Its a Friday afternoon and some students are slowing drifting into college to prepare for the next term, which starts this Monday. I’ve been noticing Christmas gifts being worn and flaunted, but nothing compares to this one.
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Born in Moscow from the womb of a computer programmer; programmed by a chemistry professor dad, Maria Lavigina was predisposed to the art world. Before ending up in the Queen of Fashion Colleges (which is us, naturally) she worked for two years as a video editor and a photographer in Israel, studied at the Shenkar College of engineering and design in Ramat Gan and worked as an embroidery and evening wear designer in Bologna and In Tel-Aviv. After a whirlwind of experiences she decided to develop her experience in a different field – pattern cutting, and never left Saint Martins.
What pushed you into fashion?
From the moment that I can remember, I was always into the arts. Drawing and sketching everywhere. However, the real moment that drove me into the fashion world was actually the scarcity of my mom’s financial resources. As immigrants from Moscow we didn’t have a lot of money, and I remember my biggest wish was to wear the garments of my dreams, or at least the same garments that my classmates had. So instead of listening to my teachers I was doodling and fantasising about what I was going to wear to school tomorrow.
You’ve done the creative pattern cutting course in 2011, why are you now back to studying at CSM?
Prior to the innovative pattern cutting course I worked for an embroidery company, so every design that I made was textile embroidery related. In other words, my way of thinking about design was dependent on fabrication, and not on the cut itself. After completing the innovative pattern cutting course I felt that I learned a completely new technique with which I could express myself and show my ideas in a different medium. I wanted to get back to CSM with this new knowledge and to see what would come out of it, and maybe I would surprise myself.
What do you love so much about CSM students?
Most of the CSM students have this kind of perfect blend of drive, perseverance and innocence that is lacking from the real world. They’ve got self-confidence in their style and in their vision and they want to be taught how to develop and foster their talent in the most creative environment. This energy is seen every day on the “Catwalk” between the Kings Cross station and the Granary building… every day is a surprise!
What inspires you to illustrate people?
The inspiration comes from a single enchanted moment when everything fits perfectly. It’s a rather serene poise and grace of a person that I find interesting. It’s about everything: the clothes, accessories, makeup, and a person’s grace, may it be eccentric, conservative or banal, it will initiate a story and a fantasy.
What is the first thing you notice about people?
The first thing that I notice is the perfect combination of clothes and posture – how people carry themselves in their clothes. When there is a perfect equilibrium between the person’s attire and their behaviour it’s really chic! I believe that the big part of a great style story is person’s natural and uncontrived posture. It is not enough to wear the perfect suit, the perfect shoes and to have the latest accessories. If the person doesn’t have agility, and grace, all will be in vain.
You had a post called “What is so fantastic about CSM”, how would you describe it in three words?
Moment, urge and excitement.
Who is your favourite among those you’ve illustrated and why?
I would have to say Jahnkoy Maria. She has this kind of “harmonious mess” about her that is very intriguing. So much detail and colour, however, in spite of it all somehow this vibrant jumble makes sense and not many people can pull that off.
If you would be a crayon, what colour would you be?
Black.
Who’s your favourite illustrator?
Piet Paris. I love his way of showing silhouette by just utilising obstruct lines and basic shapes, he stresses the shape and the mood but leaves the details and garment’s patterns out. His illustrations look like figures from the catwalk: elegant, chic, and commercial- a perfect combination for a contemporary illustration.
When looking at your collections and sketches, the first word that strikes me is ‘constructivist’. How would you define your designs?
I would define my designs as “tailored constructivism” since my starting point for any design is miniature pattern constriction. Before draping on a real size mannequin I try my ideas first on a smaller version, and I always think about the construction first.
You post quotes with nearly every post you make, do you have a special one for us?
It is very difficult to stand up to what is right, and follow your instincts. I felt numerous times that my persistence is a real albatross, and the best thing would be just to give it all up. However, time after time life events reaffirmed that I’m on the right path, and there is no such thing as failure. There are many people who gave up and turned the other way. However, for the rest of us… who are still here, assiduous and full of passion… this quote is for you!
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Only a fort of fashion books could possibly protect us from essay deadlines.…
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After wednesday’s introductory interview, Maria takes over today as guest illustrator, writing about- and illustrating Central Saint Martins students.
Yesterday morning I was leaving my flat for another day at CSM. As I went towards the tube station, I saw a girl who was heading the same direction. As I walked behind her I could have sworn that she is one of CSM’s students. And to my surprise, I was right – just before entering the building I saw her again, greeting her friends in front of the colorful CSM fountain.
So, what is so recognizable about CSM students? In my opinion, it is the immaculate sense of proportion in their garment choice, whether elegant, minimalistic or wild; the vast sense of proportion is always present. I see many people outside the CSM ‘gates’ who dress in the most wrong and mundane way- those ‘outsiders’ are afraid to take chances and get out of their comfort zone. Many people have had their own fashion disaster moments but eventually found their style, and they look gorgeous! I would like to present in blog three memorable looks of CSM students.
Edwin Thomas Mohney
I love his colorful and crazy outfit that go well with his vivid personality! The combination of the traditional Scottish skirt and a sweatshirt make it all seem very contemporary and cool!
Laura Velasco
Wearing a fake fur coat from Topshop from a brand called rare. Trousers are from the brand Seven. Shoes were bought in Paris at Lafayette. Socks and jacket are H&M, the scarf from Globus (Geneva shop) and bag from Japanese center.
Richard Oxley
Doctor martin shoes, metro zu t shirt, second hand Levi’s and vintage coat.
Each of the CSM students has their own personal style – a passport to any success, their style would never blend into the background, and their look will be always unique and separate from other people on the street.
On this last note I would like to share with you a short passage from William Somerset Maugham’s Somerset’s The Moon and Sixpence. I love how Somerset describes the mundane people, who are the complete opposite from the CSM philosophy.
“…As they stand they are like the figures in an old tapestry; they do not separate themselves from the background, and at a distance seem to lose their pattern, so that you have little but a pleasing piece of colour. My only excuse is that the impression they made on me was no other. There was just that shadowiness about them which you find in people whose lives are part of the social organism, so that they exist in it and by it only.”
More CSM style on my blog.
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Paula Canovas, a second year Fashion Print student, occasionally makes appearances on Meadham Kirchhoff catwalks. Yet, beside being breathtakingly beautiful, her sketchbooks are a treat for the eye. First memory of fashion? Being forced to wear a pair of painful Dr Martens when she was six. Best lazy Sunday breakfast? Poached eggs in an Australian cafe in Dalston. Remember this picture? Yeah, that’s Paula. She dances at our parties without fail and is pleased to meet you.
Why did you choose to study print and not a different course?
I applied to Print as well as Womenswear. My tutors were always really insistent in me choosing print, because they thought I was more suitable for the course. I was really stubborn and had fixed in my mind the idea of getting in to Womenswear case it was ‘the best course’. I didn’t get an interview for it, but got offered a place at print. Looking back, I’m glad I’m doing print.
What aspect do you like most about print?
How a simple “free transform” in Photoshop can change a look entirely, and the constant weight of having to balance shape, print pattern and color pallet. Nightmare sometimes, but really interesting when you like challenges.
What would you be studying if not fashion design?
There are so many things that I would have liked to study. Definitely something involved with craft. Or Special Effects?
Do you have any daily routines?
Big breakfast. Poached eggs, orange juice, toasts or muesli with fruit salad and green tea, A LOT of green tea
and nap. Even if its only 15 minutes. Sometimes I’ve ended up in really strange places because of napping.
If you would go out for breakfast on Sunday morning, where would you go?
There is an amazing Australian cafe in Dalston. Poached eggs on toast with avocado.
What’s your bar destination?
Ridley Road Market or Goomies open-bar.
Holiday destination?
Anywhere by the sea and some sun.
Favorite 3 french movies?
I recently watched “Paris Belong to Us”, not bad. “La Haine” amazing soundtrack and Amelie (kidding).
Oxfam or Dior couture?
I have no choice… Oxfam!
Who is your favorite designer?
I don’t have a favorite designer. I appreciate a variety of them for different reasons. I really admire Craig Green for his bold approach to shape.
Any favorite artists?
Juan Genovés. It’s really interesting how his paintings have developed with time, like he had been stepping back from them within the years. He started experimenting with huge and almost cellular-like shapes and now it seems you look at his work from an airplane.
Cactus or bright flowers?
Cactus. They last.
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A chat with the unstoppable artist on guinea pig haircuts, being Howard Tangye’s groupie and the beauty of failure.
Julie Verhoeven needs no introduction. The inimitable fashion illustrator/designer turned artist is instantly recognisable and sometimes we CSM students are lucky enough to catch a glimpse of her as she scurries in and out of college on the days she comes in to teach on the MA Fashion course.
Verhoeven started working in John Galliano’s studio at the age of just 18, moving from department to department and “learning just about everything.” Her forceful career has included the heights of fashion illustration, designing for the likes of Louis Vuitton, Mulberry, Versace, Martine Sitbon, Peter Jensen and M.A.C, producing moving images, creating murals and being exhibited all over the world. Nowadays Verhoeven is slowly moving away from fashion and focusing more on her art. Why?
“Hmm… I got a bit bored with the sort of repetitive cycles and how it all has to be done in a certain way. It was getting more and more unpleasant. I wasn’t getting creative satisfaction, really. I just wanted to be a bit more stupid. With fashion you still have to sell it at the end of the day. You’ve got to put a human form in it, which is where it becomes problematic for me.”
Verhoeven’s happy orgies of colour, texture and print transform the most mundane objects into little wonders. Her videos, illustrations and installations are a vibrant explosion of boobs, bums and other body parts set to the music of 10CC and Don McLean. Her studio is filled with paraphernalia including painted mannequin legs, a book entitled “What is a husband?”, and heaps and heaps of visual research. There’s something so playful and yet intuitively confident to all of it – does she ever face the fear of failure?
“Ehm, no… I quite like failing, actually. Because then you’ve got to do more fighting, haven’t you?
Is that better?
“Oh, definitely. You’ve got to exert yourself to be accepted. Isn’t that what failure is about? People kind of push you away because you fail. I’ve got so many frustrations in my work that make me want to change. I want the aesthetic to change, that’s why I try to work as hard as I can for it to move quicker.”
It might also be one of the reasons she becomes so frustrated when people associate her with cutesy and fairy tale-like stuff. “Yeah, the dolly dolls… I’m so bored of that now. And fashion illustration, I find it really outmoded. It kind of annoys me that there are degree courses in it. I mean, what are these people going to do? There’s such a minimal amount of work… I didn’t want to be a fashion illustrator for years. And I certainly don’t now.”
Even though you did fashion illustration for quite a while…
“Yeah, and then I wanted to be a designer… And then I did that, and then I wanted to be an artist, so I don’t know what’s going to happen next. Astronaut? Lost in space…”
Something that seems to change just as often as your work is your appearance – and your hair in particular. What’s it inspired by?
“It can look like quite a few things… The other day my friend Shona (Heath) told me it reminds her of the guinea pig I used to have, Dave. And now I totally get it! I kept looking at myself and seeing a dog, thinking “what dog is this?” But it’s not a dog, it’s a rodent, a guinea pig.”
But there are some constants. Something she still does – and has been doing since 1996 – is teaching on CSM’s MA Fashion. And that’s quite ironic: Verhoeven didn’t get accepted onto the BA when she applied as a teen. Does that feel like a sort of victory? “Well, I totally understand why they didn’t take me, and they were probably right. At that moment I was 18, and I had the most absurd outfit on; I was wearing fun fur leopard pedal pushers, a silver lurex quilted top with fun fur panels, and a polar bear hat. And I barely spoke in the interview… It was quite tragic, really. So yeah, I didn’t get in… But you know, thank god. I would never have gone to Galliano’s if I’d gotten in. And that was my training.”
There was one person who fought her corner big time when she didn’t get into college: Howard Tangye. His illustration class was the start of a long-standing friendship. “I was like a proper groupie, and that went on for several years… And then he started to accept me; I wasn’t going to go away…” she laughs, “He’s such a sort of force, isn’t he? He’s so powerful in such a quiet way. I always feel better when I’ve spoken to Howard, you know what I mean?”
I wonder who else has influenced her, apart from Tangye.
“I like anybody who I sort of respect; any artist that keeps on working. That’s what inspires me. Jeff Koons is very of the moment, but for me it’s the fact that he’s made such a forceful career; it’s insane! Respect, seriously. No, I’m more run by death, really.”
By death?
“Yeah, that every day is passing… I have got this vision that I’m going to get run over.”
By a car?
“Uhm… a bus! I’m a really dizzy road crosser. Now I’m super careful, but I’ll think “Man, I think I might get motored down by a bus.” So yeah, that’s my force forward. Dodge the buses and keep on going.”
Is that the advice you’d give to students?
“Perseverance, yeah. Definitely. You have to be in it for the long term, that’s for sure. Or maybe not, you can be a flash in the pan, I suppose. That’s quite attractive too – a one-hit wonder.”
Appropriately enough, in the background to our conversation a song called “Get Better” is playing on the radio. It seems to define Verhoeven well. She is always moving and improving, pushing herself and her work forward, quenching her thirst for newness. She might be moving away from fashion, yet fashion’s high-speed process of renewal seems to be an integral part of who she is. Verhoeven isn’t going anywhere but forward, dodging the buses, embracing failure and constantly getting better.
Photography by Dexter Lander
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The man who considers rebranding CSM to ‘Dudesville UK‘ to attract more Kanye West-ish applicants, Jeremy Till, will put on a clincal white robe to perform brain surgery on you and your project. ”Dr Till told me so” is the irrefutable argument you can use at your crit if you visit the lime green table this wednesday at 15.30 in the CSM Street. CSM only!
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Edie for 1 Granary
1 Granary star, Edie Charles, is one of the models for Barneys SS14 campaign, titled ‘Brothers, Sisters, Sons & Daughters’, which celebrates a part of modern modelling not yet entirely embraced: transgender. We’re so excited to see our friend amongst all these amazing people, and we are so happy that CSM becomes a home for everyone, never judging and always accepting. Patricia Bosworth interviewed Edie for Barneys, which you can read below.
For the next two weeks, The Window will be featuring profiles of the amazing individuals featured in their Brothers, Sisters, Sons & Daughters campaign, shot in New York by the iconic photographer Bruce Weber.
EDIE CHARLES
I was born and raised in Greenwich Village. I’m twenty-one. Growing up I worked as a child actor in theatre and voiceovers. I never thought of myself as especially successful. In high school I took a silversmithing class at the Y and I fell out of love with acting. Designing jewelry became my passion.
I was always at odds with my gender. When I was very young, my preference for typically feminine things was obvious and I would always pretend to be a girl when I played with friends or met new people. As I got older, I became increasingly aware that my gender expression was perceived to be atypical. So I tried to align myself with a gender that was socially expected. I attempted to present myself as male. And yet, my whole life I was mistaken for female which made this difficult. Towards the end of high school I had a girlfriend for a while, and then I decided to experiment with dating men. I wanted to explore that part of myself.
Edie (on left) wears Comme Des Garçons. May (profile forthcoming) wears Stella McCartney.
My concept of gender and sexuality has always been very fluid. I grew up in a very supportive environment and the transition was met with little resistance. Shortly after, I met my boyfriend. He had just graduated college and moved to New York. Having an older boyfriend meant that I could escape to his apartment and explore my gender freely. I started experimenting with drag. My boyfriend’s apartment became a safe space and my female clothes began to invade his closet.
He has been my biggest support throughout my transition. My friends have also been incredibly supportive. After I graduated high school, I moved to London to pursue a degree in jewelry design. Moving abroad presented the perfect opportunity to start fresh and express my gender openly. I began living full time as a woman. Here again, my boyfriend was a huge support. He began studying in London as well, getting a PhD in gender studies. He was always my best resource.
Edie (on left) wears Erdem . Maxie wears Altuzarra.
Meeting him opened my eyes to a whole new world of gendered possibilities. I didn’t see my transition as much of a surprise and my parents had always been very understanding. So when I would visit New York, I increasingly began to dress in a more feminine way, without warning. I think my parents thought it was a phase, but about two years later I ‘came out’ as transgender and told my parents I wanted to begin hormone replacement therapy. They didn’t quite understand why such aggressive treatment was necessary, but they were supportive of my decision. I told them I had previously been content living androgynously but now, as male puberty began to further set in, it was important that I align my body with my identity as a transgender woman. While they were never resistant, with time, my family has become increasingly accepting and understanding and I am so grateful.
I started hormones in August of 2013 and I couldn’t be happier. I finally feel like my true self. Through my transition I feel I have blossomed. Transitioning has enabled me to express myself freely. I feel actualized; I feel more confident, more genuine. I feel ready now to face the world as my own person, irrespective of gender.
Edie wears J. Mendel and Manolo Blahnik. Matthew wears his own clothes.
All photos © Bruce Weber.
Text by Patricia Bosworth for Barneys
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Central Saint Martins seems to be the core of creativity, where young talent has the opportunity to experiment and to be taught by the great CSM tutors. As for myself, I can’t help but feel very lucky to have the opportunity to be part of CSM life. Despite the fact that this is a vast educational organization equipped with big studios, professional equipment, the three story library, and all the benefits for creativity to thrive, the most intriguing of all are the students themselves…
The commotion outside the Granary building.
Federica Liggieri – all vintage.
Yuhan Wang – Coat: &Other Stories; Trousers: Topshop; Shoes: Dr. Martens.
Sheryn Akiki – shoes & bag: Nike
Øyvind Vevang Rogstad illustration by Sheryn Akiki
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A show applauded by many in the industry, the MA 2014 graduates made Valentine’s Day a very special day indeed. Before and after the show, we spoke to a few industry insiders to get a glimpse of their expectations and opinions, and we’re excited that everyone shared the same enthusiasm that we felt about this year’s graduates. Lou Stoppard feels this year is optimistic, Sarah Mower speaks about the differences between fashion education now and fifteen years ago and Felicity Green believes they’ve broken down a barrier.
Felicity Green: It’s the most exciting one I think they’ve done for years. There was an amazing thrust forward, and all students seem to have been going into the same direction. It’s as though they’ve broken a barrier down, it’s all thoroughly new and exciting. They no longer use ordinary fabrics. They create; I don’t know what to call them: ‘stuff’’, to work with. It’s a whole new route into fashion. It’s very futuristic and it’s very exciting and I think that talents are way out in front of anything we have seen for a long time. I think there is a lot of brilliant talent for the fashion industry.
Did you spot any favourites?
Felicity Green: I very much like Teruhiro Hasegawa. And I loved the way they used these fabrics in directions that are against, what can I say, against… balance, and yet they balance somehow. They really go in directions that you think just can’t work. And they do work, they make fabrics float and so it was very exciting.
Last Monday, you had a private viewing at CSM. What’s your take on this year’s students?
Sarah Mower: I think it’s extremely interesting to see how many designers are interested in textiles. The skill to embroider and design things beyond print- because the print revolution came out of Central Saint Martins- and now you are seeing people who are more interested in surfaces.
Is there a particular you would like to mention?
Sarah Mower: Absolutely, Anita Hirlekar. She is amazing and her colour sense is incredible as well.
What else would you like to mention?
Sarah Mower: What I do notice now, is that how difficult it is for student designers who have to pay so much to go university, to have the ambition to go to business. Before, 15 years ago, we had designers with free education. So they were free to be business-focused or to be cool. Now, because designer students are in debt, they can’t afford to be free. So they decide to go into business immediately. Although, expect from this graduation show to see talented people who will work for fashion houses. Even if they have got the burning desire to do something, they will do it later, it won’t happen immediately.
So what’s your take, Alex?
Alex Fury: I like Drew Henry, but I think it’s really hard to judge people at this point, because they are yet to design a full collection. You really don’t know. It will be amazing to see how they go on and develop. I like Drew, that was my personal favourite.
What’s the big difference with the graduate show last year?
Lou Stoppard: This year is more optimistic.
What do you think of the show?
Yu Masui: It’s hard to say. There are two Japanese designers [Teruhiro Hasegawa and Nayuko Yamamoto] in the show and I really support them. This year I think it’s more about the technical side, rather than the big silhouette and stuff. There is a lot of work on detail and fabrication. So you have to look closely to see what’s going on.
What did you think of the show?
Timi Wilson: Brilliant!
How is it to live and work with Louise?
Timi chuckles
Who was your favourite designer this year?
Timi Wilson: It’s hard, I love them all. Obviously the two winners.
If there would be three winners, who would you nominate?
Timi Wilson: I couldn’t say that!
What did you think of this show in comparison to the other years?
Jeremy Till: This is the first time I’ve been.
Well what did you think?
Jeremy Till: Oh well it was amazing.
Do you agree with the winners?
Jeremy Till: No, but I’m an old man, so why should I?
Who was your favourite?
Jeremy Till: There was this amazing knitwear graduate, Serena Gili, who made the garments with long nets and resin dresses. Also Drew Henry, who made gloves of the cowhides. [Sarah Wigglesworth joins conversation] What did we like again?
Sarah Wigglesworth: The ponyskin stuff [Drew Henry], the Shinto Priest [Rory Parnell-Mooney], the rugby shirts with the dangling everywhere [Anita Hirlekar], I thought that was really cool. I really liked the egg skirts [Serena Gili], with all the beautiful knitting above.
Jeremy Till: So we liked seven out of eleven things, that’s not bad. And the last one I put down to my age.
Was it too experimental?
Sarah Wigglesworth: I thought it was a bit ‘samey’.
Samey?
[Sarah laugs] Yes, it was all a bit the same.
Jeremy Till: But I did think it was amazing, so I feel like a proud stepfather.
Interviews: Tian Wei Zhang and Jorinde Croese
Photography: Kasia Bobula
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Harriet: Can you tell me your name, age and what your doing here? Goom: 22 (I think) it’s different in Asia compared to here. So I don’t really know, I think I’m 22. Wait, so, when you came out your mum’s watsit, you were 1 year old? Yer! What are you studying? Fashion Print, 2nd Year. Any internships? I’m working for this freelance designer now. She’s worked for Prada and Miu Miu .
What’s she like?
Very calm; she’s cool. She’s Asian. I kinda think Asians work harder (ed note: Goom would like to clarify that Brits aren’t so bad either; they just have bad teeth*). I mean, if you go to the library here, everyone’s Asian. We pay more; that’s probably why they’ve accepted us here. I mean, I don’t really work hard!
What are you doing at the moment?
An Ethical project. I’m quite fucked.
You’re hungover?!
No I’ve done no work! I just go and have tea with my friends. I drink like 6 cups of tea a day.
What do you see yourself doing after CSM?
I don’t know. I want to be anywhere except Korea. I don’t want to go back .
Why not?
Fashion…it’s not big there, it’s quite boring. I think I am quite different to most Korean people. They don’t really understand me. Like how I dress. I could go back and get a job. But in terms of fashion and art, I don’t want to go back.
Why do you think you are different?
I’m not even that different. They just think the way I dress is quite crazy. In Korea, I do not dress up. Only in all black, very boring. But still people look at me and go “What the fuck is that?!” I have to dye my hair black when I go there. I haven’t been back for a few months because I didn’t want to dye my hair!
So the end goal… Is your aim in life to get your own fashion line?
I want to go on MA, but I’ve heard some horrible things about it…
Oh tell me!
It’s strict, very hard work…the tutors… Apparently “she” doesn’t like Asian girls so… The worst are Asian girls and the best are the poor English Boys. Apparently once, only Korean helpers went to help a Korean girl there and she was like “Ching Chong, blah blah get the fuck out of my studio.”
(Another student chimes in to the defense of the mysterious tutor) “In a way she has a point, she was shouting at a girl who had been here for 6 years and couldn’t speak a word of English.”
What are you afraid of?
Getting kicked out of this country…
Do you think that is going to happen?
Yes, I can’t afford the work Visa. Most of my friends here went back to their home countries. It’s a typical thing to do. Finish school here, go back there get a job and stay there for the rest of your life…
Oh…
* Ed note: I’m English, I can complain about my own teeth.
Photography: Rebecca Thomas
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