#W Presents Spring/Summer 2020 Edition (SS20) by @Workinfashion.me

Issue 001 2020

Ahluwalia Studio Depop x Ralph Lauren (MUSA) Fashion Revolution Paradise Row

Money Matters Curate Don’t Consume Culture under Quarantine What Happens Next? Win@Life™ Hope Beyond Reason

Citizens of Hope All Rise for the Revolution

Ahluwalia Studio

#ETHICALFASHION

#SOCIAL ENTERPRISE

HERITIER FRERES

New Faces. Decision Makers. Trailblazers www.workinfashion.me 6

CONTENTS COVER STORY All Rise For The Revolution Pp. 8-11

Hope Beyond Reason Pp. 14-16

OPINION We Should All Be Activists Pp. 20-23

FEATURES #CultureUnderQuarantine Visual Arts & Culture Kitty Dinshaw Pp. 26-29

Music & Performance Errol Michael Henry Pp. 30-33

Film & Television James Levelle Pp. 34-37

Fashion & Design Orsola de Castro Pp. 38-39

Money Matters: Curate Don’t Consume Pp. 41-46

2 0 2 0 ALL RISE FOR THE REVOLUTION 8

Editorâ&#x20AC;&#x2122;s Letter

A Guide to Effective Activism & Allyship By Yasmin Jones-Henry (June 2020)

It’s not complicated: If you have a platform, share it. If you have power, use it to lift up those around you. Don’t beat yourself up about what you didn’t know. You now have the means and resources to educate yourself. Once you know better: do better. And last but by no means least and this one is a work in progress (even for me) “Love others as you love yourself”. Love. Conquers. All.

Light drives out darkness. Love conquers hate... Are some of the oldest and best known universal laws. Amor Vincit Omnia: even the Romans – with their swords, phallic monuments and patriarchal aggression had to concede that Love – was the most violent and effective gladiator of all. Love is not passive. It’s not malleable, cuddly or quiet. I don’t believe in religion. I was raised not to. But I do conform to the order of an aligned belief structure: ‘Love’. Love has its own rules: Its own expectations of us all – particularly those of us who act in its name. And yes, on a daily basis we all fall short. But Love is also a filter. Like Nature – it sifts and separates those who are not genuine, who are not sincere. But much like gravity and the centre of the Earth – it draws all those who know it, who possess it – to its fiery core. But Love does not devour. It sustains, it secures, it restores and it renews. Everybody needs love in their life. What we’re witnessing – outside of the gradual

collapse of capitalism and social order is the long awaited after effects of multiple generations who have been starved, abandoned, neglected and separated from love. They have forgotten how to function. They have little concept of being their neighbour’s keeper. They’ve absolved themselves of social responsibility pinning it all on overwhelmed, under-qualified and opportunistic politicians – who do not have our best interests at heart. Love is our life force. From it, Nature springs forth. Love creates – while hatred destroys. This desolate, scorched Earth that we now stare at – was devoured by a hatred that ran riot while citizens were too busy accumulating material possessions while staring at their handheld devices. Fed up of waiting on us, Mother Nature is fighting back: locking humans indoors until we learn to do better – to be better...until we learn to love. Love ourselves. Love each other. Love our home. Earth is the only home we’ve ever known. It’s the only home we have. So speculating about space, Mars and the Moon, while our home is on fire, submerged under water, crumbling under the weight of neglect – is inexcusable: unforgivable.

I designed the Citizens of Hope logo in March 2016. I had not so long started a new job at the Financial Times. I was recovering from serious trauma inflicted by a sustained campaign of racism, discrimination and sexual harassment at a previous job, which triggered a relapse in anorexia nervosa. Eager to cling to this fresh start and new opportunity with my bare hands – I set about doing the work needed to recover a) my sanity, b) my sense of wellbeing c) my Hope. I was 23 and terrified that if I didn’t find a creative solution to my problems – this eating disorder – that trauma would either drown me or suffocate me as it drove me further and further away from any belief in my future. ‘Hope Beyond Reason’ was a letter and lesson my Father had written and shared with me when I was 15. He’s a poet and songwriter by trade so painting with words is what he does – but in this instance – the meaning was literal. Hope. Beyond. Reason. He wrote those words – in that order because he knew – as a father, that I had a personality trait that was borne out of an insecurity – an impulsiveness to always feel like I needed to explain – to rationalise my thoughts and actions. But the truth is, this world – this universe is bound together by something far more powerful than the confines of human logic. Locked in by the limitations of my own thoughts, this place: Beyond Reason - gave me a tangible way out – that wasn’t suicide or self-harm.

Beyond Reason – is the address – the coordinates where Hope is found. Which meant Hope’s modus operandi wasn’t subject to my thought processes or the logic of men. This thought made me smile. As I sat at my desk that Saturday morning drawing the circle with the ‘H’ at the centre – I allowed my mind, my spirit to go beyond reason. Yes, my life was a mess. Yes both my body and my spirit were broken. Yes I felt utterly lost. But, in learning – remembering my father’s definition of Hope – how it operates, what it does, what it restores - I dared myself to believe in it. To believe in the possibility of recovery... the possibility was all I needed. FYI: The following weekend I came up with the concept for @workinfashion.me. Hope was the catalyst that unlocked my creativity and jumpstarted my career. The friends, the relationships and the experiences I have since enjoyed - all stem from this discovery of Hope. If – as my father suggested –Depression was a real state – one that we travel to, find ourselves lost in, Hope by definition is a citadel too. So, that weekend in March 2016, I packed my emotional bags – and set about locating Hope. For those who are familiar with Utopia’s – and other philosophical treatises of re-imagined states: Hope is not Thomas Moore’s Utopia. Utopia by definition wasn’t a real place - whereas Hope definitely is. I know this, because I live there now.

Editor’s Letter It wasn’t enough that I’d found freedom – I wanted to bottle it and share it with friends too. Which is how Citizens of Hope emerged as a brand. This place – like any place has inhabitants: Citizens: that are bound together by a shared ethical DNA, love of humanity and nature and all that is sacred in this life. We don’t waste time on race, religion or creed – our differences are not weaknesses, but strengths, enabling us to bring a diverse sense of perspective. Biodiversity is how nature survives – diversity is how we thrive. I wrote Citizens of Hope: The World Refashioned in December 2017 – I thought it was my manifesto, but it was merely my first attempt at explaining what it is I am building and why. Our manifesto is much simpler now: Design > Solutions > Create > Hope

Hope is built by design. We – as creative beings posses this superpower to design solutions. Civilisation itself is a testament to this creative power. If something is broken – it can be redesigned. If the system isn’t working for us: redesign it. Bring together the individuals with the relevant skill sets – provide them with the necessary resources - and watch them work. Citizens of Hope will grow, it will evolve as I continue to grow. But I didn’t want to walk this road alone – so I’ve invited you to join me. We are here to rebuild. We are the platform that brings together artisans, designers, consultants and impact investors – because we believe designers are solution providers. By combining capital with creativity, our goal is to build an ethical and truly sustainable world. What are we building? The New Aesthetic A Civilisation that is defined by...

Hope is a place that demands our creative output, our imaginations, our willingness to collaborate and support one another. Hope is also a place that taxes its citizens – the currency being paid in love: unconditional love. Cancel culture is the bastard child of Hate. It leaves no room for understanding and demonstrates no mercy or grace. Those who engage in Cancel Culture are not welcome.

Ethics/ Self-Determination/ Respect/ Social Enterprise/ Equality/ Freedom of Expression/ Kindness / Hope

My Name is Yasmin Jones-Henry, and I’m a Citizen of Hope.

(Instagram: @citizensofhope Twitter: @CitizensofHope Facebook: @CitizensofHope)

Yasmin Jones-Henry Founder of Citizens of Hope Editor-in-Chief of @WorkinFashion.me 11

ELLIS M.CAMERON

Kasvaa Pendant is made out of 100% recycled brass. Created by Cameron Design House, a London based design studio delivering cutting edge innovations in light fittings, while challenging perceptions of sustainable luxury. Currently producing PPE for key workers during Covid19. For further information visit: www.camerondesignhouse.com

Hope Beyond Reason By Errol Michael Henry 14

Hope has the power to renew a person’s well being. Errol Michael Henry offers a timely reminder to those who may have forgotten the enduring value of hope. We are living in troubled times. The cost of living is going up. Mortgages are more expensive than many people had budgeted for, food is more costly than it perhaps ought to be, and the price of fuel seems to rise inexorably (regardless of the prevailing oil prices) – while wages are rising slower than the rate of inflation. Many who believed that their homes were actually enormous cash machines, have since discovered that paying back debt is much more difficult than accruing it. Loan defaults are on the increase. Property values are (in many areas) decreasing. The gap between the ‘haves’ and the ‘have-nots’ is widening by the day. People are under serious pressure in a variety of ways and some

More people struggle with feelings of depression than is widely reported. Part of the reason for this is that depression is not a single event: it is a staged collapse, so the earlier stages generally go unreported – or unrecognised. Those who believe that depression is a disease have not understood it properly. There is no virus named Depression. There are no deformed human cells called Depression. There are no cancerous blood groups named Depression. The complex relationship between human emotions and human intellect is the breeding ground where depression is fostered.

are struggling to hold it all together.

Some say that drugs can treat depression, but the real truth is that the drugs merely subdue the ability of those individuals who are affected by it to respond to what they are feeling. Is that perhaps why so many people who come off their ‘meds’ -

Some of the strident young bankers who considered themselves to be ‘masters of the universe’ have since discovered that they were merely masters of poor judgment: expendable foot soldiers and now, masters

of the dole queue. The ‘Credit Crunch’ was considered by some to be a natural, cyclical financial correction, but by others it was deemed the onset of monetary Armageddon. Regardless of which description best suits your understanding, one thing is abundantly clear: the

numbers of individuals suffering from depression is on the increase. Feeling jaded is more popular than you might imagine! Recent Figures provided by one of the major Internet search engines indicated that more than three hundred million people were looking for advice about remedies to combat depression. If more than a million individuals actually made proactive steps to find out what to do, the numbers of those who are feeling the same way, but are yet to act are probably considerably higher.

It is entirely possible to live and work effectively whilst battling with constant feelings of hopelessness. People do it everyday.

frequently revert to a deeply despondent state of mind?... Drugs are easier to prescribe than hope, but are they more effective at eradicating feelings of depression? Further proof that depression is an intellectual and emotional product, can be found in its meaning. Depression is described in the dictionary as: the state of

being disheartened, unhappy, sad, devoid of hope, miserable, or severely despondent. None of those descriptions are medical; therefore, none of them can genuinely be overcome by drugs regardless of what the pharmaceutical conglomerates would have you to believe. >>>

The use of the word: ‘state’ in the aforementioned dictionary definition, really caught my eye when I first saw it because it infers that depression is a place where people arrive at (knowingly or otherwise). The state of New York is a real place. The state of California is a real place. If you ask anyone who has spent any time there – they will assure you that the state of Depression is also a

very real place.

There are many ‘states’ a person can arrive at easily; yet prove difficult to leave. Delusion,

mediocrity, corruption, confusion, fear and depression are just a few but there are many more. How does somebody arrive at this horrid

place called Depression? Simply put: they get there one step at a time. Life’s journeys involve choosing roads that lead to prescribed destinations. In this regard, you must choose wisely. Part II Hope Road cannot lead to a state named Depression. Hope is also a state - and like any other state its occupants arrive there and elect to stay there voluntarily. It is said that when your neighbour loses their job – that’s a recession. When you lose your job – that’s a depression! Why do people who have suffered some kind of life trauma end-up becoming depressed? They do so because the impact of the trauma damages their sense of wellbeing. They somehow drifted on to a slip road from Hope Highway and found themselves wandering aimlessly along Depression Avenue. Very few people consciously choose to get depressed but vast numbers of people choose to give up on hope. The surrender of hope is in its own pernicious way, the acceptance of an invitation to (potentially) take-up residence in a state of Depression. Factories and offices are closing as sales subside. Firms are cutting back on staffing levels in order to save money - yet hope

can never be made redundant. Very few things can lift the human spirit like a renewed sense of hope and expectation. Promotions are harder to come by and workers now have to produce more output for (relatively) less pay. Some people are losing their jobs or the overtime they desperately needed to keep their heads above these fiscally troubled waters.

The rent payment is late, the car payment is late, the gas and electricity payments are long overdue – yet somehow the bailiff always gets there early! Are these good reasons to get depressed? No, not at all! At these very moments, hope does its best work - if given sufficient time. Hope reminds us of the prospects of better days. Hope assures us that we can make it back from a hellish detour if we just keep on believing. Depression is the place you arrive at if you run out of hope. Hope is a truly wonderful product. It costs nothing, even though it is utterly

priceless.

Hope invigorates, rejuvenates, revitalises and reinstates continually, if permitted to work

unfettered. Hope cannot be destroyed or put to death. It can be abandoned or rejected at any moment, but its rejection does not destroy it: even if those who discard it eventually pay a very

heavy price for doing so.

Hope will never let you down, but depression can deter you from bouncing back after serious setbacks. In these difficult economic times, hope is the one thing you cannot afford to lose. If you find yourself out of a job, hope will find you a better one. If you lose your present business due to adverse trading conditions; then hope will inspire you to start a more profitable one. If you lose your place in the current social pecking order, in due course, hope will provide you with an altogether superior standing in life. Hope and depression cannot cohabit. The presence of one inhibits the freedom of the other to operate effectively. Hope is a form of logic, even if it is not in itself always logical. The same can be said of depression. Depression guides and directs the lives of those who surrender to it, although it makes no sense at all if you examine its methodology closely. Hope and depression are both self-replicating seeds, so ever-increasing

yields are guaranteed.

Depression doesn’t just plague the lives of those who are held captive by it: despair also

blights the existence of everybody that cares about them too. It is a form of psychological

cancer: in that it is able to spread from one part of a person’s being to another, but cannot be vanquished by radiation or chemical concoctions because the only reliable and lasting remedy for depression is authentic hope. Hope rocks! [End] © 2008 Errol Michael Henry, All Rights Reserved.

www.workinfashion.me 17

AYNI 18

MARIKA VERA 19

Photo Credit: Dominika Scheibinger for Ahluwalia StudioAW20

WE SHOULD ALL BE ACTIVISTS By Yasmin Jones-Henry

“The most beautiful thing about humanity – the most powerful thing about the human race is our ability to create. The power to fashion, refashion, regenerate, reform and revolutionise is something that only rises to the fore in times of crisis.” 20

I’ll be honest, when I started this journey in

manufacturing is a less attractive topic to

2016, I was a voracious reader of fashion

cover… so they don’t. The absence of global

magazines. In 2020, I haven’t bought a single

scrutiny and a lack of consumer awareness

one. Part of that is due to the fact I’ve been

has resulted in the following…

busy reconfiguring my own life, but mostly because, after the year that was 2019, I felt

The Elephant In The Room

utterly exhausted. Knocking on doors, pitching

This fundamental lack of character in

to disinterested editors: the truth is, the

challenging designers and big name brands

‘sustainability thing’ is just too much effort for

is costing lives. The industry – has a serious

some.

problem that the fashionistas and editors They’d dial in now and then when a

keep circling, but won’t call out. Year after

supermodel or celebrity figure was making a

year, season after season, fashion week

public statement about the climate crisis.

after fashion week, photoshoot after

They’d ride whatever hashtag was trending

photoshoot, the churn and burn of textiles,

that day, and then drop it the next. Fickle

depletion of natural resources and human

business. Even more so, now that the COVID-

suffering is blended into the fibres and the

19 crisis has set in motion a global pandemic,

material mixes of the garments they fuss

rolling in tandem with an economic and hu-

over.

manitarian crisis, the likes of which we have never seen before. But as Milan fashion week AW20 drew to

When the models are strutting down the runway, how many of those lined up to sit on the front row are asking questions

a close, and I kept scrolling through pictures

about where the garments were made – and

and live feeds posted by face-mask wearing

under what conditions? Would they dare to

editors and influencers on the front row, I felt

ask to visit the factories for their features?

sick. More than that. I felt a storm brewing.

Or would they risk missing out on future

How much longer will they keep getting on this

invitations to industry parties if they asked

out-dated carousel of mindless consumption?

too many questions? Did they enquire

FYI: The global textiles industry and the

backstage after the shows, whether the

fashion industry are one in the same. But for

seamstresses, the pattern cutters and the

some unknown reason, most editors and

cotton farmers were paid at the very least a

mainstream publications think global textiles

living wage? >>>

COVID-19 After the New Yorker reported in 2018, that in addition to the Chinese sweatshops and undocumented workers operating in Milan, Italian factories supplying many of the prestigious fashion houses were paying their Italian born female workers barely a Euro per coat – coats that retail at £3,000+ in the UK – with little or no representation from workers unions. The profit margins of these luxury conglomerates who look the other way, would more than enable a living wage – illustrating a much darker underbelly to the fashion industry that’s often bathed in expensive perfume and gold. The Fashion and global textiles industry is the second biggest driver of modern slavery — with more people in slavery now, than at any time in history. With over 70% of these victims being female and of African and Asian origin, what makes these Western firms so complacent they can exploit and abuse and get away with it??? “Millions of garment factory workers in Bangladesh have been released from work in the wake of the Coronavirus pandemic, leaving them without income and without choice but to return to cramped homes in slums or villages, without resources to fight the pandemic or even with the basic ability to sustain their lives.” (Forbes, March 30th, 2020) The textiles industry accounts for 80% of all the country’s exports. The immediate off-switch that’s been flicked by the West, as retailers shut down, and send their staff home – has had knock on effects – that consumers may not be aware of. But it’s not just the workers of Bangladesh. Does anyone know whether the designers operating out of Ethiopia, Turkey and Mauritius have any policies in place to safeguard the wellbeing of their garment workers in their supply chains? Has anyone bothered to ask?

Globalisation & Its Limitations

The loss of their jobs and livelihoods – brings

According to Fashion Revolution, this

the fashion industry’s supply chain back

particular problem – highlights a devastating

under scrutiny, barely a year after the

design flaw in the infrastructure of the global

Environmental Audit Committee’s ‘Fixing

textiles manufacturing industry. As public

Fashion’ Report was published. In this report,

spaces are closed (including clothing stores,

the UK’s Parliamentary Audit Committee

factories and warehouses) – consumers

noted extensively the extent to which British

around the world stay home (as they should)

retailers and other European high street

in a bid to flatten the curve and spread of the

brands had built a sophisticated business

virus. However the knock on effect is the dis-

model on the backs of countries like

ruption of global trade as borders are closed.

Bangladesh, China and India, where

What follows is a cycle of cancellations as the

transparency over working conditions meant

global economic uncertainty, provokes firms

that the safety and wellbeing of workers in

to make mass redundancies, in some cases

the supply chain was often overlooked.

closing down altogether – resulting in the loss of jobs and income.

----------------

As the demand in the West for clothing falls off a cliff, Fashion Revolution asked the

We Should All Be Activists

question: What happens to the people who

We know the system is broken. Now it’s time to fix it.

made my clothes? We already know that fashion is the second biggest driver of modern slavery. We already know most of these economic slaves are vulnerable women. We know that the fast fashion system has deliberately kept wages low, leaving these women and their families locked into a cycle of poverty, exploitation and abuse. So what happens to them?

This cultural reset that we’re all being forced to endure isn’t just Nature’s way of bringing us low and humbling our hubris in forgetting the vulnerability of our race. This is a genuine opportunity to repent of wrongdoing and reform and revolutionize the way we live, shop and do business. We are all responsible for the lifestyles we curate.

Both Forbes and Fashion Revolution’s latest posts reveal that fashion brands are stopping payments for orders already in production. These brands are cancelling or-

If you haven’t already asked the question “Who Made My Clothes?” NOW is the time to pay attention.

ders from their manufacturers and suppliers.

As a result, manufacturers and suppliers are

While we’re adjusting to the quarantine life-

closing their doors and laying off workers. We

style, take a moment to go through your

know from January 2019’s protest on the

wardrobe. Look at the labels, explore where

streets of Dhaka and the subsequent black-

the garments you cherish were made: then

listing of workers that followed: that the gov-

do some research. Find out what policies

ernments don’t do enough to protect workers’

these brands have in place to safeguard the

rights. But what’s more, they’re not doing

wellbeing of the garment workers in their

enough to protect these now jobless workers

supply chains. When you find out, come and

from the virus and impacts.

tell me. I’d like to know.

[END]

CULTURE Under

QUARANTINE

WHAT HAPPENS NEXT?

CONTRIBUTORS Kitty Dinshaw Errol Michael Henry James Levelle Orsola De Castro

‘The Future’s Gold’’ by Lakwena Maciver Available to purchase via SubjectMatterArt

End of An Era Vs New Beginnings? By Kitty Dinshaw 26

RCA Exhibition Becoming (2017) Six months ago, even imagining what culture

Hilary Mantel’s lengthy Tudor trilogy was

would look like in an age of quarantine would

Waterstones’ bestseller, as suddenly readers

have been unthinkable. Yet here we are,

realised they would have time to tackle a 900

living our best locked-down lives, and

page novel (or three). Our homes are filled

receptive to more cultural interventions than

with National Theatre productions on

ever before. Just thirty years ago, it would have

YouTube, gallery shows on Instagram, books

been a very dark time indeed if

we’ve always intended to read, “At Home”

theatres, concert venues, art galleries, and

playlists on music streaming services.

bookshops had all closed. It would have felt like an ending, rather than a beginning.

It may seem like culture, in all its many forms, is having a high point. But, as always, there is a tension. Think of the precarious-

Now, thanks to technology, it’s a different story,

ness of the lives of artists, playwrights, or

and it does feel like a beginning. Tech feeds our

musicians. If they make money from their

need to engage our brains, to be socially active.

creative practice then that has almost

Culture, in all its many forms, has utilised tech-

certainly completely dried up. Suddenly

nology to fill a void, to satiate our appetite for

long-awaited gallery shows have been

the new, to interest us and distract us from our

cancelled. Theatres have shut. No-one is in a

isolation.

music studio, or if they are, they are breaking

Netflix traffic has hit all-time highs and

the law. That second job as gallery

there is suddenly a buzz around something as

technician, lighting engineer or barista won’t

bizarre as virtual museum visits. The internet is

be yielding much, especially if it is freelance

full of ways we can scratch our own creative itch

or zero hours. As a sign of how serious the

and suddenly become artists ourselves. Offline,

situation is, the Arts Council has had to step

book sales are soaring.

in with £160m of emergency funding for both institutions and practitioners.

VISUAL ARTS & CULTURE 28

CULTURE UNDER QUARANTINE: I

It’s an impossible and heartbreaking situation for many people. We, as consumers of culture, can also step up in this moment. We can’t replace the income lost when a theatre run is suddenly cancelled, but we can try, where possible, to support artist-led initiatives. It will be easier in some areas of the arts than others, but we can only do our best. The Artist Support Pledge, for visual artists, is a great example of this. Instigated by artist Matthew Burrows, it relies on the honesty and generosity of the artist community, which is manifold. Artists post their work on Instagram using the hashtag #artistsupportpledge. Each artwork is £200 or less, and when an artist makes £1000 worth of sales, they commit to buy an artwork from another artist for £200. Artists at whatever stage in their career can be involved and it is a brilliant way for artists to at least recoup some of the financial outlay they will have lost when shows, open studios or collector visits got cancelled. The big question now is this: what will culture look like at the end of 2020? How long will it take creative practitioners and smaller creative enterprises to recover from a loss of income or even a large debt? Which institutions and creative businesses will embrace the change that has been forced on them, and which will race back to their fortified, austere citadels? We can already see some clues in how institutions are positioning themselves. Some have always existed beyond the white wall of the gallery. Tate Director Maria Balshaw believes that Tate has a role to play in helping parents create a better learning environment for their children during the Covid-19 crisis, unsurprising when Tate is already one of the most family-focused art institutions in the country. Hans Ulrich-Obrist, Director of the Serpentine Gallery, has called for a national art project, for museums “to think about how they can go beyond their walls and reach everyone”.

This would be a new paradigm for some museums, leaning heavily on their middle-aged, middle-class audience, and I’m sure they could rise to the challenge. Education and experimentation are key right now: for institutions, creative businesses and practitioners. We, as consumers of culture, are in a unique position to benefit from this. Many museums and galleries are throwing open their collections, getting to grips with VR, and educating their audience in a new way. There is suddenly a wealth of online courses available, from DIY initiatives designed in bedrooms and marketed on Instagram, to those offered by MoMA, for example. Businesses and brands have the time to consider what they want to put out there into the world. Most businesses with a genuine intention want to help their followers and clients, and to bring some joy and interest to their lives. An austere façade dissolves pretty swiftly on social media. The Getty Institute’s Twitter campaign encourages its followers to recreate famous works of art from the collection using items they have in their home. This form of cultural experimentation, of playfulness even, doesn’t just bring the institution closer to the viewer, but also to the artists whose work they show. Experimentation is simply a part of being an artist and it is interesting to live through a moment where otherwise formal museums and art galleries are taking on that same need for experimentation. [End]

CULTURE UNDER QUARANTINE: I

â&#x20AC;&#x2DC;Collectionsâ&#x20AC;&#x2122; www.subjectmatterart.com Kitty Dinshaw is Co-Founder and Co-Curator of Subject Matter Art, an online art gallery and platform for emerging artists. Kitty is also a founding member of the Citizens of Hope network supporting artisans, investors and social entrepreneurs.

MUSIC & PERFORMANCE 30

The Art of Creative Collaboration By Errol Michael Henry The world is currently gripped by a global pandemic the like of which most of us have not previously experienced during our lifetimes. Before I proceed to state my views about what I believe represents a unique, if circumstantially uncomfortable opportunity – I must be clear about this singular point: as a fundamentally creative person I always try to find a positive, even when all of the ‘indicators’ suggest that victory is far off. People are being asked by national Governments to stay at home and only travel for essential purposes. This seismic shift in social behaviour will have ramifications for years to come and for some, there will be no going back to the ‘ways of old.’

“Going off to work.” For many that phrase involved a hurried trot to the tube, an unforgettable and regrettable intimate association with someone else’s smelly armpit on an overcrowded train. Covid-19 now means that for an increasing number of ‘homeworkers’ going to work involves a trip across the room to a computer that is armed to the gills with something called the Internet! Technology has been partly responsible for ‘social distancing’ for many years as people have increasingly chosen to text or email rather than call or visit people in person, yet tech is proving invaluable at bringing people together during a time when Coronavirus is tearing entire communities apart.

CULTURE UNDER QUARANTINE: II

I hear people making comments about a ‘sea change’ in behaviour brought about by remote working and ‘digital’ collaboration, but for me, very little has changed to be honest. Traditionally, my work as a record producer took place in a studio chock full of vintage analogue equipment, a large format mixing console and lots of actual space into which actual people congregated to create music together. Due to all manner of ‘initiatives’ that made commuting less practical (congestion charging, extortionate parking fees, roadwork delays, loss of actual car parks and so forth) a few of the key people I regularly worked with approached me with a proposal. John Thompson is one of the finest bass players in the world. He lives precisely 7 minutes from my front door, yet both of us would get into our respective vehicles, drive clear across London to record together in the same studio at the same time. John explained that the physical process of loading his gear into his car, plus the travel time meant that he actually had less creative energy to contribute to the process once he finally battled London traffic. We agreed that since technology had made recording at a reasonable and acceptable standard viable in environments other

than professional recording studios, he could in fact stay at home, leave all of his instruments and amplifiers in situ – and send me the recordings he had made at home. The question is of course – can I trust John to do a god job without me being there? The answer is that if I didn’t trust his considerable natural ability, diligence, work ethic and creative endeavour – I wouldn’t want to know him at all let alone work with him: anywhere… I determined a set of technical specifications that he should deploy to ensure that his recordings were entirely compatible with what I needed in order to complete my products to the highest standards that are consistent with my historical ‘brand values.’ So these days, John Thompson, Andrew Smith (who is without question one of the most gifted guitarists I have ever encountered, and I’ve worked with some of the best), Thomas Akuru Dyani (based either in South Africa or China) and Graham Harvey (another incredible musician) all send me their performances via the Internet and I then proceed to ‘do my thing.’ Production has always been about identifying ‘key attributes’ that contribute significantly to the overall sense of quality and Covid-19 isn’t going to change that. >>

MUSIC & PERFORMANCE 32

Even highly individualistic personalities understand that they are much better-off collaborating with other talented people. Being on ‘lock down’ cannot hinder creativity in its purest sense, but it can (and will) serve to ‘filter’ those who can quickly adapt to new realities from those who are too afraid to embrace change. Agreeing to fully participate in the apparent break-up of my ‘A-team’ – as one-byone they all retreated into a daily routine that involved going out rather less, also required me to change my own working reality: in its entirety. Ludicrous rent rises (a curse that has blighted many a creative hub…) resulted in the closure of my studio in 2018. Did this tragic scenario result in any reduction in my creative output or the quality of what was being produced? Absolutely not! I had already spent considerable amounts of time: ‘forcing’ ultra modern ‘tech’ to behave like my old school tools – where doing so was beneficial to the creative outcome. I used to work in a 2,000 square foot space, using a 64-channel mixing console – I now do precisely the same work: without leaving the comfort of my home. The moral of this story is very simple indeed: Knowing who to collaborate with is more important than where that interaction takes place. Had I refused to redeploy my experience, ability, tenacity and resolve in order to completely change the methodology I formerly used in order to obtain the required results, fiscally ruinous rent rises would have done me far more harm than Coronavirus ever could. “Adapt or die” was true long before the spectre of Covid-19 reared its ugly head and “adapt or die” will still be an immovable force – once good health returns to the wider world. Music is a luxury item: nobody actually needs it, so if I don’t make something that people consider ‘desirable’ – they just won’t buy it. That has been my economic reality for more than 3 decades, so I am acutely ‘tuned’ to the notion of ‘value.’

Companies and individuals who have relied upon blatant consumerism, rampant ‘bandwagon jumping’ and general excess, have much to fear from the post Covid revolution – everyone else should look ahead with hope and expectation. The creative endeavour, constructive collaboration, the adoption of advantageous technology – plus a refusal to be defeated by anyone or anything that has always defined truly ‘creative’ people, will not be diminished by Coronavirus: or anything else for that matter. Adversity has always been a litmus test of sorts and in this new ‘locked down’ social dynamic, talented, hardworking, self-motivated people will find a way to ‘keep on keeping on.’ Covid-19 represents a serious challenge to the entire world, but it will be overcome in due course and those who used their time constructively and creatively during the (involuntary) opportunity afforded by a shocking health crisis – will most certainly view the post Covid-19 world without fear or trepidation. Regardless of the question posed... the answer remains the same: creativity and cooperation will always triumph over all else – of that I remain unshakably certain. [End]

Errol Michael Henry (also known as The Sound Principle), is a British musician, songwriter, producer and independent label owner. He established Intimate Records in 1989 as the UK’s foremost home of UKSoul and R&B. Dave Collins, Bobby Womack, Lulu, The Jones Girls, The Affair, Jaki Graham and Hil St. Soul are among the artists he’s written for and produced over his 30+ year career.

2020 will see the launch of the Win@Life platform designed by Errol Michael Henry For further information visit: www.emhglobamedia.com

FILM & TELEVISION 34

Film & The Power of Story Telling By James Levelle The third most intense hurricane in American history had struck and we were miles from safety. Things were clearly not going to plan. 160-mile an hour winds raged around me, snapping trees like matchsticks, razing buildings to rubble and flipping a freight train. The engine roared as our pickup truck powered through the storm struggling to stay on the road.

It was like driving through a jet stream. A screaming wall of white air ripping past us laced with deadly flying debris. We battled on barely able to see and then, STOP! The road ahead was blocked by toppled power pylons. It was the only way home. “We’re gonna die in this damn truck!” yelled Steven.

CULTURE UNDER QUARANTINE: III

Well, what happened next? You might ask. I won’t spoil it for you because you can watch the whole death-defying debacle on television. ‘Hurricane Man’ TV Series on Dave James Levelle, 2019)

******* I’m a filmmaker. I make films that take audiences on immersive, adventurous (often extreme) journeys as I explore the world in ways that excite, engage and ideally inspire. And so, whilst I didn’t exactly plan to damn near die in Hurricane Michael, I successfully captured the apocalyptic power of climate chaos at its most extreme, and what it took to survive. A survival experience that remade the way I see people and the planet. Now a different kind of disaster is overwhelming us and like everyone else I’m in lockdown. Some might say it’s doing me a favour if it’s keeping me clear of hurricanes. But how is this disease impacting the film and television industry? What happens next? JRR Tolkien wrote, “Not all those who wander are lost” but whilst I’m forbidden to wander, the one journey I can undertake is inward.

Either way there’s not a huge amount else going on right now and I figure jumping on the transformation train can only be a good thing, so I’m having a crack at meditation. `For those not ready to dive into the dark recesses of their minds one sure fire way to counter lockdown claustrophobia is escapism by boxset. There’s nothing like losing yourself in good drama, comedy or documentary series and there’s never been so much to choose from because fortunately for us all production has been booming… until now. Understandably most people never think about what it takes to make this constant stream of content. An army of freelancers is the simple answer. Jumping from job to job, uncertain of where the next paycheque will come from and now, for nine out of ten, no paycheques for the foreseeable future. With concerns that almost three quarters could be ineligible for government support, the pandemic is revealing just how vulnerable TV freelancers are. A return to the creativity stifling days of the old film and TV unions is probably not the answer, but we must find a better way of doing business and put an end to this uncaring and exploitative era. >>

FILM & TELEVISION 36

End of an Era vs New Beginnings There is an opportunity for a new beginning, but it seems to me that we need to rebuild pretty much everything. The world has involuntarily hit the reset button, and this is shining a spotlight on social and environmental problems across the board. In Barcelona local government statistics reveal that people in poor neighbourhoods are seven times more likely to get infected than those in wealthy areas, whilst across the pond preliminary data indicates the virus is killing a disproportionately high rate of black people in America emphasising entrenched inequalities. You don’t need to be a rocket scientist to pick apart the narrative that got us into this mess. The loss of life and impact on health care, jobs and mental wellbeing is devastating but there is good news. We are seeing what a difference we make when we look after each other and also how quickly we can change our habits when we really need to. Every year pollution accounts for seven million deaths globally but when we slow down and travel less the skies clear and Nature bounces back. We do need to get the economy back up and running but we must take the opportunity

to do so fairly and cleanly. Everyday I’m buoyed by stories of selfless doctors and nurses saving lives, hundreds of thousands of people volunteering, communities getting organised to help those in need, and all those kids painting rainbows to cheer everyone up. These stories restore our faith in humanity. Just imagine what we can do with this narrative. Stories shape our understanding of the world and what we believe is possible. Moving pictures are the most powerful storytelling medium of our time and therefore film and TV doesn’t just have a great opportunity to help change the social and environmental narrative, I believe it has a huge responsibility to do so. Once upon a time I almost died in a hurricane. An entire town was wiped off the map. People were forced to rebuild their homes and I was forced to face up to how vulnerable we are to climate chaos. What if this devastating virus knocks our decrepit socio-economic structures to the ground, sparks our great potential for transformation and gives us the courage to construct a fairer society in which we take better care of our environment and each other? That’s a story I want to tell. [END]

James Levelle is a filmmaker, adventurer and presenter who undertakes daring journeys to challenge assumptions and change perspectives. He has hitched 6000 miles across Latin America, ‘Free Ride’ (2016), hiked over Alaska’s frozen fjords, ‘Gold Rush Trail’ (2017), hunkered down through hurricanes, ‘Hurricane Man’ (2019), and most recently raced from the UK to Chile fossil fuel free, ‘ Race For Future’ (2020). For further information: Visit: www.jameslevelle.com / Follow on instagram: @James_M_Levelle

FASHION & DESIGN 38

In Conversation with Orsola de Castro By Yasmin Jones-Henry 2020 The Era of the Artisan Where we are now: We’ve reached the point where people understand and have a greater appreciation for the reality that ethics and sustainability makes economic sense. These are the trends you want to see. I believe what comes next is the “idea of slowing down” and what it means to slow down. Those brands who are deliberately over-producing inefficiently, ineffectively and irresponsibly... we need to slow -down the beast and grow the fairies: Slay the dragon that is too big and grow the roses...”

Divest in growth and invest in abundance. The new era of the artisan will see thousands of “Bethany Williams” and “Priya Ahluwalia’s” not in competition, as friends, cohabiting, coexisting. Their coexistence is the abundance that we need. Slowing down is not about ‘no product’ it’s about a product that respects the people that made it and its resources. Key to all this is changing the culture. Collaboration vs Competition? “Everything I’ve done throughout my career has been in collaboration with others.”

CULTURE UNDER QUARANTINE: IV

The only way forward is healthy competition in learning from others and wanting to better ourselves and bringing others along with you. All journeys can be parallel or joint. What needs to be eliminated is the toxicity of idle competition and a full assessment of what is lost, and what dies whenever idle competition takes over. I believe that we are also witnessing a generational and cultural change. Take Phoebe English and Bethany Williams for example, sharing more than competing. That is part of the future. ‘Change the algorithm’ The economy – the entire fashion industry needs to be geared up to investing in people not factories. The young designers are designing capital – not merely commodities.

Look at how the process is structured: production, sampling, pattern cutting...the photoshoots, marketing, editorial – there’s an entire ecosystem –microcosm of an economy built around a single designer’s creative output. I believe in this decade we will witness the shift in focus away from growth that is led by mindless consumption, towards a slower more considered process of creativity and curation, adding value – slowing down the process of depreciation. Thus elevating wages, GDP, and overall wellbeing of manufacturer and end user alike. [END}

Orsola De Castro – transcript (09/01/2020) Orsola is the co-founder of Fashion Revolution - a global movement driving the textiles and fashion industry towards sustainable, ethical and transparent practices. Their materials support consumer education and campaigning for fairer and safer working conditions. Instagram: @Fash_Rev

https://www.fashionrevolution.org/

www.RaeburnDesign.co.uk 40

MONEY MATTERS CURATE DONâ&#x20AC;&#x2122;T CONSUME

‘Who Owns What?’ Barbra Kruger, Tate Modern (YJH, 2016)

Money Matters: Curate Don’t Consume By Yasmin Jones-Henry Did you know that you can make a difference and implement positive social change: through your financial transactions? Who you bank with, where you shop, what you choose to invest in – forms the basis of 21st century consumerism. I built Citizens of Hope to be the platform upon which the worlds of finance, fashion and design combine to create a dialogue – because until we all assume our seats at the table – this ideal for a sustainable economy – will never take off.

It’s true – in the world of private banking and wealth management, the older Millennials on the spectrum are now leaning on their wealth managers to put their money to good use – whether it be in backing social enterprises, green start ups or innovations in pursuit of sustainable finance. Sustainable finance is the new frontier. It is redrawing the landscape of the global economy in real time – but with it comes responsibility.

Throughout the previous decade – the previous century even, banking – finance has been treated in the same way as fashion and design: in a privileged bubble. Neither world’s converse, neither appear to share common ground – neither believe the speak the same language or share the same interests – but, as we hurtle towards 2030, the deadline for the UN’s Sustainable Development Goals targets, now is the time for these two worlds to collide: both at the C-suite level – and at the consumer level on the shop floor. The laws of supply and demand in a capitalist economy (that is governed by the rules of free trade) are the axis between which a company’s survival is determined. If consumers demand ethically sourced and sustainably produced goods, the companies who continue to supply the reverse (unethical, toxic, cheap and non recyclable) will soon find themselves staring down the barrel of bankruptcy. It’s the economy stupid. When discussing the connections between fashion and finance, I discovered particularly within the luxury sector, an overlapping ethos, in the expectation that each purchase ought to (in the long run) accumulate value. If High Net Worth Individuals are trained to make shrewd purchases in the art and design world as though they were investing in the commodities market, with the expectations that these purchases will accrue value over time, – why does this philosophy of a carefully curated investment portfolio not extend to the rest of ‘lifestyle & consumption’?

Why is the concept of curation – still scene as the preserve of the rich? We should be curating the lifestyle, the look, the experiences, the relationships and the memories that we want – for the lives that we want. This ideology appeals to me, because it ties in with the ethos of ‘Build your Brand’ + ‘Create Your Legacy (@workinFashion.me strapline). Your personal brand (– the key indicators that communicate your values) will be the sum of your actions and transactions. Your legacy – will be the sum of the social good that you do. When the pages of the Book of Life turn to your name – what will be written? The biggest myth when looking at the scale of the environmental, social and economic challenges gripping the planet right now, is the lie, that your individual input doesn’t make a difference. It’s true, those who have concentrated wealth can spread their influence further, but that doesn’t render the rest of our contributions as obsolete. Every social movement started out as a minority group – look at the Abolitionists, the Chartists, Suffragists, Civil Rights Activists: if the few remained silent and seated, where would we be now? So with this series ‘Money Matters’ we’ll be taking a look at what small and big changes can be delivered in order bring the reality of self interest with the necessity of doing social and environmental good – into equilibrium. >>

FOSSIL FUELS, FASHION & FINANCE By Yasmin Jones-Henry

So that we’re all on the same page: fashion was never just about the clothes. When it comes to the etymology of the word, it’s derived from the Latin Facere meaning ‘to do or to make’. When I speak of ‘fashion’ in this space, I’m referring to the ethics of an idea, design, manufacturing, craftsmanship and the variables that contribute to the creative process. With this in mind, this is the reason why, if in 2020 we are to have a genuinely clean break from old habits, then any discourse about ‘conscious consumption’ – needs to address consumer patterns, which are facilitate by our finances. This new series “Money Matters: Curate Don’t Consume” delivers the proposal of introducing a different language and philosophy in lifestyle that moves away from the old economic model of ‘take> make > waste’

towards a state of mindfulness where the aesthetic – and the act of creativity is cherished, funded by ethics and safeguarded by sustainable business practices within the circular economy. Fossil Fuels: Finance and Fashion  

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When you think of the oil industry, do you think of Fashion? What about Finance? Do you know if your high street bank is a part of the problem or the solution in the on-going climate crisis? When you get dressed in the morning, do you have any idea of the material mix on your skin? How much oil are you wearing??? What does wearing fossil fuels do you our health? What does it do to the environment?

MONEY MATTERS It isn’t widely discussed, but we can all make a difference and implement social change: through our financial transactions. Who you bank with, where you shop and what you choose to invest in – forms the basis of our local, national and global economy. Activism is great – but delivering tangible change? Only Economics can deliver that. So that’s where this conversation will begin. In this ‘Money Matters’ series we will be exploring the various ways that we – the people – ‘the consumer’ hold the power to influencing the markets – through the age old axis of supply and demand. This is where ‘consumers’ of goods and services hold all the power. Without the demand – producers of goods and services are rendered obsolete. They lose value, firms lose profits with the loss of demand – fiscal pain ensues. As the consumer begins to demand more transparency from the businesses and entities they transact with, the markets are already beginning to scrutinise the ESG (Environmental, Social and Governance) policies of banks and financial institutions. The banking industry doesn’t exist in a Vacuum:    

Who holds your money? What are they doing with it? What does their investment portfolio look like? What types of businesses are they investing in?

Just as Orsola de Castro encourages shoppers to ask ‘Who Made My Clothes?’ we need to take to the high street and ask our banks ‘What are you doing with my money? The first 7 days in 2020 were filled with chaos, fear and a geo-political landscape that is currently a tinderbox – keeping investors worldwide on edge as they watched oil prices shoot up to $70 a barrel on the first Monday of the decade.

As panic ensued, it occurred to me, that the volatility of the fossil fuel sector following the fall-out from the US and Iran – does – indirectly impact the fashion industry. Please see the diagrams below for further illustration: In global textiles production, polyester makes up 51% of the overall material mix. Polyester – is a fossil fuel based material. With cotton making up 24.5% and wool 1% how did the global textiles industry become so heavily dependent on the oil industry in manufacturing? This isn’t an analysis of the fossil fuels used to power the factories. This is in reference to the oil based materials, hanging in your wardrobes right now. Polyester doesn’t biodegrade. It releases micro-plastics into the air and water systems - poisoning humans and marine life alike. In the UK less than 1% of our textiles is recycled – so this oil based toxic entity is either rotting on a landfill or being incinerated – releasing toxic fumes into the air. All of this is fuelled by the price of oil, the fashion industry’s toxic flirtation with fast fashion and producing dirt cheap goods, flooding the marketplace with oversupply – further lowering the overall retail price of plastic based goods – making it a more tempting option for consumers in tight fiscal circumstances or anyone else who ‘loves a bargain’. There is opportunity amongst this chaos – if the fashion industry is left vulnerable to market shocks to oil prices – this impacts their overall operational production costs, as the raw material used to create their capital is now under siege. If ever there was time that economics could be used to push the fashion industry into the arms of recycling, investing in low impact materials: NOW IS THE TIME But while the fashion industry has quite openly embraced the oil sector as key part of its overall business model, the next question to ask, is who or rather what is still propping the fossil fuel sector up, despite all the documentaries, climate strikes, protests and insight into the need to embrace renewable energy? >>

MONEY MATTERS All businesses need capital in one shape or form to exist – so who’s bank rolling the fossil fuel industry? The Banks.

Before it does – there a three key areas you, as a consumer can hold these industries to account.

Take It To The Bank

Ask questions.

Take Barclays for example: a familiar high street bank. Advertising daily on TV – marketing themselves as the progressive bank for Millennials looking to get on the property ladder. Offering ‘family’ friendly mortgages, and payment plans – meanwhile, this week the Financial Times published a damning report exposing the tension between Barclays management and their shareholders. Shareholders and investors – hold a similar position of power to the consumer – in that their money – their investment in the corporation gives them leverage – it gives them a voice and a means to influence corporate policy. This spat has spilled into the public domain after a group of shareholders filed a landmark climate change resolution for the Barclay’s annual investor meeting. Institutional investors, which collectively manage £130bn and include British pension funds such as Brunel Pension Partnership and LGPS Central – alongside 100 individual shareholders submitted the proposal.

If you don’t get the answers you want – if these institutions opt for a lack of transparency – then the truth is – you will have your answer. People who are truly ethical, have nothing to hide.

“The Resolution calls on Barclays to publish a plan to phase out financing companies in the energy sector and gas and electric utilities that are not aligned with the Paris Climate Agreement, which aims to keep the global temperature rise well below 2 degrees Celsius above pre-industrial levels. According to Share Action, Barclays has provided more than $85bn of finance to fossil fuel companies and high carbon projects since the Paris Agreement was signed in 2015. – This makes it the world’s sixth largest backer of fossil fuels of any European Bank exceeding its peers by $27bn...” (Financial Times, 2019) Brace yourselves. As the people take to the streets in Hong Kong, Argentina, Chile, Venezuela, India and in the UK – fashion brands and banks will be racing to convince the public just how ethical and sustainable they are. Greenwashing is about to spiral out of control.

Follow the money If you are investing your money, if your money is tied up in a pension fund, find out what ventures your fund has invested in. Your fund manager works for you. If you’re not happy – move. The same goes for your bank. Like so many other Icarus types, the banking industry forgot it’s still just a service sector. If their services are not up to scratch, they clients can take their commerce elsewhere. Vote with your transactions. Be accountable If you don’t know – why don’t you know? What lifestyle changes can you make to ensure that you stay informed, up to date with the latest information. Knowledge is power. The more you understand about how the economy works, the more opportunities you’ll discover to exert your influence for a positive outcome. The world of business isn’t all bad. There are so many innovative social enterprises and sustainable ethical start ups working to develop solutions, and pick up the slack our politicians left unchecked. 

How can you use your money to support them?

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Are there social enterprises in your local community who could do with some capital? Or moral support?

“It takes a village to raise a child. It takes a collective to usher in a revolution.” – The Collective (@Workinfashion.me, 2018). [END]

Laura Ironside Studio

Lifestyle Supplement 2020

Sustainable Living

Made Simple 48

CONTENTS STYLE & INTERIORS SUPPLEMENT (2020) In Defence of Millennials Pp. 50-52

Perspective _DesignCan_ Pp. 53

The Art of Sustainability According to Venetia Berry Pp. 54-55

Paradise Row London X Venetia Berry: The Hourglass Collection Pp. 56-58

IKEA + The Millennial Market Pp.59

Art Collectors: The Next Gen By Kitty Dinshaw Pp. 60-63

Interiors Pp. 64-73

Lookbook SS20 Pp. 74-84

In Defence of Millennials By Yasmin Jones-Henry â&#x20AC;&#x153;Listen up Baby Boomers: Millennials care about lifestyle. We care about interiors. We care about design. We love the aesthetic too.â&#x20AC;? 50Pom-Pom Pillow Cover) (Candor

I don’t even know where this misinformation came from or who decided that because we were raised in a century that brought with it wi-fi and instant messaging, that as a result of our association with tech we have no aspiration for the finer things in life. This topic is a source of irritation for a number of reasons. But mostly because it’s the epitome of #fakenews. Some old person, filled with resentment for all that is young and new, sat in a darkened room, and invented that wretched label – and proceeded to assign a profile to everyone born after 1982. Standing at a colleague’s leaving do last year, a friend (who is 7 years older than me and born in the 1980s) turned and began to vent. “You know I really don’t get why they bunch us all together in the same age bracket. You were born in ’92. A totally different decade to the 80s.” Fair point. “Also, I graduated in the middle of the financial crisis in 2008. The world looked totally different for me, than it did for you.” Taking another sip of my drink I raised an eyebrow to show that I had taken her point. “Also...” there was more... “I’m in my thirties. I have (no offence) a higher salary and more disposable income than you. You rent. I just purchased my first property...” These words have been gnawing away in the back of my conscience ever since. This is an epic oversight by brands and publications. With every magazine, brand and ad agencies that fails in its attempt to relate to Millennials, they only show us, just how little they actually know us. Drawing from a demographic that spans such huge strides in technology and social engineering, is a big deal. It’s the difference between having an i-pod or cassette player and vinyl. It’s the difference between going to the arcade, and having a PSP. It’s the difference between posting your prom pictures in a photo album on Facebook or sticking them into an actual photo album. It’s the difference between being in a group chat with your school friends, and actually having to go to a park or a ‘place’ to play with friends. It is true, as a result of camera phones, social media, 3G internet – the Millennial’s social experience

as an impressionable child walking into teenagehood is a very different experience to their elders... But the fundamentals seldom change. When selling anything, it a cardinal sin to presume. What do people want? Yet, when it comes to my brethren, the elders do it all the time. What do Milllennials want? Has anyone actually asked us? Well, I’ll tell you. We want to live well. It’s that simple. For those of us who were in our early teens when the world plunged into the financial crisis of 2007-2008, many of us would have been embarking on sitting exams in the hope of future employment – without any security that there would even be a future, as we watched footage of grownups in suits, walking out of offices with boxes containing all their earthly belongings. In London, property prices came crashing down. In England, we have a saying, ‘an Englishman’s home is his castle’ – well with the castles were under siege, we were left feeling vulnerable, unsafe and uncertain as to how long this instability would last. Then of course let’s not forget climate change... I was 11 when my cousin was shipped off to Iraq. When I think back to 2000-2010 I reflect on the transition from an 8 year old to an 18 year old, trying desperately to make sense of a world that was evidently going through an existential crisis. So is it any surprise that now, this same demographic have entered the job market, can vote and have some measure of consumer power, they are using their power to champion the very essence of stability itself. Veganism is a symptom of a growing conscious and awareness that if we, the next generation do not break with the toxic habits of our predecessors, we will have no planet to call home. The dietary revolution is part of a wider movement often referred to as #wellness on Instagram. Wanting to live well, to have good mental health, pleasant surroundings and and nothing but positive vibes amounts to an industry estimated to be worth 26 billion Euros in the UK (Wellness Institute, 2017). >>

#FOREWORD So whoever keeps touting that line that ‘Millennials don’t care about lifestyle’ clearly has no relationship with reality or no internet access to research the data. Sitting amongst my peers last week, this topic came up over coffee. One friend laughed as she confessed she picks restaurants and venues based on the decor and the ‘vibes’. We might not be able to furnish country homes, but interiors – the aesthetic is still a big influencer when it comes

#LIFESTYLE to our senses and our spending habits. It’s true, the actions of our parent’s generation, the state of the economy and job market we have inherited means we will be poorer than the Baby Boomers. But, that doesn’t equate to being poor. Strap yourselves in folks! 2019 will see more ethical and sustainable luxury lifestyle brands and designers featured on @WorkinFashion.me and in the next edition of #TheCollective. If they won’t give the people what they want... then I will. [End]

#PERSPECTIVE

Did you know the UKâ&#x20AC;&#x2122;s design industry is 88% white and male? Did you know that diversity in design is on the decline? Design Can, the new campaign and online tool calling for the design industry to be representative of the world it serves, is ready to engage with the world today. Visit design-can.com for further details. There youâ&#x20AC;&#x2122;ll find their manifesto, practical ways to help in a section called You Can and a resources section stacked with articles, reports and a growing archive of talented creatives.Follow on Instagram at @_designcan_ and using the hashtag #DesignCan. Photography: Holly Whittaker (on Instagram @_hollyphoto)courtesty of Zetteler PR

#DESIGN

The Art of Sustainability According to Venetia Berry Interview by Yasmin Jones-Henry I first met Venetia Berry while sitting in my friend’s living room. Nika Diamond-Krendell (founder of Paradise Row) had invited me to meet the artist she intended to feature as her guest for the first flagship event of her new venture ‘Paradise Curates’. After bonding over the plight of the millennial and reminiscing about teenage angst, MSN and the general challenges we’re all facing under the current climate, I discovered I found another ally in Venetia.

Not only was her work desirable, she’s extremely easy to talk to and relatable. While I had shared the difficulties I had encountered in fashion in the realm of transparency and deciphering greenwashing while trying to ‘walk the walk’, I later discovered—thanks to one of her insta-story posts—she too, was going through a period of introspection. So, in light of all things sustainable, I asked her if we could have another chat about it, the interview is what followed:

YJH: You recently shared an Insta story about your investigations into cruelty free paint, what was the outcome? Have you found oils/acrylic that is non toxic/ free from animal fats? VB: I was taught how to make and prime canvases at art school, we used three layers rabbit skin glue to prime the canvases for painting – skipping this step would mean the paint would be completely absorbed by the fabric of the canvas and eventually mould. I had been using this technique ever since, despite it being a slightly smelly process! However, I gave up meat last year and have since been interested in alternative art materials, for the sake of the environment and animal welfare. When I started looking into it, I naively thought that it would only be the rabbit skin glue I would need to replace. In reality there are a startling number of art materials containing animal ingredients, whether it be the skin for glue, the bones for the deepest black, hog hair for brushes or ox bladders for paint thinners. The best point of research I came across was a blog post by Jacksons Art pointing out some of the leading brands that create materials without animal products. It may be hard to believe but most brands don’t shout about this, these details are hidden away amongst the FAQS. Jacksons also now have a ‘Vegan’ filter on their site, which has proved extremely helpful. So far I have swapped my rabbit skin glue for Lascaux acrylic size, which provides a great base for oil or acrylic. paint and some inks from Schminke. At the moment I use Michael Harding oil paint, when it runs out I intend to replace it with Langridge oils. Luckily I have never been a fan of the hog hair brushes, so I am okay on that matter!

You can barely see it on the canvas, unlike the rabbit skin glue, which can give a slightly shiny reflection. I have also acquired a set of Lascaux acrylic I intend to use up all of the animal based products I do have, because throwing them away would not be help to anyone. YJH: In terms of spaces (be it your own personal space at home or studio) what do you look for in your ideal surroundings? VB: I am a real homemaker – I love rearranging my home and adding new things to improve the atmosphere. It is slightly harder to create this atmosphere in my studio, as it is my workspace, and considerably less tidy than my flat! However, I found a big green velvet sofa on eBay, which has transformed my studio. I also love having plants around, I love how they can break up the typical straight lines of a room as well as helping to clean the air, much needed in my Brixton flat and studio. Something else found in both my flat and studio is an abundance of books. I am lucky enough to own a fair few beautiful art books which I can flick through for inspiration. I really can’t stand a bare wall; both my flat and studio walls are covered in framed exhibition posters, etchings and paintings. Mostly my own works at the moment, as I very slowly start collection the work of other artists. So if you can imagine this, with a burning candle, a cup of tea and Desert Island Discs playing in the background – those are pretty much my ideal surroundings! YJH: IKEA has admitted they're totally redesigning their business model to suit Millennials lifestyle/spending habits) what would you like to see more of/ change from the interiors world? VB: In the last few years there has been more of a push towards individuals as opposed to brands. In my opinion, this is wonderful and often collaborations can be integral to an artist, illustrator or designer’s success. It would be great to see large companies continue to collaborate with individual creative. This is a win-win situation for everyone, as the buyer is able to own something with a limited edition. There is nothing worse than going to a friend’s house only to discover that its contents match your own! [End]

Paradise Row London Venetia Berry “I hope people take away from this collection (both men and women) a better understanding of the pressures women feel from society on a daily basis. Women’s bodies are precious and were designed to give life, whether we decide to take up on this or not; They play an important role to humanity and are not to be commodified in such an unequal way to our male counterparts.” – Nika Diamond-Krendel (founder of Paradise Row London)

The Hourglass Collection 56

An Introduction to Paradise Row London: It’s no secret that I’m a fan of Nika DiamondKrendel (founder of Paradise Row London). She’s featured in the 2018 edition of #TheCollective filed conveniently under the section entitled “Decision Makers”. Why? Because as a business owner, as a social entrepreneur and a real life influencer, the decisions she makes have a powerful and positive impact on the local community around her. For those who of you are new to this journey welcome, and allow me to bring you up to speed. In 2017 Nika launched a limited edition collection of locally sourced and manufactured leather bags after reading in herlocal paper that an East London tannery was about to close down. Nika was not a designer by trade. She didn’t study design. She quit her job in banking and consultancy, and poured her savings into this new venture – empowered purely by a desire to protect a local community’s source of income and employment.

London has already lost many of its factories to the fashion and design industries sourcing manufacturers in Italy and Turkey. Nika’s decision to launch a brand new start up, designed and manufactured here in East London was a bold move. If you’ve seen Paradise Row’s 2018 Empathy Collection in Fortnum & Mason’s, Fenwick’s or in Bergdof’s in New York – then you will know that Paradise Row is not your average sustainable luxury lifestyle brand. Every bag, every design tells a story. If you hold it in your hand, and feel the quality of the leather, the finishing of the gold detail – this is a performance of British craftsmanship at its best. What places it in the same heritage of the Wedgewood’s and Smedley’s of this world, is the fact that it is yet another British brand backed by a social conscience. I’ve always maintained, in order for luxury to truly be luxury, it must first be ethically produced, and guilt free.

The Hourglass Collection: The Female form. The Female gaze. The Female hustle #The Collective (2018)

“For our third collection, we’re collaborating with the artist Venetia Berry” Nika confided excitedly over coffee last April. It’s exciting to witness her vision manifest – her goal at creating curated pieces – coming into fruition. The Hourglass collection is a celebration of female agency. The latest collection by Paradise Row is a dialogue between a female artist and a female entrepreneur about the politics of the female form. Each individual design opens up the conversation about how femininity and womanhood has been understood, represented, objectified and politicised throughout art history and the modern day. There’s an understated rebelliousness about the Hourglass collection that stays true to the British aesthetic through and through. The twelve carat gold plated accentuated fixtures designed by Venetia Berry contain her signature abstract, pure line-making motifs. The collection is available in four colours: Contrapposto (Tan), Serpentine (Black), Odalisque (Burgundy), Venus Pudica (Navy). Retailing at £425.00 – this bag is a work of art.

The @workinfashion manifesto ‘Functionality vs The Aesthetic’ declared that fashion is art. This latest collection meets our criteria of combining the aesthetic with functionality in the pursuit of truly ethical and sustainable design. NB. While the fashion and textiles industry negotiates what are the most sustainable materials with the lowest environmental impact, ethically sourced leather – produced with non-toxic vegetable based dyes – will remain fairly high on the list. Why? Because it’s durable, it’s hard wearing and if you want to buy something that will last and justify the investment (that is not plastic) then with the exception of Pinatex – it’s still the most pragmatic option. - YJH [End] Proceeds from the sales of Paradise Row bags are donated to local charities including the Windrush Foundation

IKEA + The Millennial Market The times are indeed changing. As IKEA looks to the future , they have also taken steps to future proof their business model by adapting and evolving their services and product range to better suit the taste of their Millennial and Gen Z audiences. Hege Saebjørsen Country Sustainability Manager, IKEA Group, explains the ways in which IKEA is incorporating the philosophy of the circular economy into their wider brand narrative. The first major seismic shift she notes, is the change in buying habits between the previous generation and their Millennial counterparts. As the Millennials socio-economic standing means, they will become serialrenters, IKEA have responded to their needs in favour of access over ownership. Already using 100% sustainable cotton that is GOTS certified.

Investing in innovative textiles for their new products . For the past year and a half they have also integrated recycled polyester into their material mix. As the younger more environmentally conscious consumer, looks for products to fill their personal spaces with—they are also search for an option that brings with it fewer environmental and socio-economic challenges. Knowing your curtains were woven with cotton that is sustainable and ethically sourced; knowing that the recycled polyester has ensured virgin plastics haven’t gone straight to landfill to be incinerated, should help us all to sleep a little easier at night. These are the value added traits sustainability brings to the ’lifestyle experience. https://www.ikea.com/

Art Lovers & Art Collectors: The Next Generation by Kitty Dinshaw

#PERSPECTIVE

As the world changes, so too must the artworld. Galleries can no longer rely on being exclusive and intimidating, the preserve of the wealthy, in an era where we consume art daily on our phones and are inspired to go to exhibitions by other people’s selfies. There is no doubt that art is as relevant to the millennial generation as it has been to generations past, if not more so. Art is accessible in a way it never was before and the explosion of contemporary art, especially in mediums such as performance and installation work, has contributed to a growing democratisation. When I was a child, a trip to an art gallery meant wandering through endless huge rooms with religious paintings that all looked similar, meant nothing to me, and were equally incomprehensible to anyone without an art history degree. When I took my seven year old son to see Lee Bul at the Hayward Gallery, some thirty years later, there were sculptural costumes hanging from the ceiling, brilliant and engaging performance films, and even the ubiquitous “selfie moment”.

#Art

It’s art in a glorious, exciting, colourful form which is speaking directly to the generation that consumes it at an ever-faster pace. Museums, galleries and art fairs have caught on in a big way. Yayoi Kusama’s pumpkins might be the most Instagramfamous artworks ever, but most museum and fair directors, curators and artists across the world are alive to the viral power of social media. And of course, art is finding an audience as never before. Only a decade ago, if you wanted to see a new Tate show, you had to visit the Tate. Now you can see most of it on your phones, either filtered through Tate’s own feed, or from those you follow. Instagram has also opened up the market to artists in an incredibly positive way; particularly women or minority artists, long ignored or underrepresented by the art establishment. Now artists don’t need a gallery, curator, critic or collector to support them and their work - just some basic knowledge of how a fairly simple app works.

Artists can live and work outside the established art world and it makes little difference. We cannot underestimate the importance of this and the positive change that will flow as a result. Major institutions are listening to their new audience: curating shows that people actually want to see, and inventing new ways of engaging with art. Friday Lates have been happening for a number of years now, and are hugely popular. I was excited to attend (completely by chance) a twenty minute gallery tour by one of Tate Britain’s staff, picking out his favourite works by women artists in the collection. Apparently that tour was a twice-weekly occurrence! Lunchtime tours and talks are now common at Tate, the National Gallery, and international museums too, designed to catch office staff on their lunch break. In Britain, there is a logical thread that connects the explosion in art appreciation and enjoyment to the 2001 Act of Parliament that made all museums and galleries in the country free. The millennial generation have grown up knowing that art is not off limits to them, because it quite simply hasn’t been. This relates back to my point about museums and galleries listening and engaging with a new audience - their whole model,

their whole raison d’etre, changed in 2001. They needed to rely more on government and Arts Council funding, rather than ticket sales, and for that they needed to show they had a larger purpose than just hanging great art on the walls. Special exhibitions (which are still ticketed and often expensive) have to be truly exceptional now, as museums know that if they aren’t...well, their visitors can always get their hit of art by viewing the permanent collection for free. So how do we, in the commercial area of the art world, encourage this new generation of art-lovers to become artcollectors - and therefore help a new generation of artists to thrive? For starters, there simply has to be less snobbery, particularly around price. I still struggle to understand how it can benefit artists (except at the truly blue-chip places where the work is sold “behind the scenes” anyway) for a potential buyer (someone who has seen an artist’s work on Instagram, for example) to walk into an intimidating space where no-one greets them, no-one talks to them and where there are no prices on the walls. At the end of the day, galleries are selling art. Very few are actually non-profit, and so most need to pay their rent to survive. So why try to disguise that fact?

Enjoying art is a beautiful and rarefied experience, yes, but so is shopping at Liberty or Dover Street Market. No-one would ever suggest that they remove the price tags from their clothes. At Subject Matter, we’re also pretty evangelical about the role online galleries play in democratising the art world; possibly because we are online ourselves! The popularity of online art galleries is growing year on year, as are third-party platforms such as Artsy. You can browse, buy and frame art, all from the comfort of your sofa. Yes, we don’t have a physical space, so we have to be innovative: pop-up exhibitions to provide that still-necessary offline experience, photoshopping artworks into clients’ room shots for them, or DM-ing with clients on a Saturday afternoon when they are home, they have time, and they need your advice! And of course the obligatory free shipping and free returns, vital for any online enterprise.

This is all valuable work: we are contributing to a more open art world, we are embracing change, and most importantly, we are making art-buying easy, fun and enjoyable. The more people that enjoy buying art, and do so regularly, the more artists will be able to give up their second, third or fourth jobs and do what they love full-time. Ultimately, one cannot disconnect art from the artists who make it. That amazing Instagram image was taken by someone, somewhere in the world. That artist you saw in the blog article is making but also wants to be selling. That solo show you saw a while ago has now closed but you loved the artist and want to follow their development. The more people that buy art, the more artists will thrive. We are at a moment where we can effect real, lasting positive change both as art-lovers and art-buyers. Let’s do it! [End]

Click HERE to view the exhibition in the Subject Matter Art Gallery

MAKUA ALMA

ATELIER FOLKLORE

#LIFESTYLE

#INTERIORS

Amaya Ducru Clouthier and Ines Olaechea, Founders of 85˚, Paris

85° is the mean of degrees of latitude and longitude that covers the Latin American territories. “We want to be the bridge between these 85° of cultures and Europe. So, we created a concept store based in Paris that introduces a curated selection of contemporary design from Latin America that merges craftsmanship and sustainability with a unique modernity of line and redefinition of luxury. As a fashion and design omni-channel business in the European market, 85° is supported by its cross-media divisions such as e-com, pop-up shops and events, showroom, and image consulting. We value working with designers who are conscious of their surroundings, who are dedicated to a timeless vision of luxury, and together, we celebrate the exchange of knowledge they practice with their craftsmen and women, and their studio.” Amaya & Ines Contact: Email: info@85paris.com Instagram: @85Paris Web: www.85paris.com

#LIFESTYLE

#INTERIORS

Akojo Market: Ethics and Artisans by Yasmin Jones-Henry 1. What was the motivation for starting Akojo Market?

Our co-founder Natasha traveled frequently to Ghana and always returned with beautiful products and amazing stories of basket weaving women’s collectives in the Volta region, recycled glass bracelet initiatives in Accra and the female founders inspiring positive change within artisanal businesses. She wanted to bring these products to a UK audience and champion the makers by creating a platform and a community where brands can draw on her knowledge, particularly in supply chain compliance, to grow internationally whilst improving the transparency and sustainability of their operations. Partnering with Annie, our co-founder and Creative Director’s skills in marketing, curating and digital communications, was a natural fit! 2. There has definitely been a gap in the market for creating an ethical luxury ecommerce platform for artisans in Africa. How has it been received?

The platform has been received extremely well by customers, potential investors and our brands. We have had many sales in the first month and interest from the industry. At present, there are many “buzz words” around ethics, transparency and sustainability in retail, and this can confuse customers. We break this down as simply as possible, using clear criteria that determines at a high level a company’s ethos and accountability in business. Anyone can download our free guidance on vetting business partners and suppliers from our website’s APPROACH page. Most importantly, through our conversations and due diligence processes, our brands and artisans are understanding what they need to implement and achieve to be “ethical”, and that is the driver to real change

– change that enables women to be financially independent, to send their children to school and to be in business in five years time with a growing workforce. 3. Your launch date is set for June 4th, what are your plans for the future?

Our core objective is to generate sales for our brands and support their needs as they grow. With increased profits, these brands’ ability to do good in their local communities are endless. So, expanding our customer base in the UK to become a well known platform for beautifully curated, unique African inspired/made products is our immediate goal. We will then expand to the EU, US and Rest of World, tackling two primary challenges: meeting customer demand without compromising on quality and sound work practices; and managing a seamless shipping and logistics operation, carrying this out in the least environmentally polluting way possible. [End]

Don’t just take my word for it – check them out for yourself! www.akojomarket.com/

INTOART 68

JOHN SMEDLEY KNITWEAR

#LIFESTYLE

#INTERIORS

Into Art

In Conversation with Ella Ritchie co-founder of IntoArt YJH: What inspired you to launch Intoart in 2001? ER: Myself and Sam Jones founded Intoart in response to a lack of high-quality arts education and limited opportunities for artists with learning disabilities. We had both just graduated from Central St Martins in Fine Art Printmaking. Alongside studying in my third year of the BA course, I had been working on summer projects with people with learning disabilities through recreational activities but when it came to the arts activities the resources being made available and expectations of people were very poorly invested in. Determined to challenge preconceptions and overturn prejudices, we set up the first 8week Intoart project in Peckham in 2001, with a commitment to working with adults with learning disabilities for whom there was limited access to the visual arts and art education. We have remained committed to our founding values and expanded to work in the design field.

Intoart aims to provide a platform for people with learning disabilities to become both visible and equal in the art and design world â&#x20AC;&#x201C; not merely applauded for participating, but recognised and respected as creatives in their own right. Over the past 18 years Intoart has grown to become a permanent, full-time programme and studio space, moving into our new space at Peckham Levels earlier this year. We support the work of 21 artists and designers, working across a range of media including painting, print, illustration, fashion, ceramics, product and graphic design. Intoart have realised exhibitions, commissions and research projects with contemporary art galleries and museums in the UK and internationally, including to date, V&A, Tate, Southbank Centre, Whitechapel Gallery and Studio Voltaire. YJH: Describe what Intoart offers in 3 words ER: Ambition / Craftsmanship/ Integrity

#LIFESTYLE YJH: What are your long-term plans? Where would you like Intoart to be in 5 years time? ER: For more people with learning disabilities to be recognised and seen as artists and designers in their own right. We will continue to develop innovative programmes and new partnerships. In five–years’ time we would love to have a number of new and exciting high profile collaborations under our belt that align with our practice and are experienced by many people who had never previously heard of us and what we do. YJH: What advice would you offer to anyone looking to launch a social enterprise/initiative of their own? ER: We have built up the organisation incrementally and had a close eye on maintaining the quality of our practice whilst increasing the ambition. We have always valued our partnerships, collaborations and working with individuals who contribute ideas, widen networks and opportunities – it’s really important to nurture new relationships and invest in long-standing ones. YJH: What can projects #W readers look out for next from Intoart? ER: This November, we launch a new capsule collection Intoart X John Smedley of nine garments designed by Intoart artists. The collection will be launching in John Smedley stores on 15 November in time for their flagship Christmas window displays. It’s the first collaboration of its kind for both Intoart and John Smedley, as well as the biggest commercial impact that Intoart has had on the design industry to date. We are really excited to work with a major design brand to realise the potential of Intoart’s artists and designers, and hope that it will lead to further opportunities and collaborations. The collaboration came about through renowned designer and creative director Holly Fulton, who, alongside her partner, illustrator James Lambert, have had a relationship have enjoyed a longstanding collaborative relationship with both John Smedley and Intoart.

#INTERIORS Three artists from the Intoart studio have each produced three designs for the collection, which includes unisex jumpers, woollen dresses, a scarf and a shawl. Andre Williams’ knits feature his attention-grabbing typographical style and wry wit, using Azure Blue to add emphasis to his high-impact comical messages. Yoshiko Phillips draws on mythical creatures and animal imagery to create a series of eye-catching patterns in Blaze Orange that evoke the notions of predator and prey With accents in Cerise Pink, Ntiense Eno Amooquaye’s designs explore the iconography of fashion and its embodiment in the image of the fashion model. It was important to us that the original lines drawn by each artist, and that their distinctive styles are preserved throughout the transition from paper to wool. The resulting nine garments have been successful in achieving this and we look forward to seeing the public’s response to the collection. The collection will available to buy from johnsmedley.co.uk and John Smedley shops on Brook Street, Jermyn Street and New Cavendish Street, London, from 15 November 2018 Social media Instagram: @intoart_uk Website : www.intoart.org.uk

#LIFESTYLE

Catherine Lock

#INTERIORS

Mark Henderson

Founder & Creative Director, The New Craftsmen

Co-Founder & Executive Chairman The New Craftsmen

Prior to founding The New Craftsmen, Catherine spent 15 years as a product, trend and brand developer for British high street brands such as Sainsburyâ&#x20AC;&#x2122;s and Habitat . Her global travels exposed her to a colourful array of making, and makers, within workshops and homes which fuelled her fascination for the human and cultural aspects of craft, whilst merging it with that for her love of beautiful, well designed objects. In 2010 Catherine shifted her focus, touring the British Isles to meet regional craftsmen and traditional manufacturers. Having built her knowledge of materials, processes and provenance, she now works with craft makers to develop exclusive collections and bespoke products.

Mark has worked in luxury goods for most of his professional life. He is Chairman of Gieves & Hawkes, No 1 Savile Row, Chairman of the London Luxury Quarter (Mayfair & St Jamesâ&#x20AC;&#x2122;s), and a Director of Walpole (the UK luxury industry association). In 2004 Mark established the Savile Row Bespoke Association. His commitment to encouraging and nurturing emerging makers is renowned throughout the sector, and he is also a trustee of Queen Elizabeth Scholarship Trust (QEST) and a patron of the Heritage Crafts Association (HCA). Mark firmly believes that craft makers and making can be enhanced by dynamic exhibitions and the cross germination of skills and experience. www.thenewcraftsmen.com 34 North Row, Mayfair London

Adam Ross

Cameron Short (Printmaker)

Catarina Riccabona

Bristol Weaving Mill

SS20 LOOKBOOK The sustainable brands we love.

“Something old, Something new, Something upcycled”

BIRDSONG, LONDON

Ahluwalia Studio

Everybody & Everyone

AKOJO MARKET

ALICE EARLY

S DRESS WWW.SDRESS.COM 80

Laura Ironside Studio

Heritier Freres

Paradise Row www.paradiserowlondon.com/

Featured Art/Stockists/Social Ahluwalia Studio https://www.ahluwaliastudio.com/ Instagram: @Ahluwalia_Studio

Akojo Market https://akojomarket.com/ Instagram: @Akojomarket

Alice Early https://aliceearly.co.uk/ Instagram: @AliceEarly

Ayni https://85paris.com/search? q=Ayni&type=product&submit_search=Search Instagram: @AyniUniverse

www.guy-morgan.com Instagram: @GuyMorganApothecary

Lakwena Maciver (â&#x20AC;&#x2DC;The Future is Goldâ&#x20AC;&#x2122;) https://www.subjectmatterart.com/search? q=Lakwena Instagram: @Lakwena

Lalla Rugs https://akojomarket.com/designer/lalla-london/ Instagram: @Lalla.London

Laura Ironside

Bethany Williams

https://www.lauraironside.com/ Instagram: @LauraIronsideStudio

http://www.bethany-williams.com/ Instagram: @Bethany_Williams_London

Mashu

Birdsong, London

https://mashu.co.uk/ Instagram: @Mashu

https://birdsong.london/ Instagram: @birdsonglondon

Bottletop https://bottletop.org/ Instagram: @bottletoppers

Caralarga https://85paris.com/collections/caralarga Instagram: @Caralarga_mx

Cameron Design House www.camerondesignhouse.com Instagram: @camerondesignhouse

Christopher Raeburn https://www.raeburndesign.co.uk/ Instagram: @Raeburn_design

Ellis M. Cameron https://www.ellismhairicameron.com/ Instagram: @EllisMhairiCameron

Everybody & Everyone https://everybodyeveryone.com/ Instagram: @EverybodyandEveryone

Heritier Freres https://heritierfreres.com/ Instagram: @HeritierFreres

IKEA https://www.ikea.com/gb/en/ Instagram: @IKEAUK

IntoArtUK https://intoart.org.uk/ Instagram: @IntoArtUK

Guy Morgan Apothecary

Mother of Pearl (AW18) https://motherofpearl.co.uk/ Instagram: @MotherofPEarl

Paradise Row London https://www.paradiserowlondon.com/ Instagram: @ParadiseRowLondon

Saul Nash https://www.saulnash.co.uk/about Instagram: @Saul.Nash

Subject Matter Art https://www.subjectmatterart.com/ Instagram: @SubjectMatterArt

Sdress Fashion https://sdress.com/ Instagram: @SDressFashion

The New Craftsmen https://www.thenewcraftsmen.com/ Instagram: @TheNewCraftsmen

Venetia Berry https://www.venetiaberry.com/ Instagram: @VenetiaBerry

Zetteler PR/Design Can https://www.zetteler.co.uk/ Instagram: _Zetteler_// @_designcan__ Credits Front Cover Depop x Ralph Lauren (MUSA) Courtesy of May Concepts, LONDON