THE BIG WEIGHT DEBATE...

It’s no secret that fashion is an industry based around ‘image’. Models, celebrities and those in the public eye feel the constant strain to attain and possess the ‘perfect’ look and are often singled out or trashed if they don’t. However this pressure also extends to us, the fashion consumer: We are repeatedly influenced by what we see within the pages of fashion magazines and what designers send down the runway; even if we don’t realise it! Following the devastating deaths (caused by malnutrition) of several models over the past few years, many in the industry have begun to take action: Certain designers have banned models who are under a particular BMI from walking in their shows, whilst some fashion editors have even opted for featuring larger or ‘plus size’ girls.

However highlighting and promoting healthier and more realistic body shapes is an issue which requires constant attention and consideration… Something which for the past couple of years fashion commentator, Caryn Franklin, has been campaigning to achieve with the conception of ‘All Walks Beyond The Catwalk;’ an initiative which she founded along with Debra Bourne and Erin O’Connor in 2009. Since then the three women have roped in some of fashions finest photographers, designers and editors to help challenge the industry’s customary and quite frankly out-dated perception of perfection. RECOGNISE caught up with Caryn at the launch of The Alls Walks Centre for Diversity at Graduate Fashion Week to find out more…

When you first set up All Walks Beyond The Catwalk did you dream that you would’ve achieved as much as you have?

To be honest we didn’t start off with any kind of ‘dream,’ we were just so fed up with the limited ideas we thought actually we can’t not say or do something about it anymore. We decided we needed to make presentations at each fashion college, work with students on projects and set up an All Walks Centre of Diversity: That’s just part of one project that we’ve been working on for the last two years and that has taken an enormous amount of work.

Curvaceous models have now appeared within the pages of high fashion magazine including V, Elle, Harpers Bazaar and most recently Italian Vogue. Do you feel that it is the reputable fashion editors that have the power to make a change within the industry and influence what we as the fashion consumer perceive to be the perfect ‘fashion body’?

Absolutely: Fashion editors have more power than they know. Women receive fashion journalism and imagery into their lives as if it were a prescriptive ideal. Anna Wintour could change things overnight if she wanted to by putting beauty and body diversity on her agenda.

A recent report from doctors in Italy stated that featuring larger or ‘plus size’ models on the catwalk or inside the pages of fashion publications actually do more harm than good as they supposedly encourage obesity and binge eating – what are your views on this?

I’m just so tempted to say that this is rubbish! These aren’t ‘plus’ size models; they are ordinary women with healthy bodies. I’d be very interested to know how this study was done and how it was validated. Ben Barry a PhD Cambridge graduate from the Judge Business School will be releasing his research this September: For the last 3 years he’s been doing cross-cultural studies of 3,000 women over America, Canada and England around their response to models that represent a more achievable beauty. The only people that look like catwalk models are catwalk models; every other female does not. So when consumers were given more realistic and diverse models to relate to there was more intention to purchase. What Ben is doing is providing fashion companies (who, lets face it, are only in it to make money) with a confirmation that ‘route to profit,’ will not be threatened if they feature and provide for a diverse range of body shapes.

Do you find the term ‘plus size’ in it self has negative connotations?

We [All Walks] don’t use the term ‘plus size’ - it’s the fashion industry who say’s they’re large or extra in relation to standard models. The term immediately says to ordinary women ‘you’re too big for us!’

Your project, ‘Snapped’ was a great success and you managed to get a lot of influential designers and fashion industry experts involved: I’m intrigued to know if there was any designer whom you asked to get involved and they said no?

Not one that we asked to be involved said no. There was only one who said ‘I would absolutely love to do it but unfortunately my business is just not set up for that extra challenge quite yet.’ And everyone else we’ve approached from Rankin and Nick Knight to Elle and i-D said yes. That says it all doesn’t it!

Tell me more about your most recent initiative that encourages fashion students to consider different body sizes and shapes during their training?

We realised most students only train on a tailor’s dummy, which is a UK size 8 to 10 then they transfer their designs to a model who is paid to mimic a tailors dummy. The tailor’s dummy and the model both only hold one position and of course one cannot give any feedback whilst the other is paid to remain silent... So wouldn’t it be better at some point in their training to give students the chance to engage with an ordinary woman by putting the design on her body and get some helpful feedback? We know from projects that have already been done that the human connection is strengthened. Students start to understand their garments are not just meant for catwalk display.

You’re a patron for BEAT (which supports those with eating disorders) – how is the charity involved with All Walks Beyond The Catwalk?

The first All Walks project was inspired by the charity’s Chief Executive, Susan Ringwood, who asked us if it was possible to show fashion on a range of body shapes. What I have discovered from my work with BEAT is that it would not be effective for us [All Walks] to approach the fashion industry with a hardcore message of eating disorders and self harm; people just don’t respond well and become defensive. We realised we needed to go into the fashion industry celebrating the positive power of fashion to talk to women about their bodies. We were adamant that ethnicity and age were also portrayed in a diverse way. BEAT stepped down after the first project but we continued on our own taking our next project with Rankin to the National Portrait Gallery, collaborating with colleges and setting up the Centre of Diversity.

Caryn, Debra and the All Walks team are currently visiting fashion colleges throughout the UK encouraging the designers of the future to broaden the beauty and body ideals that fashion promotes.

Please visit allwalks.org for more info.

Interview extract from RECOGNISE, issue 9 - words & interview: ME

Images - styling: ME //photography: CAT HARBOUR

STREET PHOTOGRAPHY... continued!

Venice, April 2011:

Piazza San Marco / St Mark's Square...

Gondolas and a traditional Italian cafe...

The canal...

Street buskers...

Eerie traditional Venetian masks: characters / styles include 'Medico Della Peste' (The Plague Doctor), 'Volta' and 'Bauta'...

STREET PHOTOGRAPHY...

Looking at Vivian's photographs yesterday inspired me to dig out some I took myself in Paris last year (using 120mm noir film)... It also encouraged me to rush to the photo lab to get a couple of black and white films developed I took whilst in Venice earlier this year: I will post up the results when I get them back!

Waiter at Le Paris cafe, Notre Dame. February 2010

An accordion busker on the Paris Metro. February 2010

DISCOVERED: VIVIAN MAIER...

Yesterday I stumbled across a wonderful photography exhibition in Kings Cross that showcased the work of street photographer, Vivian Maier.

The story related to the discovery of this photographer is fascinating: just like I had stumbled across the exhibition, someone (a man by the name of John Maloof) only a few years previously had stumbled across Vivians work, after a box containing undeveloped film rolls and thousands upon thousands of negatives were bought by Maloof in a thrift auction house in Maier’s home town of Chicago. It is said that she took hundreds and thousands of pictures in her life time but sadly never shared them with anybody. Around 90% of her archive has now been reconstructed and brought to the public eye through exhibitions such as this one (entitled ‘Vivian Maier: A Life Uncovered’)

As well as the story of their discovery I also found the images in themselves to be intriguing and reminded me greatly of the work of pioneering French street photographers Henri Cartier-Bresson and Robert Doisneau. Like them, she captured emotions and moods… she captured details such as a couple holding hands or the damaged heel on an old woman’s shoe, which would often be missed by a general passer-by. She mostly focused on the poor as towards the end of her life Vivian herself was living in poverty and even ended up homeless so felt as if she could relate to the faces which were staring back at her through her lens.

‘Vivian Maier: A Life Uncovered’is currently running up until July 24^th at the German Gymnasium, (London NW1) as part of the London Street Photography Festival.

GOLD THAT SHINES BRIGHTER...

On Friday night I attended a special evening hosted by the Fairtrade Foundation to celebrate the launch of Fairtrade and Fairmined Gold in conjunction with London Jewellery Week. From traditional fine jewellery to contemporary sculptural pieces, the event showcased a range of ethical designers including CRED, Linnie McLarty, Ute Decker and Ingle & Rhode.

Recognise magazine's Features Editor, Sarah Alcock and myself were lucky enough to speak to one of the miners who at the forefront of the Fairtrade Gold revolution has inspired many a designer to take part in the movement by sourcing their metal and stones in an ethical and fair way without sacrificing innovative design and creativity.

Ethically sourced ruby and fairtrade gold ring by Linnie McLarty




Fairtrade gold Arm Sculpture by Ute Decker

A Visit To Hostem...

Slap bang in the middle of Shoreditch’s trendy Redchurch Street, an area predominantly composed of art galleries, twee cafes, creative design agencies and old haberdasheries, rests a stylishly new menswear boutique by the name of Hostem...

Armed with my notepad, dictaphone, camera (and umbrella!) I paid a visit to the store earlier this week to meet the owner, founder and brains behind it all, James Brown. On this, a typically British wet and windy day, the store looks most inviting: It’s old rustic wooden store fittings and burnt orange lighting, creates an appealing, cosy and homely atmosphere.

The store finally opened its doors in July of this year, after two years of solid researching, preparing, and revamping: “We spent a whole year just looking for the right location; everywhere from Mayfair to Dalston and every where else in between,”explains James. “But when the opportunity came up to locate here we just couldn’t resist... It’s an area that has a great energy and a unique environment: It’s perfect!”

Since its launch, Hostem’s success has already begun to boom, sparking major interest amongst the UK style press. James states it’s all down to luck or fate; a rather ‘right time, right place’ scenario, but I would have to say it has more to do with clever instincts and having an adept ‘business head’ firmly screwed on. From his time spent living and working abroad in Italy and Los Angeles, James realised there was something missing in the fashion retailing industry back at home: “In cities such as Paris, Tokyo and LA everyone speaks so highly of London and what vastness it has to offer in terms of fashion, when actually I believe it to be incredibly lacking.” James then reveals his interest and love for international concept stores such as Colette and L’Eclaireur; he speaks with such knowledge and passion, it is clear that the idea of Hostem has been a long time ambition of his... In fact James’ passion for fashion is the underlying reason behind his boutique’s existence: “The primary purpose of launching Hostem was to have a space where we could support and showcase the brands that we love and believe in,” he states. “...And as the brands we stock all have a very different aesthetic we wanted a space where they could successfully sit altogether.” And they have certainly achieved that!

The store’s stylish space itself is the creative handy work of interior design duo, James Russell and Hannah Plumb, a.k.a. JAMESPLUMB. “They were amazing to work with,”says Brown. “The way they bring ideas to life is just incredible: On the first day we got the keys to the store, Hannah turned up with an old, tattered, grass covered, church pew but now it sits beautifully by the store’s entrance as the front desk!”The pair’s vision creates a clever ‘rustic- luxury’ paradox: panels of hessian line the walls, encaged light bulbs hang low from the ceiling, whilst reclaimed antiqued furniture rests on original Victorian floorboards. James claims that he “didn’t want anything white, stark, minimal or modern.”

To avoid pigeonholing themselves into one particular identity, the guys at Hostemhave taken an eclectic approach when it comes to their stocked product. Offering a combination of styles from street wear brands such as Union, Stussy and Mastermind Japan, which are all housed in the store’s recently opened basement room (the very room in which our interview itself takes place) to more artisan and avant-garde labels including Boris Bijan Saberi, Rick Owens and Casely Hayford. “When it comes to buying in products, the first and foremost thought is ‘Is something that myself and my buying team love or would wear ourselves?’” James reveals. “But essentially we try to provide a happy mix of designers whether they be new or established, local or international.” Brown continues to express his enthusiasm for supporting new young talent, mentioning one name in particular, Curiouser + Curiosuer, created by a young accessories and jewellery designer, Alice Wease: “She walked into the store one day, and said ‘This is what I do...’ showed us four pieces of jewellery and one scarf and we loved it!” Hostem is now the proud UK stockist of Alice’s debut collection, but they also admit to “keeping a sharp eye out for other emerging designers too, whether they are based here in the UK, or in Paris, or Tokyo, or anywhere worldwide!”

In fact Brown and his team are so devoted to supporting and promoting creative talent that they have formed a room dedicated entirely to the cause. Referred to simply as ‘The Third Room,’ it is a constantly changing space to be used as a platform for visiting designers and artists to showcase their work. “The Third Room is really great as it allows us to do all kinds of collaborative projects: We welcome any ideas and love for emerging designers to be involved.” James then adds: “In fact, one thing we have thought about for forthcoming fashion weeks is to give a designer the space for the entire period as their own show room, where they can take their orders and invite guests...” And as an additional bonus for thelucky selected candidate, James reveals the space will be free of charge: “It’s our way of showing support and recognition to those who deserve it.”

Hostem and JAMESPLUMB joined forces one again for the debut ‘Third Room’ project, which ran during the London Design Festival in September of this year. Entitled the ‘One Room Hotel’, the pair filled the space with their signature style of rescued antiques and reclaimed furniture including a beautiful French 16th century bed. “One of the team suggested in jest ‘why don’t we actually let guests stay here?’ to which I of course replied ‘you have got to be kidding me!’” laughs Brown. “But the more we thought of it, the more we wanted to play it out, and it actually worked really well and was great fun!” After such enjoyment and success of the ‘One Room Hotel’ exhibition, James can’t hide his excitement about his impending third room visitor, Darren Romanelli or ‘Dr Romanelli’ to me and you: “His showcase will be launching around 22nd November for a month or so,” reveals James. “He [Romanelli] is creating a pop up Victorian chemist, displaying some amazing products that have never been seen before outside of Japan!”

With such an eclectic combination of products, styles and labels, Hostem in return attracts an eclectic combination of customers; so much so that James found it tricky to even describe to me the stereotypical ‘Hostem man’: “What we have found is that we don’t have a stereotype, so I couldn’t possibly describe him to you... In any one day we get anything from a guy in his late 50s to a young ‘street’ kid and everyone else in between!” And although their product offering is entirely aimed at men, everyone at Hostem has been surprised by the amount of female customers they have had walking through the door. Although much of the clothing stocked in-store reflects a unisex and androgynous aesthetic, (something which judging by the store’s already existing female clientele, many women favour,) I wondered if an additional Hostem branch dedicated to womenswear is a possible consideration for Brown and his team in the near future: “We’ve been overwhelmed with how many women have come in-store already and a lot of the menswear brands we stock have womenswear lines too so it is a major possibility...” Fantastic news for us girls! And if you live outside of the UK then you too are in luck as James uncovers news of an online addition to Hostem which is set to launch soon: “We will sell a selection of our products online but not all; I think there are some pieces which have to be seen in person or tried on... But on the other hand, we would also like to offer some items that would be exclusive to our online shop.” Once again wearing his ‘business head’ James Brown intuitively identifies the importance behind bringing his store to the fingertips of the ever demanding and technologically savvy 21st century customer through admitting that “in this day and age, all retailers should have an online store...”

DRAWING FASHION

Illustration is the oldest form of media used to communicate ideas of fashion to the world; a form that served a particular important purpose at the turn of the twentieth century. The cutting edge photographic covers of Vogue, Harpers Bazaar and Elle that we see on the news-stands today were once whimsical illustrative creations depicting the latest trends, designs and styles by world class couturiers. As with the introduction of any new technology, photography soon replaced illustration and its necessity to communicate fashion soon diminished. The art of drawing fashion is still taught and practised today but regrettably does not always receive the large recognition it deserves.

The recently opened ‘Drawing Fashion’ exhibition hosted by The Design Museum, London, presents for the very first time an extensive collection of fashion illustrations ranging from 1910 to present,through an array of framed art work as well as video show reels which demonstrates the creative process of producing a classic fashion drawing. The collection, which took over thirty years to gather and collate, includes over 150 master pieces by world renowned twentieth century artists includingLepape, Gruau and Antonio, as well as those who continue the craft today, such as Mats Gustafson and Francois Berthoud.


The exhibition launched two Wednesdays ago with appearances from fashion industry faces including Vogue's Ella Alexander, legendary fashion writer and curator of 'Drawing Fashion', Colin McDowell (who generously gave VFS Director, John Walford, a signed copy of the exhibition's book), as well as our very own VFS designers, Eudon Choi and David Longshaw. "It's a fantastic exhibition, beautiful curated in a great setting." David told us after attending the launch party. "Getting to see the originals, being able to properly study them and look at their techniques (after seeing them in old Vogues and fashion history books) is massively inspiring." And of course David's date for the night, Maude the Mouse, had a thing or two to say on the matter as well:

"Where were the f**#ing illustrations of me!!! Other than that massive oversigh, it was a gorgeous exhibition of iconic imagery. A must see for any one interested in fashion: From students to seasoned practitioners we can all learn something from this exhibition... The booze was good aswell (great work with the sponsorship) Doris was pissed after two minutes of arrival!"

David Longshaw's Maude in the ‘Drawing Fashion’ exhibition

I've often thought that the drawing of fashion is both a skill and a talent that should never be forgotten or dismissed (although with the world's constant demand for a digital and technological lifestyle, it does certainly look like it can go that way...) Longshaw couldn't help but agree: "Fashion illustration is an art form often neglected by galleries and under appreciated by the art and design world; this exhibition shows how incredible an art form it can be..." However, as was its purpose in the early twentieth century and that used by the design houses of Poiret, Chanel and Dior, many designers of today still use the traditional technique, whilst some style publications have too in recent years begun to embrace the illustrative form once again. This is documented in the exhibition’s ‘Fashion Drawing For The Future’ section through a display of Gustafson’s work for Chinese Vogue’s May 2010 issue as well as an introduction to fashion illustration of the future…

The exhibition runs until 6th March 2011 at The Design Museum, London SE1 2YD. Please check their website for more details...

London goes 'Baaaa-rmy' for Wool Week!

I am sure you all have heard of Fashion Week, but have you ever heard of Wool Week?

Last week London was overrun with sheep themed celebrations and events to mark the very firstNational Wool Week; an initiative headed by Prince Charles to help struggling sheep farmers and the wool industry by raising awareness of the vast beneficial qualities of the fleecy fabric.

On Monday 11th October, Flocks of sheep invaded London’s renowned tailoring district, Savile Row, blocking off all traffic for a ‘country field day'. The street also presented the public with an exhibitionby R Cledhill; the British woolen yarn spinners whose yarns create the cloth that is used by Savile Row tailors to create their bespoke suits.

Over fifty fashion and interior brands supported the cause and many dedicated their store windows for the week to create special wool themed displays. The Lyle and Scott store in Covent Garden Piazza displayed four brightly colour sculptures of the woolly creatures with their traditional Golden Eagle logo stamped on their rump, whilst Selfridges did one better by dying a real flock of sheep their signature sunny yellow, which were released outside the department store’s front doors.

Wool week may have come to an end but it’s not too late to get involved in such a good cause; simply get wrapped up for winter in your snug jumper dress and chunky knit scarves and support the wool industry!

The Fashion Scout

SS '11 Fashion Films...

A while back I blogged about film being used as the ‘number one’ form of showcasing a latest collection as apposed to conventional runway shows, but it seems to be more relevant now than ever. Interestingly during Paris Fashion Week, Jefferson Hack interviewed designer and pioneer of fashion film, Gareth Pugh about presenting a collection through the digital form:

JH: There’s been a strong reaction from the press and critics on the collection and the film. Are people starting to accept fashion film as an alternative to catwalk shows? For the record, what was your motivation for making a film and not traditional show?


GP: It was about bringing it to a wider audience and about having complete control over what I bring to that audience. So many things can go wrong with a show and so many things can go wrong in a film but people don’t see those mistakes. It was about taking back control and showing them what I want them to see.

JH: Did the experience match the motivation/expectation of how you wanted it to be received? And also the emotion of it, the feeling of the audience afterward?


GP: Obviously when I do a show there’s a big release at the end. You feel a sense of elation or ”Oh, it’s finished we can get drunk.” We kind of had that when we finished shooting. Then it was two weeks of editing. So there were less peaks and troughs in my mood. Which I think was good. The show is a very small part about what I do as a designer. As soon as the show finishes it’s straight into sales and this time I was able to concentrate on getting that side of things right. It’s often forgotten, or I often forget, that the show is one part of that but, this week, starting from today actually, is where the business happens and I could concentrate on that more.

JH: It is as expensive to make a fashion film as it to stage a show, is that right?


GP: Yeah. I think a lot of people don’t realize that. They consider the option of doing a film as secondary to doing a show because it’s a cheap cop out.

JH: I think you’ve proved the complete opposite. Done at the level at which you do it, is a very clear and viable alternative for you and your brand and your vision.


GP: I think it’s about the choices that you make with regards to the amount of money you spend on things to communicate your brand. To do a show in front of 300 people maybe doesn’t make as much sense to me as making a film that we can present to, potentially millions of people around the world that can see. The idea is not diluted or edited in any way as it can be when you see pictures on sites like style.com. It’s basically what I want people to see. I think the investment…you can reap those benefits. It’s worth the money...

Some designers are now opting to create a fashion film in addition to a traditional runway presentation, but is this just another ‘trend’ that they feel they have to follow…?