. Sub cultures included punk, rockabilly, new-roman c and goth, and many of these dis c ve looks could be developed through home made ensembles and searching through second hand and army surplus stores. Meanwhile men became heavily influenced by football and the ‘scally’ look was born. Liverpool European games allowed for supportors to shop in foreign sports shops, and shoes that were once only made to train in were now being worn as everyday footwear, dubbed by scousers as ‘trainees’. Robert Wade-Smith capitalized on this when he was a buyer for the Liverpool branch of Top Man. He requested 500 pairs of Forest Hill training shoes for his store, but Adidas instead sent them to the Oxford Circus branch insis ng that you couldn’t launch a shoe outside of the capital. Oxford Circus however failed to sell one pair, and so the stock was sent back to Liverpool were they completely sold out in under a month. Robert Wade-Smith was named sales person of the year and set up shop alone, first in small back street shop in the city centre, and later expanding to the four storey main stream department store, Wade Smith, that become one of Liverpool’s biggest designer wear shops of the 1990s. Following on from the poli cal unrest through the 80s and early 90s, fashion was inevitably the best way to communicate. The Liverpool Docker’s strike promted a surge in CK T-shirts. The Calvin Klein ‘CK’ logo was incorportated into the word ‘dockers’ and was worn to show support for the strike, most famously by Liverpool footballer Robbie Fowler. Liverpool now also had an iconic club scene with the 051 and Cream becoming hugely popular. Cream logo jackets and smiley face Acid House T shirts became the norm and the Liverpool club scene only helped this spread. As we move into the nough es, there is no denying that the ‘WAG look’ become a huge hit and the city of Liverpool was at the forefront of this latest trend. The WAGs burst into the media spot light amidst a frenzy of designer shopping at the Baden Baden World Cup in 2006

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and six years on, the fashion phenomenom that is the WAG is s ll going strong – though their labels and creden als have changed somewhat. Alex Gerrard and Coleen Rooney are s ll the front runners of the Liverpool WAG scene, with fashion themed TV shows, designer collabora ons, magazine collumns and (in Coleen’s case) even a Vogue cover under their belts. Liverpool designer store Cricket has to be men oned when it comes to Liverpool style, par cularly WAG style, as it is now considered one of the foremost independent super bou ques in the UK. It has been hugely responsibly for shaping the WAG look, but it stocks much more than Mukluk boots and Juicy Couture tracksuits. It houses some of the world’s most stylish lables, from Balenciaga, Chloe and Chris an Loubou n to Pucci, Ma hew Williamson and Stella McCartney. Not only does the city keep ahead of the latest style trends, Liverpool has also become home to some top class design talent over the years, Philip Armstrong being one of the most substan al. Philip and Tony Burke are the men behind the Philip Armstrong label and their unique style and cu ng edge focus has ensured that every collec on has been very well received in the fashion press. Their pieces are now considered collectable and highly sought a er, with A List celebri es o en seen spor ng a Philip Armstrong design, including, Jennifer Lopez, Kelly Rowland, Katy Perry and Lady Gaga. Kirsty Doyle is yet another example of how the Liverpool fashion scene con nues to grow and prosper. Winner of the UK’s most pres gious fashion design compe on, Project Catwalk in 2006, Kirsty now has a loyal following behind her eponymous Ready-to-Wear label. A er studying at Liverpool John Moores followed by the world reknowned Central Saint Mar ns, Kirsty sold out collec ons in high end retailers for six consecu ve years before launching her own women’s wear bou que in 2010. Liverpool may be known for many things but fashion will always be one of them. Our residents know how to express themselves through their clothes and this can be tailored to any look or trend. Scousers don’t let the clothes wear them; they wear the clothes - and well. The Collec ve Magazine is proud Media Partner of Liverpool Fashion Live – a fashion event true to our city. For further informa on please visit www.liverpoolfashionlive.co.uk Wri en by Ma Welsh

...A List celebrities often seen sporting a Philip Armstrong design, including, Jennifer Lopez, Kelly Rowland, Katy Perry and Lady Gaga.

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15 September â&#x20AC;&#x201C; 25 November

The UK Biennial of Contemporary Art www.biennial.com

Every issue, The Collec ve will be selec ng a diﬀerent art gallery to show case some of their most interes ng pieces for our Art in Print feature. For our first issue, there was only one place to start - Liverpool Tate.

ART IN

Tate first opened its doors to the London public back in 1897 and had just one site displaying a small collec on of Bri sh artworks. Today Tate has four major sites, the na onal collec on of Bri sh art from 1500 to the present day and interna onal modern and contemporary art, which includes nearly 70,000 artworks. In the 1980s Alan Bowness, then director of Tate, decided to create a ‘Tate of the North’; a gallery with a dis nct iden ty, dedicated to showing modern art and encouraging a new, younger audience through an ac ve educa on programme. 2008 marked the year Liverpool was named European Capital of Culture. To celebrate this, in 2007 the gallery hosted the Turner Prize, the first me the compe on was held outside of London. More than one million people a year visit Tate Liverpool, cemen ng its posi on as a venue for major European exhibi ons of art.

Charline von Heyl | Regretsy 2009 | Acrylic, oil and Charcoal on linen, 1981 x 2083 mm © Charline von Heyl | Courtesy of Fredrich Petzel Gallery, New York | Photograph: Larry Lamay

Turner Monet Twombly: Later Pain ngs at Tate Liverpool (22 June - 28 October 2012) Cy Twombly | Un tled 2007 | ÂŠ Cy Twombly Founda on

Mark Titchner | We Want to Nurture and Protect 2004 | We Want Strong Leadership 2004 | ÂŠ Mark Titchner Image courtesy Tate Liverpool

Lee Joseph Hagan enjoys a mid-week break at Liverpool’s stylish and contemporary Novotel. For the past few weeks I haven’t had a moment to myself, as all my energies have been concentrated on working on the first issue of The Collec ve. So when the chance to review Liverpool’s Novotel came my way, I simply couldn’t resist.

Novotel is a stylish four star hotel located in the heart of the city centre. With close proximity to The Echo Arena and Albert Dock and just seconds from Liverpool One, the Novotel would be an ideal base for tourists visi ng the city, or those like me, looking for a relaxing break. I arrived straight from the office late a ernoon and immediately as I entered I could feel the week’s stress start to fade away. I could even faintly smell the unmistakeable scent of the pool not too far off and already couldn’t wait for an evening dip. The recep on area is very modern and I was greeted by a smiling recep onist si ng behind a sleek white desk. I was shown to my suite for the evening and was blown away by its décor and size. Spacious and beau fully designed, the suite was like having your own apartment. There was a living area complete with sofa and plasma screen, as well as a dining table and a desk. Next was the bedroom with a huge queen size bed and another plasma screen. The bathroom had a shower big enough for two and there was even a television over the bath. The whole suite was decked out in relaxing shades of cream and beige with subtle accents of plumb and orange throughout. Outside the large windows I could clearly see the evening blue skies star ng to fade over tall buildings which added to the relaxing ambience. I decided to go down and check out the facili es. Although the stylish red, white and chocolate coloured gym filled with the latest chrome exercise machines looked temp ng, I decided to bypass the hard work and head straight for a swim in the indoor heated swimming pool followed by a steam. It was just what I needed and I couldn’t have felt more relaxed. Feeling rejuvenated, I returned to my suite and showered using the delicious array of Novotel’s own range of toiletries. A er dressing in a plush white robe and slippers I decided to have a relaxing late dinner in my suite rather than get dressed again, so I called up room service and ordered my feast. The ever helpful staff always call your room first just before bringing you your order, to ensure that you are ready, which I thought was a nice touch. The food arrived and I couldn’t wait to tuck in, it looked so delicious. By-passing ordering a starter I had gone straight for one of my favourite main courses; an 8oz fillet steak with sautéed mushrooms, baby plum tomatoes, French fries and a mouth watering pepper sauce. The streak was cooked to perfec on and I couldn’t compliment it enough. For dessert I opted for a selec on of cheeses served with fruit chutney and oat biscuits. All of this was washed down with a fruity bo le of Brouilly Domaine des Dames de la Roche. I was le feeling full and very sa sfied. A er a very comfortable night’s sleep I woke feeling refreshed and ready to start my working day. I made myself a coffee with the in-room espresso machine before heading down to breakfast. This gave me a chance to check out the rest of the hotel, I took a look at the bar area which was decked out in black and white with contemporary tables and large floor to ceiling windows. It certainly looked like the perfect place to enjoy an evening cocktail. Breakfast was held in the Elements dining area which again, like the rest of the hotel, was very modern with a geometric carpet and burnt orange dining chairs and white tables. I had a delicious cooked breakfast which was a great start to my day. All too soon it was me to leave my mini paradise and return to the real world. With its modern design, friendly service and great central loca on, I would definitely recommend Novotel for visitors of the city or just those who need to treat themselves to a relaxing break. Hotel Novotel, 40 Hanover Street, Liverpool, L1 4LN For bookings call 0151 6032801 or visit www.novotel.com 41

Mg Ma

â&#x20AC;&#x153;

As the saying goes, life is short, art is long; architecture is indeed a very long game â&#x20AC;&#x201C; ideas are paramount, the prac cali es are important, but without ideas there is no s mulus, no course for ac on to take.

Joanne Mo ram meets chartered architects Mathew Giles and Ma hew Ashton to discover more about their Liverpool based design agency, MgMaStudio MgMaStudio is a young, crea ve architecture and design agency based in the heart of Liverpool, within the Grade 1 listed Oriel Chambers on Water Street. Created by Mathew Giles and Ma hew Ashton, it is a perfect example of how graduates don’t have to relocate to the country’s capital in order to be successful in their chosen field. The studio delivers client-focused, design-led solu ons for the commercial, residen al and cultural sectors in the North-West and beyond. The duo’s clients benefit from their exper se in home architecture, encompassing full design and project management of new build and refurbishment works. Although Ashton originates from Preston and Giles from S lton in Cambridgeshire, both decided to study architecture at Liverpool University, which is where they first met. A er being elected to join the Royal Ins tute of Bri sh Architects (RIBA) in 2011, the pair went on to found MgMaStudio in the same year, with Ma hew Ashton as Crea ve Director and Mathew Giles as Finance Director. I caught up with both to ask a few ques ons about themselves, their company and their opinions on Liverpool’s architecture. So, why did you both decide to study architecture in Liverpool?

Mg: MgMaStudio was nine months in the planning. It all started at a Christmas drinks party. I had pre y much decided to leave for London, when Ma hew showed me the combina on of our ini als that became MgMaStudio, and the rest is history. We worked with LJMU’s Centre for Entrepreneurship; they were invaluable in assis ng with our business plan, approaches to premises, finance and all the necessary aspects of commercial enterprise. What were the biggest problems you both encountered when star ng up your own business? Ma: Obtaining start-up finance is difficult; the current lending regime is very risk averse. Obtaining clients is also not easy, we deliver bespoke solu ons rather than a ‘product’ per se and the specialised nature of our work is o en difficult to communicate. Can you explain to our readers what type of services you offer to your clients? Mg: We are a full services crea ve architecture and design agency. Our work is design-led, but always client focused. We work with commercial, cultural, and private residen al clients across the North-West. What would you say makes you different from other design agencies?

Ma: For me, it was the inspira on of one man, Professor David Dunster. I a ended an interview/open day, and a er hearing him speak, changed my preference from Glasgow to Liverpool. A truly remarkable individual.

Ma: Our architecture is concerned with the humanity of architecture; formal beauty and eﬃciency in the service of people, our clients and building users. We operate at many scales, transla ng 2D iden ty into interiors, think art direc on in the built environment. Of course our core oﬀer is full architectural services for refurbishment and new build.

Can you tell me the process involved in se ng up your company?

Mg: We are young, crea ve, and oﬀer a fresh perspec ve.

Liverpool needs to be the bold, confident place it was made to be. Structures such as the Liver Building are not mid compromises, they are defiant and asser ve. If proposals are of a high standard, I see no reason to be unsuppor ve of change. What do you think of the key architectural projects in the Liverpool Biennial this year? Ma: The significant architectural installa on of the Biennial is David Adjaye’s pavilion for the Sky Arts Igni on: Doug Aitken – The Source, an immersive audio/visual/architectural environment located outside Tate Liverpool. I’d recommend visi ng and experiencing this, together with the other temporary interven ons at Copperas Hill and the Cunard Building – it’s fascina ng to see spaces not normally accessible. How do you spend your free me when you are not busy at the studio? Mg: I’m club secretary for Port Sunlight Nomads, my Saturday football team – MgMaStudio is the proud sponsor of this season’s shirts. What sort of client base do you have?

Ma: I enjoy the galleries, the Philharmonic; essen ally the cultural life of the city. And the solitary, indulgent pleasure of a good book.

Mg: Our client base is extremely varied, at the core are strong rela onships we have worked hard to build and maintain, however small the scheme.

What future ambi ons do you have for MgMaStudio?

Ma: Our clients prefer bespoke, solu ons tailored to their requirements.

Mg: Our ambi on is to grow our client base and body of work, to expand the studio and make buildings and environments of significance.

Can you tell me about the first project you worked on for MgMaStudio?

Finally, what advice would you give to architecture graduates who want to make it in the industry?

Mg: A good friend of mine approached us to refurbish his kitchen, a modest job in scale and budget, but our approach to altering the flow of spaces really transformed the character and eﬃciency of the home. I knew we had something special in the studio design process.

Mg: Although this is a diﬃcult me, you will have developed one of the most crea ve and useful skill sets – and this is so much to your advantage. If architectural prac ce does not provide an immediate opening, ini ate projects, develop ideas and create opportuni es.

What have been your favourite past projects?

Ma: As the saying goes, life is short, art is long; architecture is indeed a very long game – ideas are paramount, the prac cali es are important, but without ideas there is no s mulus, no course for ac on to take.

Ma: Honestly, it sounds trite, but I’m proud of our body of work, and my favourite project is my next one. Can you tell me more about that?

For more informa on on MgMaStudio and the services they oﬀer call 0151 236 6627 or visit www.mgmastudio.co.uk

Ma: We have an extremely exci ng restaurant proposal which I can’t say too much about presently. In addi on we have some exemplary residen al projects in Liverpool and on the Wirral. Where do you draw your inspira on from when working on a design project? Ma: We work very hard with a client at the ini al stages to develop a design brief; it’s so much more than ‘drawing up some plans’. In this way, we can derive our inspira on from the context in which we’re working, and develop a proposal that is responsive, elegant and also func onal. What are your opinions Liverpool’s architecture? Mg: Where to start! You have only to look at our studio loca on, Oriel Chambers – the first metal-framed, curtainwalled structure in the world. Such a landmark structure, in an inspira onal se ng. We very deliberately located ourselves in an environment that inspires us every day. What are your views on the controversial topic of the modernisa on of Liverpool’s skyline? 45

ELAINE CUNNINGHAM HOME STORE Elaine Cunningham Home Store, 22-24 Chapel Street, Liverpool, L3 9AG, 0151 236 9280 www.elainecunninghaminteriors.com

1. Silver Band Cocktail Glasses £9.99 each & Silver Band Hurricane Lamp £99.00 | 2. Deco Eleplants £39.99 each | 3. Large ‘Mars’ Candle Holder £44.99 & Small ‘Mars’ Candle Holder £35.99 | 4. Large ‘Croc’ Frame £24.99 & Small ‘Croc’ Frame £17.99 46

Created by Swedish designer Sonja Ingegerd Anderson, the beau ful Sia range is now available at Elaine Cunningham Home Store. Consis ng of delicately cra ed statement pieces including fabulous cocktail glasses, elegant candle holders and stylish hurricane lamps, the collec on ranges in price ensuring something for everyone. “Aﬀordable luxury to enhance every home.”

5. Large ‘Venus’ Tealight Holder £12.99 each & Small ‘Venus’ tealight holder £4.99 each | 6. Large ‘Saturn’ Hurricane Lamp £34.99 each & Small ‘Saturn’ Tealight Holder each £17.99 | 7. ‘Taco & Aloe Vase’ £59.99 | 8. Silver ‘Circle’ Hurricane Lamp £9.99 each & Small Silver ‘Circle’ Tealight Holders £7.99 each 47

Celebrating 10 years of Mosquito and Vampire After celebrating 10 years since opening their doors the legendary Mosquito and exclusive Vampire Suite are still going strong and looking forward to the next 10 years. Hosting great monthly events such as the vastly popular STUDIO 54, WONDERLAND and their new favourite creation ILLUSION we dare you to come along and get bitten in one of our exclusive booths! Prepare to be amazed as our expert bar tenders mix you the perfect drink whilst you listen to one of our fantastic resident DJs... and for those lucky enough we will even give you the key to unlock the vampireâ&#x20AC;&#x2122;s heart.

The only question left to ask is do you want to get bitten by the mosquito or the vampire? For guestlist or booth enquiries please contact liverpoolpa@thelivingroom.co.uk

15 Victoria Street, Liverpool L2 5QS e: liverpoolpa@thelivingroom.co.uk t: 0151 236 1999 www.mosquitoliverpool.co.uk

/mosquitoliverpool 48

@mosquito 2323

THE VAULT The Collec ve takes a look inside Signature Living’s latest development that promises to provide the ul mate party experience With its lively atmosphere, countless restaurants and gli ering diverse nightlife, there is no doub ng that Liverpool is the defini ve party city. But nothing spoils a night out more than s ll being in the party spirit when the lights come on, and you are made to has ly finish your cocktail, leave the dance floor and head for the dreaded taxi queue that snakes endlessly into the distance. But now the party can last as long as you like with Signature Living’s latest new development, The Vault. Situated in the basement of the Masonic apart-hotel on Bold Street, it was once the vaults to the North West’s first Masonic Lodge before becoming the Masonic’s Bank. The Vault spans over 2,500 square feet and can accommodate 130 people if used as a func on room and sleep 25, with the added capacity to accommodate another 50 people in other apartments on the first floor. The fee is simple, guests pay for the beds for their over night stay and get the func on room absolutely free. The venue provides everything guests could possibly need to ensure they have a night to remember, including a dance floor, funky photo booth and even a ten berth hot tub. Although renovated to luxury standard with plush furnishings and rich fabrics and colours, original features have s ll been kept and restored, such as the old safe doors which are s ll in use as the entrance to the hot tub room. The Vault has three large ensuite bedrooms complete with four 50 inch plasma screens, PS3’s, karaoke facili es and surround sound. The func on room has its own bar and guests are invited to bring their own alcohol and food which really cuts down on cost. Signature Living can also provide an in-house chef, waiters, a DJ and even butlers in the buﬀ to add a li le bit of extra glamour. The Vault is the crea on of Ka e and Lawrence Kenwright, who started up Signature Living in 2004 a er no cing a gap in the market for good value group accommoda on. “The Vault is the ul mate party venue and we have equipped it with everything you can think of and more”, explains Ka e. “We are so excited to welcome people into our new development and see The Vault be used for people enjoying themselves and having fun, it will be nice to know that we have provided that for them. Stag and Hen par es are a speciality of ours. You would have to work hard and spend a lot more money to find an experience that could top what we do at Signature Living”. But as well as oﬀering you the perfect party venue, Signature Living also provides its guests with a personal concierge service to help you plan a night to remember. “Signature Living are number one on Trip Advisor”, explains Geniene Reese, Managing Director of Prominent Profile, “And that is because they give such a personal service. There is nothing worse then planning a night out in a new city and not knowing where to start, but Signature’s concierge service can plan everything for you. Guests can call up and Signature will help plan the perfect stay, from arranging for hen par es to get their hair and makeup done in their room, to ge ng discounts at local restaurants and queue jumps at the best clubs”. With its glamorous décor, prime central loca on and unbeaten personal service, The Vault is shaping up to be the ho est party venue in the city. Book now to avoid disappointment. Beds start at just £20 per person, per night; to book, call 0151 236 0166 or vist www.signatureliving.co.uk 49

WHAT’S THE STORY? Since 2003 the Liverpool Irish Fes val has celebrated over 150 years’ history of the Liverpool Irish community, heritage and migra on. This year, on its 10th anniversary, the fes val made 2012 a landmark year, and con nued to advance the ar s c and cultural links between the city of Liverpool and Ireland. Liverpool has always been a vibrant and culturally rich city and Irish music and culture has long been a part of this. The idea of the Irish Fes val was to create a permanent, annual event to highlight the Irish impact on the city that would include performance, entertainment, educa on, music, literature, theatre and art. The ambi on was that the fes val would become Britain’s leading showcase for contemporary Irish culture and become one of the world’s most compelling arts and music fes vals. Previously drawing in audiences of over 15,000, the 2012 fes val showcased over 30 events all shoehorned into 10 hec c days between 11th and 21st October. Highlights included the opening night concert featuring Dervish, Mary Coughlan at St George’s Hall, Joyce Day at the Bluecoat, talks on Bram Stoker and the ever popular heritage tours. The first weekend saw the Fes val down at Albert Dock and, for the first me, at Liverpool One. The Museum of Liverpool hosted a Liverpool Irish Celebra on Day on the first Saturday, with St Michael’s Irish Centre holding its popular Ceili that evening. The finale Sunday featured a family day at Se on Park Palm House with a Children’s Concert and Ceili. Art and photography where also well represented from Liverpool based photographer Tadhg Devlin and his exhibi on, The Fi h Province. Conor Love also returned to the Unity with his one man show, Moby Dick. There where films on at FACT throughout the fes val including a programme of the best of Irish short films, curated by fes val partners the Cork Film Fes val. Add in the opening weekend of music, dance and drama and fes val goers where spoilt for choice. Irish drama st and novelist Dave Duggan joined poet Gerard McKeown and singer Alan Burke during the fes val for a night of drama, poetry and song at the Wri ng on The Wall’s Derry/Londonderry - So Good They Named It Twice. “It’s always a treat to read my work in

Liverpool, and it was great to do it with Wri ng on the Wall in April. In fact, we launched my current novel at News from Nowhere on Bold Street. It was an honour to be asked to par cipate in The Liverpool Irish Fes val,” says Dave. Tadhg Devlin’s exhibi on looked at contemporary Ireland through the eyes of the returned emigrant and was presented upstairs at the Bluecoat during the fes val. Devlin moved to the UK in 1993, before the IRA ceasefire or the emergence of the Cel c Tiger. A er comple ng his studies he was offered a place at the interna onally renowned Magnum Photos office in London where he was assistant to the Magnum president Chris Steele-Perkins. “Working there was a great experience, although very daun ng considering the photographers who were involved over the years. I learnt an awful lot from the photographers and staff members on the photographic industry”, he remembers. “My advice to anyone star ng out is to keep going, don’t give up. It’s a difficult industry to work in, especially with the changes due to digital, but very rewarding in many ways.” So what is Tadhg’s favourite piece in the exhibi on? “I think the image taken at the Ulster American Folk Park was an important image, as it depicted how the Irish lived in the 19th Century before leaving for America. It showed a character called Paddy, the town drunk, with his wife Mary, and these are stereotypes that the Irish have fought for years, but today people can laugh at them, showing a new confidence and belief”. The sheer breadth alone of this year’s Liverpool Irish events made this fes val the best one yet. It was the perfect opportunity for the city to come together and celebrate Liverpool’s most telling cultural connec on. For further informa on on all of the Liverpool Irish Fes val events, go to www.liverpoolirishfes val.com

Pictured right: Actor Conor Love in his one man show - Moby Dick, part of The Liverpool Irish Fes val.

ERIC’S LIVERPOOL Synonymous with kicking tradi on whilst trading on punk radicalism in the 1970s, the legendary Liverpool club Eric’s has rightly earned its place in music history. The Collec ve chats to photographer and writer Melanie Smith about her favourite Eric’s moments…

Back in October 1976, the infamous Liverpool club, Eric’s, opened its doors for the first me in a basement building on Ma hew Street, opposite the legendary Cavern Club. The club was started by Roger Eagle and Ken Tes who was the manager of cult Liverpool band Deaf School. The pair were later joined by Pete Fulwell, the owner of a small record label Inevitable and later the manager of Liverpool bands It’s Immaterial and The Chris ans. The club was given the name ‘Eric’s’ by Ken as an an dote to disco clubs with names such as ‘Tiﬀany’s’ and ‘Samantha’s’. Photographer, writer and editor of Mudkiss Fanzine, Melanie Smith remembers her first me at the club; “I was 17 and thrilled by the sounds of punk rock. We headed out in search of a club we had heard all about in Liverpool called Eric’s, to see our first band Radio Blank. It wasn’t such a busy night as I recall, and we had to leave early, but it gave us a taste of more nights to be had at Eric’s”. Eric’s was a membership only venue, where fans of the club had to buy a yearly membership to enter. One of the club’s biggest a rac ons was that it provided memberships for under 18s which allowed younger music fans to see both local and na onal bands during a ma nee show that they would normally not have had a chance to see. This encouraged bands to visit Liverpool and helped provide a social networking venue for some of the city’s future musical ar sts. “A memorable night was watching Deaf School, with the mighty Enrico Cadillac. In fact I s ll have his autograph from that night, he signed it ‘Enrico Cadillac Ok?’ and I took some photos with our old camera with the cube flashes”, remembers Mel. “The characters were something you had never encountered before. You would o en find Pete Burns and Lynne (Corle ) preening themselves or bitching about people who passed by. They were the most notorious and they never spoke to us, merely glared and sniggered. It’s strange when I look back; li le did we know some of these people would become legends”. The club acted as a catalyst for musicians, playing host to many local, na onal and interna onal bands, primarily within the music sub-cultures of the me. Acts included the likes of Elvis Cotello, Buzzcocks, The Clash, Joy Division, Ramones, Sex Pistols, Siouxsie and the Banshees, The Slits, The Stranglers, Ultravox, Wire, XTC and X-Ray Spex to name but a few. “Pete Wylie was a comedic face on the scene, a really happy Scouser, and he always wore his black leather jacket. I remember him hanging around backstage with The Clash”, says Mel. “It was really easy to meet the bands, they just hung out with everyone else, 53

drinking at the bar and si ng around. I saw The Clash nine mes in total and the first me was in 1977 at Eric’s. We had great mes seeing The Clash in those in mate venues, ge ng right to the front of the stage usually near Paul Simon (who we had a massive teenage crush on). We wandered into the dressing room on a few occasions and they generally remembered us. “As The Clash got more and more famous they became unapproachable and distant, it was harder to get backstage and chat to them as before and this spoilt it for us. Many people said they had sold out and they stopped being punks. The last gig I went to in 1980 I remember a girl crying in the toilets, when I asked her what was wrong she said “they’ve sold out”. The club lasted un l March 1980 when it was raided by police for drug oﬀences and sadly closed down. The final acts that night where The Psychedelic Furs supported by Wah! Heat. Later the club opened under the name Bradys, but only lasted 12 months before closing. A successful musical about the club was commissioned by the Everyman for Liverpool’s European Capital of Culture year in 2008, and the clubs name regularly crops up in books and ar cles referencing the period. In 2009 a book consis ng of extensive interviews and research of Eric’s history was wri en by Paul Whelen and Jaki Florek, containing a large amount of unpublished material from that me. The book was aptly called; Eric’s The Book: All The Best Clubs Are Downstairs, Everyone Knows That. Despite closing 32 years ago and recently reopening, Eric’s reputa on has not diminished and does not look likely to do so. Much like the Cavern Club will always be synonymous with the Beatles, The city of Liverpool can proudly hold Eric’s responsible for providing a pla orm for some of the most popular bands in musical history. 54

“

It’s strange when I look back; li le did we know some of these people would become legends.

Twisted Fairytales... On Saturday 6th October Liverpoolâ&#x20AC;&#x2122;s audacious Vogue Ball returned to the city for a third spell-binding year. Held at Camp and Furnace, the theme of this yearâ&#x20AC;&#x2122;s event was Twisted Fairy Tales and premiered amazing new work from House Suarez Ar s c Director, Darren Suarez, en tled From Disney to Diva. Host Rikki Beadle-Blair introduced a series of ba les as the Vogue Houses came together to compete for dance supremacy. An eclec c mix of club culture and high art, this messed up catwalk was one show not to be missed. www.houseofsuarez.co.uk

Photograph: Kate Robson

A Latte with... Ellie Phillips Ellie Phillips - the creator of the eagerly an cipated Liverpool Music Awards. Now oﬃcially supported by BBC Radio Merseyside, the Liverpool Music Awards is the brainchild of Liverpool born Ellie Phillips. The inaugural awards ceremony is due to take place on Saturday 17th November at The Dome Grand Central. The ceremony is being hosted by BBC Radio 2’s Janice Long and presenters already confirmed include The Wombats, Liz McClarnon and Mike Di Scala. Performances on the night come in the form of exci ng collabora ons from a wide range of genres. Ar sts performing include: Lawson, the Sense of Sound Choir, Susan Hedges, Mark Simpson, Ian Prowse, Stereo Electric Mistress, Jamie Broad, Craig Colton, Ka e Taylor, Manukah, Esco Williams, Charley Blue and more to be announced.

Ellie met up with the Collec ve for a la e and answered some of our probing ques ons about the city’s most highly an cipated event. What are your hopes for the first awards? “I hope that the Liverpool Music Awards go down as a huge success, showcasing the musical talent and industries on Merseyside in the best possible way. I would love for people to go home a erwards feeling inspired and buzzing with excitement from an incredible show.” What barriers have you faced along the way? “Trying to get people and sponsors on board without a previous year to use as proof of success and credibility has probably been the biggest fundamental challenge. I try not to think about the barriers though, I’m so lucky I’ve had such great opportuni es like the LJMU Enterprise Fellowship Programme”. What advice would you give to other graduates? “Think outside of the box. Towards the end of my masters, I started to get offers of unpaid internships and some extremely low paid jobs at the very bo om of the ladder of the music industry in central London. Everyone I spoke to said that this ins tu onalised slave labour was ‘the norm’, but a er working my socks off to get a 1st Class Degree and a Masters with Dis nc on, all I could think was ‘screw the norm’. I knew that I wanted to stay in Liverpool if I could, and I knew that I was worth being paid. I had been working on the idea for the Liverpool Music Awards for a few months, so when I handed in my disserta on I decided to go for it. Over the past year I have gained more knowledge and experience than anyone I know who has spent that same me doing internships or in graduate schemes. I have also been given an open door for jobs at a high level at some top music companies. It’s not all glamour though. Star ng up your own company involves huge amounts of self-mo va on and sacrifice: working all hours, sleepless nights and learning to love coffee when you’ve always been a tea lover.” Who and what inspires you? “On a crea ve level, lots of people, I get inspira on from music and empowering song lyrics. On a personal level, my family, friends and boyfriend inspire me by overcoming difficul es and persevering even if the odds aren’t remotely in their favour.” What’s been the best advice you’ve had along the way? “Wow that’s tough because I’ve had so much! There is one mo o which my mum o en says to me to keep me going: “nothing ventured, nothing gained”. I do find myself thinking back to it when mes are tough or when I have to really put myself out of my comfort zone.” What advice would you give other women hoping in start up in business? “Forget that you’re a woman. I know that sounds crazy but by that I mean: don’t allow the percep on of inequality to put you off a emp ng to do something for fear that you will be discriminated against. Although it can be daun ng to put yourself into an industry where you’re in the minority in some way, it really can be a bonus. The music business is a heavily male dominated arena, but that means that as a young woman I have an alterna ve perspec ve and fresh ideas. Your gender should never deter you from achieving your goal, so don’t let it. ” Where do you see yourself in five years me? “Hopefully the Liverpool Music Awards will have become industry recognised by then, and I’ll be employing a few people and have my own li le team. I’m not sure what the future holds though and I’m not on a prescrip ve path - if I can I’ll always just try to do what challenges me and makes me happy.” The Liverpool Music Awards takes place on Saturday 17 November at The Dome Grand Central, Liverpool. For more informa on on the awards, including ckets, go to www.liverpoolmusicawards.com

START THE

CHRISTMAS SEASON OFF IN STYLE

CHRISTMAS VILLAGE

OPENS AT 5.30PM IN THE GIBBERD ROOM

To celebrate their 200 year Anniversary, Morecrofts Solicitors are hosting a Carol Concert in aid of Macmillan Cancer Support The concert performers include: Esco Williams ;OL 3P]LYWVVS :PNUPUN *OVPY Sense of Sound Singers :[L]L 4HJ-HYSHUL Formby Brass Band Meriel Cunningham 3P]LYWVVS .PYSZ *OVPY :[ 5PJOVSHZ 7YPTHY` :JOVVS 3P]LYWVVS 4L[YVWVSP[HU *H[OLKYHS *VUZVY[ *OVPY

3rd December 2012

7.30pm at The Metropolitan Cathedral Mount Pleasant, Liverpool L3 5TQ TICKETS: Adult £10.00, Child £5.00 or Family £25.00 (Family ticket includes two adults & two children)

TICKETS ON SALE NOW

www.ticketquarter.co.uk or 0844 8000 410 ;PJRL[8\HY[LY )V_ 6MÄJL 8\LLU :X\HYL *LU[YL 8\LLU :X\HYL 3P]LYWVVS 3 9. 3PULZ HYL VWLU 4VU [V :H[ HT WT :\U )HUR /VSZ HT WT )V_ 6MÄJL PZ VWLU 4VU [V :H[ HT WT :\U HT WT (SS WYVJLLKZ MYVT [OL [PJRL[ ZHSLZ ^PSS NV KPYLJ[S` [V 4HJTPSSHU *HUJLY :\WWVY[ MVY MYVU[SPUL ZLY]PJLZ PU 4LYZL`ZPKL

Morecrofts LLP offers legal advice on a broad range of services for individuals and businesses LLP No. OC333433. Macmillan Cancer Support, registered charity in England and Wales (261017). A company limited by guarantee, registered in England and Wales company number 2400969.

The

Sleeping Beauty

30 October – 3 November 2012 Tickets £10 – £35 0844 871 3017

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Daria Klimentová and Zdenek Konvalina. Photo: Laurent Liotardo. Make up provided by M•A•C. Registered charity 214005

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