It’s a Friday night and Central Saint Martins is live. Whilst performance often struggles to find its place within a gallery space, it certainly has its place in tonight’s event. The Fine Art studios are an organised mess of sculptures and screens, bustling with the bodies of excited students and performers alike. Audience reactions and interactions seem to be the theme and, with energy running high, the show offers visceral thrills and considered conversation.

With busking and tarot card readings, the 3D and XD pathways of BA Fine Art took their turn to deliver an Open Studio worthy of attention. Showcasing ongoing work whilst raising money for the approaching degree show, we talked to some of the students involved.

Andrew Saunders

Bringing outside interests into an art context, Andrew engages with lowbrow culture in the form of YouTube and, most notably: The Simpsons. With tin foil, masking tape and a green screen, Andrew extends the weird and wonderful into the strange and deranged — think Itchy & Scratchy meets “Stark Raving Dad”. Slapdash replicas of America’s most beloved family are accompanied by unsettling wailings and an Amazon-purchased Natalie Portman à la Queen Amidala mask, with tongues for eyes, I might add.

At face value, Andrew’s work is absurdly entertaining. Sourcing material via computer or TV, his dedication to ridiculousness, the surreal and grotesque, questions our incessant “couch culture” and obnoxious laziness; perfectly characterised by the overweight consumerist body of Homer Simpson. This realisation is arguably as unnerving as being alone with Andrew’s creepy characters. Nevertheless, as an artist, he’s more than happy if a good laugh is all you take away from it.

E Zhang

Amidst a vast, crumpled canvas, I discovered a small screen and “脱, 穿”（Take off, Put on) by E Zhang. Part-filmed via drone, the piece’s visuals are romantic and cinematic, spanning the wild countryside before focusing on a solo silent figure. Originating from an image in the artist’s mind, we watch as the subject repeatedly removes and puts on his clothing, whilst also battling harsh winds. Commands in Mandarin (“take off”, “put on”) are cut into the strong gales, and the film becomes a messy display of emotion. This intended emotion is amplified by its surrounding paintwork. This mass of paint actually belongs to second year student Aidan Wallace, and the spontaneous decision to merge the two pieces worked unbelievably well.

Focusing on installation and performance action pieces, the audience is crucial to E’s practice. As an artist, she doesn’t shy away from doing things on a grand scale; despite its miniature display “脱, 穿” (Take off, Put on)” is a pretty big production. Her work ranges from a peephole activated from the inside, Op.Peeping.II, to a durational treadmill performance at Camden Arts Centre, in which the audience freely controlled the speed. In giving free rein to an audience, each piece becomes ‘alive’ and more about the individual’s emotion as opposed to the artist’s own. “The funny thing is that it’s like doing a test: anything can happen, and I only understand it when it’s complete.”

Matthew Wang

Framed by the green glow of Waitrose, Matthew took to the stage in an unmissable and sickly performance. With an array of reduced food items, totalling 2200 calories, he proceeded to blend his daily food intake into nauseating gruel. With the audience feeding his energy, he persevered and swallowed it whole. Whilst his practice explores bodily stress and tension, this piece aimed to pass comment on big-city life in relation to food. Taking our constant rush to eat to the extreme, the artist parodied not just our ridiculous wastage and over-production of food, but the grotesque over-consumption of it.

Eliot Allison

Concerned with the separation between a structural or logical perspective and human emotion, Eliot attempts to “design the systems to make conversations”. Deciphering where human feelings fit into these structures or systems, his work is incredibly open and continually unfolding. This is set into motion by what Eliot calls “process performances”; performances in which he appears to be making or building something, only to deconstruct it when it reaches an end.

Friday’s process performance was a recreation of an earlier piece in Peckham Square. Investigating places outside of art contexts, heterogeneous Peckham offers a different type of curiosity and genuine emotion. How this translated in Central Saint Martin’s institutional sphere is open to interpretation, as is the rest of Eliot’s work. Scrawling patterns on the floor in chalk, Eliot’s process appears mathematical, but it is a mathematical algorithm with infinite outcomes. These diagrams are merely “climbing frames for conversation”. Opposing the locked-in blocks of online messengers and modern society, Eliot encourages fluidity and a world of discursive possibilities. After all, “there’s always a dialogue between something, you just need two things to exist for that to happen.”

Aidan Strudwick

From pop music to Ant and Dec’s Saturday Night Takeaway, Aidan’s enthusiasm for all that is lowbrow is unrivalled. A performer in his early stages, on Friday he showcased himself as spectacle and crowd-pleaser. With prizes and karaoke, he refused to be ignored and had the whole room belting out Adele before it was even 8 o’clock.

Currently undergoing a year out, Aidan is having fun after a rather tense Frieze period, exploring the endless possibilities and sites of performance. His practice converses with the kitsch and camp, pitting the two against each other in the loudest way possible. Whatever the gimmick, it doesn’t matter, “art should be democratised” and if you can’t draw, sing or act, Aidan is sure to find a place for you.

Words by Sian Toolan

Photography by Oliver Vanes

Video by Conor Rigby

The post Artists in the making: 3D and XD Open Studios appeared first on 1 Granary.

With end-of-term deadlines looming, how do students at Central Saint Martins cope with the stress? Do they have any daily routines they follow in order to get work done? What is the ultimate procrastination? Fashion journalism student Misha Skelly and fashion design student Giovanni Corabi dived into the fashion studios to find answers to these questions.

The post Daily Routines of Central Saint Martins Fashion Design students appeared first on 1 Granary.

The White Show: Central Saint Martins’ most anticipated production of the first term, staged by 1st year BA Fashion Communication and Promotion, featuring the designs of 1st year BA Fashion Design students. The premise is rather simple: here’s 5 meter of cheap calico and 5 meter of basic white cotton: go and create something incredibly creative. 

Think white’s just ‘white’, a non-existent-colour? Nope, as anybody who has worked on this project will know, there are at least twenty different kinds, which makes it all the more easy to get into some sort of fabric-buying predicament when deciding to get some extra stuff. As Wikipedia clarifies– “Variations of white include what are commonly termed off-white colors.” Did Virgil Abloh go through the same calico torment? Are you all dreaming of a White Christmas after having gone through this project for weeks?

While we count down to tomorrow’s show at 4PM, we asked three graduates who have successfully launched their own brands after leaving CSM, to share their projects with us.

Tigran Avetisyan

“The project was inspired by my best friend’s father who is a mountain climber, and traditional Tibetan vestments.”

Lowell Delaney

“I remember making the bodysuit out of 40 pattern pieces and thinking is was a great idea until it came to the making. Also just the whole project being a bit of a shit show, as no one had any idea what the fuck was actually going on!”

Henrik Vibskov

“my white project /

a suit and a blown up egg

with a built-in blower in a backpack

i didn’t really like being at CSM / England, didn’t have much self confidence before this project

felt i was drowning in a big capital

so needed something to make me survive / like a lifesaving vest / so a blown up thing was maybe an option

also

needed something to impress / big scale stuff  / but also related to the classic tailoring menswear

i ended up with my white project at my crit

everybody was suddenly clapping and suddenly i became the guy with the egg down at the library / and people asked me how i did it and wanted to go to my party the next weekend

and suddenly Britain and CSM became a much smoother place to be

one project that change my studies.

(I ended up doing a black version of the same that was presented at Hyeres festival.)”

The Egg in the film “The Egg” (2001)

Egg at Hyeres (2003)

Best of luck to all the 1st year students working on the White Show! For regular updates check the White Show Instagram account @martinsandco

P.S. Did you know the White Show 2011 was one of our first ever posts? Check out past coverage here: 2011, 2012, backstage 2012, 2013

The post The Central Saint Martins White Show Archives appeared first on 1 Granary.

One of the most fun parts of watching the White Show, is trying to figure out what on earth the references are. What makes the designers tick? We have seen a model with three faces, loose bikini tops on boys, a white version of the balloon house in the movie Up, puffed bodysuits, duvet-dresses a la Margiela, the yearly returning tradition of a naked boy’s buttocks paired with a corset, Mexican wrestler masks, Geisha attire, and presumably two lesbian brides in white frilly dresses. One girl walked the runway with her arms chained together, in the air, by use of white fabric — wouldn’t one want to peek into her sketchbook and find out her thought processes? Over the Christmas holidays, we shall be publishing the work of several White Show students and unpick the seams of their work, but for now, enjoy the backstage madness!

If you cannot see the video, don’t worry! We’re fixing it at the moment and it should be up and running shortly.

We applaud the first year Fashion Communication and Promotion students, a.k.a. Martins&Co, for producing the show, masterfully promoting it on their Instagram, and making it all run smoothly. A massive high five to all the designers for creating such inventive looks, and on behalf of them: thank you technicians! And, last but not least, a big thank you to Andrew Smith for streaming the show on 1 Granary, to Oliver Vanes for running around to capture backstage and front-of-house, Antonio Vatev and Clem Macleod for helping us, and Hyunjung Hexa Koo for sharing her backstage pictures with us.

Photography by Oliver Vanes

What have you learned?

“I learned that I prefer to whisper.

Everyone hears the shout, but no one listens to it.

While not everyone hears a whisper, but everyone listens to it.”

Favourite white reference?

“Lucian Freud’s shirt.”

What have you learned?

“The technicians are the studios saviours. Don’t think too much, just start working and re-work the mistakes. Cream is not a white.”

Favourite white reference?

“White longhair cat”

What have you learned?

“I was struggling with getting my inspiration developed into designs, so in the future I have to make sure I choose a topic I know I can get designs from. Also to manage my time more carefully…”

Photography by Hyunjung Hexa Koo

What went terribly wrong and terribly well?

Terribly wrong: sewing of the garment

Terribly well: developing patterns from flat designs

Terribly wrong: developing research into designs

Terribly well: making of patterns and sewing the garment

Terribly wrong: fighting against gravity to make my garment hold

Terribly well: exploring how my concept could be translated in 3D

Photography by Oliver Vanes

The post The Central Saint Martins White Show 2015 appeared first on 1 Granary.

Foundation students at Central Saint Martins open up about their backgrounds and sources of inspiration. They explain to us what they think is important to develop within a Fashion Portfolio and what pathways they are likely to pursue next year. Right before the holidays, we asked Money Wang, Zoe Horgan, Inzali Moe, Victoria Kozorezova, Leanne Kim and Jamie Sutherland to share some of their work, history and thoughts about this first term.

“Coming to Central Saint Martins has always been on the top of my list…”

Leanne Kim

Zoe Horgan’s portfolio

Do you come from an artistic environment?

Money Wang: I come from a family of lawyers in Malaysia. My family always knew that I was artistic, I was always drawing or doodling in class. I am blessed that my family lets me do what I want to do.

Zoe Horgan: I was educated in Switzerland and I lived in a very rural area of England. I recognise now that both my sister and I had the most unusual upbringing. I wouldn’t say I received tremendous amount of support when I was younger, but now, support is all I receive.

Moe Inzali: I come from the second biggest city in Burma, and I used to freelance as a make up artist in Japan.

Victoria Kozorezova: I was born in a small provincial city in Russia. I spent all my teenage years in the streets with skateboarders, musicians and artists. I had no idea that one day I would be in London doing work that I really love.

Leanne Kim: Even though no one is in the arts field, both sides of my family are fairly artistic — my mother being more interested in sewing, whilst my Korean cousins are all very good painters and photographers.

Jamie Sutherland: I come from a family of intellectual creatives: photographers, professors, dancers, artists and writers. Ever since I could dress myself I was wearing pink, sparkly velvet dresses and skirts. I grew my hair long and experimented with makeup. Living in a small city meant I was (and still am) stared at every day, but I got used to it. Studying at CSM has allowed me to experiment with my style freely once again, and now I no longer wonder who will gawk at me as I leave the house.

Victoria Kozorezova’s portfolio

Looking back at life and work before the Foundation year, which people have inspired you to get to where you are now?

Money Wang: I believe that if my friends and family didn’t support me and agree that I should study fashion, I would still be miserable with what I was doing.

Zoe Horgan: My sister. She’s a photographer and filmmaker, and has always inspired and pushed me. As Eugène Ionesco writes on “Notes on My Theatre”, I am “surrounded by the halo of creation.” My classmates inspire me daily, we bounce off one another’s ideas and always consult on each other’s projects.

Moe Inzali: Nick Knight from SHOWstudio. I was really inspired by the way he communicates stories visually without words and talking. Tracey Emin has always been a big inspiration for her self-expression. She is very direct, yet intimate and sensitive.

Victoria Kozorezova: Phoebe English and Anne Sofie Madsen as fashion designers. As a cinema-holic I would say that Jean-Luc Godard had the greatest influence on the development of my tastes and preferences.

Leanne Kim: My mum has always been a great source of inspiration and a prime figure in my life. On a daily basis, it is very much my classmates and the collections of Iris Van Herpen.The constant flow of new explorations, such as 3D printed dresses and laser cutting, demonstrates a continuous push of boundaries.

Jamie Sutherland: There are too many to count! Designers who challenge our concept of gender ‘tradition’ constantly inspire me, such as: Juun J and Siki Im. But I grew up appreciating artists and photographers such as Louise Bourgeois, Henri Matisse, Nan Goldin and Ren Hang. I cannot fathom where I would be creatively without my family whom provide a constant stream of artistic stimuli.

Money Wang’s portfolio

Is it more important to look at the past as a source of inspiration or only to the future?

Money Wang: I think you should not be influenced, but move on or add your own creative twist to it.

Moe Inzali: We need to look at every moment: past, future and of course what is happening in the present time, around us and in the world. Be inspired by past designers and come up with your own ideas.

Zoe Horgan: It’s difficult not to look at the past for inspiration. I think reworking aspects of the past and making it current, or a future trend, is the key to design.

Victoria Kozorezova: I’m still into the 80s. I think the future is boring. We know nothing about it, and I prefer to work with history and true facts.

Leanne Kim: I feel it’s incredibly important to gain inspiration and knowledge of what has been previously explored and produced by designers. But it’s also important to have your own strong aesthetic, which leads you to stand out from the rest.

Jamie Sutherland: I think limiting yourself to just one source is restrictive; I’m constantly looking at the past, present and future. We are often advised to ignore our contemporary environment, yet I believe this can be such a vital source of inspiration. Sometimes noticing other people’s current mistakes or breakthroughs can be a hugely progressive influence.

Leanne Kim’s portfolio

Which pathway are you most likely to pursue next year, and what excites you most about it?

Money Wang: Textiles Design. Discovering new techniques and working with new materials I have never known or used.

Moe Inzali: I would like to pursue Fashion Knitwear. Textures, colours and shapes are what I do. I love to work on the body.

Zoe Horgan: I am looking to apply for Fashion Design with Marketing, as I never want to restrict myself to one area of the fashion industry: as a designer it’s dangerous to limit yourself. The fact it’s not constricted by the title of ‘menswear’ or ‘womenswear’ excites me the most.

Victoria Kozorezova: Fashion Womenswear. The female body is the best kind of canvas to work with. It’s a masterpiece.

Leanne Kim: I’m still at a stage of exploration. I love textiles and print but I am considering Fashion Womenswear, as I am excited to learn more about the technical construction of garments.

Jamie Sutherland: Fashion design for sure, I am still deciding between menswear and womenswear, because my designs are so androgynous. I love the ability to create an art form on the body, and I want to confront the convention of what we know as clothing.

Inzali Moe’s portfolio

How have you changed during these few months?

Money Wang: I’ve learned to play even more and let loose. The past me would be so stoked if he would see me now. I never thought I could create things like what I’m making now.

Moe Inzali: I have become very independent in my design thinking and process. My visions for arts and design have widened into various perspectives.

Zoe Horgan: Everything is visually palatable now: I find it hard not to be inspired by everything I look at. Now everything seems to reflect who I am as a designer.

Victoria Kozorezova: I’ve started to wear black, all the time.

Leanne Kim: Even though I knew before that fashion design is ultimately the pathway for me, I feel that this process of discovery has been very valuable, as I am also able to see the improvements in my concepts, sketchbooks and samples.

Jamie Sutherland: Before foundation I spent a lot of time explaining every decision made in my sketchbook. My work is very abstract and conceptual and I’m learning how to communicate my ideas visually whilst avoiding using text to explain. I’m also learning to break from my comfort zones in terms of colour, texture and silhouette. Studying at CSM was always my dream, it still feels surreal to walk through the gates every day.

Jamie Sutherland’s portfolio

Words by Teresa Fogolari and Jamie Sutherland

The post Inside the minds of Fashion and Textiles Foundation students at Central Saint Martins appeared first on 1 Granary.

The Design and Make show of the second year textiles students brought together an eclectic mix of fabric designs, from knitted garments to woven rugs. This year, the exhibition featured pieces by all the textiles students in the different specialisations: knit, print and weave. Given three different themes to develop: “Fluctuation”, a “Place of Longing” and “Super Botanic”, they had to begin a project in each of their pathway, based on any of these concepts.

We spoke with 9 Textiles students after the show, who revealed to us how they seek to challenge notions of textiles as domestic, purely decorative or fashion-based. A mission very well accomplished through the creation of work that stretches the preconceptions of what ‘fiber art’ is.

Stephanie Le Masurier, who specialises in weave and knit, explains her concept and why she calls her sketchbook a chaotic/disorganised visual diary of her imagination. “With working at such a rapid pace, I noticed I needed to take my time and analyse what was going on around me. My own wastefulness and consumerism was playing heavily in my mind, and I thought about what I would leave behind if I took myself out of the equation. I then started photographing a lot: things that I wore, things that I found on the street, the dying plants in my living room, images of my family. It emphasised the process of just ‘being’ and how important it was to be just be more aware.”

When asked about the way she sees her sketchbook in the development of her work, she added: “When I start to work, it is usually quite messy and can look disorganised/chaotic. My sketchbook contains work that is quite 3-dimensional, so it is important for me to have a more clean image to take reference from, when I am developing my work. Therefore I usually scan a smaller sketchbook in and work from the scans… I also think my sketchbooks help me to find what I’m trying to say or show with the work, and also reference the work of certain artists that can enhance my research. Phillip Toledano’s book called ‘Bankrupt’ was a big inspiration at the earlier stages of this project because of the way it displayed people’s disorganised chaos. Toledano plays and establishes strong concepts within his work, which I really liked.”

Specialising in Print and Weave, Marie Hazard talks to us about the concept of liminality: a transitional period during which a person lacks social status or rank, and remains anonymous. Marie says how she was touched by the current events in Paris, her hometown, and in particular the issue of migration. “I was interested in this idea of moving from one place to the other, and that is why I decided to work with bicycle tyres on my weave project. The concept of “fluctuation” forced me to question my personality, in a way. I started to work with natural materials to create this idea of traveling and fluctuating. I began to work with my photographs, analysing its colours, materials and textures, and I tried to recreate them in my pieces.”

Having lived in Japan for 6 years during an early stage of his life, Min Kim tells us how much he is influenced by the Japanese culture in his work. “The initial idea for my project came from the view of ‘Wabi-Sabi’: a comprehensive Japanese world view or aesthetic centred on the acceptance of transience and imperfection, and how Japanese people try to find beauty in something that is incomplete and humble.” Wood was Min’s chosen texture to represent this idea of old and organic. His main idea was to combine Wabi-Sabi’s aesthetics with the more embellished aesthetics of the Western world.

“I have realised it is not about the outcome for me, it only matters that the textile I’m creating has some third dimension. Then it can be anything.”

Inspired by the Triadisches Ballett, an avant-garde artistic dance, and african hairstyles, Nadia Wire Albrechtsen explored the idea of “Fluctuation” in a sculptural and detailed way. She explained to us how her work developed since the beginning of her BA, and why she shifted from a Fashion Design course in Denmark to a Textiles BA at CSM. “Before I came to CSM, I studied fashion, so I was struggling a bit in the first term to find the balance between textile and fashion, and how I could combine them. I have realised it is not about the outcome for me, it only matters that the textile I’m creating has some third dimension. Then it can be anything: a garment, an accessory, etcetera. I still see myself working in the fashion industry, but I’m certain I would only work in a textiles department, as I find it much more interesting. I love the idea of creating a new unique fabric and working with unconventional materials.”

Still under the “Fluctuation” theme, Annabelle Charlier’s metallic prints and weaves reflect her research very well. “My concept was based on fluctuations of light. I was interested in the idea of light in movement, as well as how light reflects against and through different materials. I explored shiny, matt, glossy, rough and pearly materialities. Gold metal translates this initial research the best. The idea of printing onto metal made me interested in designing textiles for metal armour, like in the middle ages, which could become unique couture pieces. It is about the dialogue between the spotlights shining onto the woman wearing couture and the textiles themselves.”

Violet Miller’s knits and prints were inspired by running in London. As Violet says “I was particularly interested in the different types of surfaces and patterns of pavements, as well as looking at different types of trainers and safety wear. I became fascinated with the raw industrial urban feel of the concrete and wanted to relay this in my textile. I also wanted to challenge the preconception of safety wear by integrating fluorescent yarn and reflective materials in my designing process.”

Although she uses high quality materials and sophisticated techniques, Violet’s work often has a cool, raw look. “The more experimental and playful I am towards my work, the better the end result is. I try not to be too precise with my work or worry about the final outcome. I work on a larger scale making quick abstract marks. In the studio, it was about deconstructing and transforming my materials into something completely new. I experimented by ripping, shedding and cutting, to create different types of textures. I like to be active and not spend too long making one thing. I tend to have a couple of things on the go.”

Acqua Lixon Su is a print and knit student. Her project is about Retro Future places and contemporary artists who explored this theme. In her work, Acqua shows her fascination for everything that is against the “normal”. After visiting God’s Own Junkyard, in Walthamstow, Acqua describes what amazed her about the place, which became her main inspiration for the project. “It is a place filled with neon lights and Joe, the curator, moves stuff very often from one place to the other. As my project was about exploring the idea of a “Place of Longing”, I felt that this place would fit perfectly with the concept.”

Words by Constança Entrudo

The post Design and Make: From conception to creation appeared first on 1 Granary.

2015 has been a moving and inspiring year at 1 Granary. For one, it is because we started featuring Parsons, Antwerp Fashion Department and Royal College of Art students and graduates, as we wanted to broaden our minds and learn as much as possible outside of the CSM college walls. We realised that if we, young creatives, want to bring about a positive change in the industry, what better way than to come together as one; learn from each other, make friends and have fun?

On top of that, this was a year in which ‘sustainability’ became even more important, not only in terms of ethical production and natural resources, but with a growing awareness about human resources in our industry. Raf, Alber, Jonathan? Can we find ways to oppose the ‘norm’, when the students of the best fashion design schools come together? This is what we would like to find out. Besides, visiting new colleges was incredibly exciting this year! We realised that they are all so different from Central Saint Martins, which makes it all the more exciting to explore the work of our international peers.

In a similar vein, we wanted to expand 1 Granary to more students of different disciplines, like fine art and textiles. It was not easy, but the wheels have been set into motion! We were very happy to start working with the Royal Academy Schools, and also to cover much more fine art ‘in-house’. In 2016, both online and print will focus more on different pathways, as we are inspired by what other people do, and hope that collaboration between different disciplines will take place more often.

Some of this year’s show highlights were

Central Saint Martins White Show

Central Saint Martins BA Fashion

Central Saint Martins MA Fashion

Central Saint Martins Fine Art Open studios 1 and 2

Central Saint Martins Fine Art Degree show

Antwerp Fashion Department end of year show

Royal College of Art MA Fashion

In 2015, we met the most Influential Fashion Educators

In the past twelve months, we chilled with Antonio Banderas at Central Saint Martins, ran into Pierre Berge during a YSL exhibition, met video art legend Bill Viola, worked together with Bvlgari, met the minds behind Acne Paper: Duncan Campbell, Charlotte Rey and Thomas Persson, sat down for a one-on-one with the founder of the Antwerp Six: Geert Bruloot, learnt about excellence in design from Acronym, had enlightening conversations with Hussein Chalayan, Demna Gvasalia from Vetements and trend forecaster Li Edelkoort, went to Paris for the LVMH Prize, and launched issue 3! But that’s not all, we had some of the most inspiring interactions with all of the people below, who we would like to greatly thank for their time, generosity and advice!

In 2015, we got a whole bunch of advice from

…and had breakfast with these industry people to pick their brains

Even if this year was at times one of devastating headlines, the enthusiasm, positive vibes and invaluable insight we received from everybody made us realise that, actually, the future looks extremely bright. We hope that you have had a chance to learn a handful of useful things through our conversations with some of the most intriguing minds in the industry, that you were entertained, or perhaps started questioning several issues currently happening in the fashion world.

The entire team 1 Granary would like to wish you the best of festive days, and cannot wait to share awesome articles, upcoming talks and other events, as well as 1 Granary issue 4 with you in 2016! A very special thank you to everybody who contributed to the platform this year, we could not have possibly made all of the magic without you! Together with the students we will be taking a break until the 4th of January, but will be posting student projects of the White Show!

White show after party photography by Honor Cooper-Hedges

The post 1 GRANARY’S BEST OF 2015 appeared first on 1 Granary.

Research is and will always be a vital part of a designer’s creative development. In this project, the second year Womenswear students were thus to dig further into what actually constitutes a research process. With a vital focus on exploring new and different areas of initial sources, the students were strictly denied any access to the Internet. With two weeks to create and develop a personal concept, they had one week to create one outfit to communicate their visual narrative. Have a look on how four fashion students decided to approach the challenge!

Vincent Lapp

What is your project is about?

We went to visit the Rambert Dance Company’s archive building in Southbank, where I saw this artwork from Goshka Macuga, in which she depicted the dancers in their studio. But because of the technique she used — contrasting black and white pixels to create both the characters and the environment — they actually looked more like dehumanised creatures in some kind of slow, unwilling movement to me. It initiated the project, and looking at this huge picture inside its own environment (behind windows), added to its meaning. They did not only seem like blurry ghostly shapes, but also trapped, imprisoned, crushed, consumed. This gave me the basic story to develop my ideas of devoré fabrics and designs.

Where do you usually begin your research and design process?

I usually start at home. I like being alone, get some peace and quiet, so I can choose a good theme to work on. It can take a few days. I feel a lot more distracted and non-productive when I am surrounded by people, like in the library. I am quite sensitive to noises.

Do you primarily use first or second hand research?

I use both, but generally more first hand research. I feel that I can have a more personal perspective, where I ‘possess’ my process. When you really understand your concept, when you ‘own’ it, you can always feel that the work you produce truly respects and represents who you are and what you wanted to express. That’s something I manage to achieve more easily from a first hand source. Second hand research allows me to expand the quantity of visual sources I can use and have a more global vision; to integrate new details, or to sometimes rectify something wrong or incomplete.

Do you have any particular theme that recurs in your work?

I never really work with the same theme, since I’m not sure I could rework one and be totally fresh about it to have new and interesting visions. I’m just scared that I would make the same decisions again and again, so I prefer to work with something new. But it’s also because I get bored quite quickly, so I kind of need a new interest. However, all my projects are linked in a more global, deeper thought. I’ve worked a lot with the idea of destruction, suffering, rage and what makes you feel alive. Sometimes it is easy to identify, but it also can be hidden and metaphorical. I also like the idea of performing both through and within the garments. Almost like in theatre or opera, where the costume is a full part of the character. It gives them their identity and describes their mood as much as their attitude. That’s the way I’d like to see the women I dress: like pieces of my play.

So, the library. Tell us what you really think.

The library has many books about many different things, which is a great place to begin your research. Nevertheless, it can be hard to find what you are looking for when it is something really precise. You may need to go on the Internet first to get the basic info, and then look further in the books to deepen your research. The material and product collection is an amazing chance for us to touch fabrics we haven’t seen before and we wouldn’t have thought to use.

In this project, you weren’t allowed to use any visual research from the Internet. On a scale from 1-10, how did that work out for you? (1 being you still getting lost on your way to the CSM library, 10 meaning you can’t remember the word ”computer” ever being part of your vocabulary.)

I would say 8 out of 10. I had the chance to find my idea during the visit to the Rambert Archive, which helped me a lot in this process that restricted us from using Internet material. I found the majority of the visual references I used in books from the library. Yet, I still made some late research on the Internet to complete my theme decipherment and understanding. Internet has become such an important part of our lives, I guess it will take a few more trials before I completely abandon it. It makes the research process so much faster and easier, but the risk is that everyone gets to see the same things and forget to be critical about it. You have to be critical about it, or you’ll get lost in the information flow.

Are you satisfied with the outcome?

I am pretty satisfied, even though it’s not exactly what I was visualising when I started the project. We had several other things to hand in during the week, so basically the four-day project turned into a two-days-and-two-nights job for many people. Because of the short amount of time, I have had to make some compromises. The basic shape of the garments is what I imagined, but I wanted to make some metal cuttings and couldn’t find any company in London that was able to do it in time. I ended the making of the garment in the last minutes. I was struggling to place my surface decorations nicely (almost the most important part), and I’ve had to remove some fabric experimentations I made, which took me a long time, because I wasn’t able to find the right balance. But when I saw the model wearing my look, I felt pretty satisfied and relieved it worked that well.

Firpal Jawanda

What is your project is about?

It’s a personal exploration into gang culture and its links with worship and devotion. I read about South Asian gangs that were creating their own ‘uniforms’, which I think was the starting point for the research.

Where do you usually begin your research and design process?

I usually just pick up books from the library that look interesting and go through them page by page, scanning what I like. With this project, the first few pages of my research were mainly focused on colour; there were no big ideas at the beginning. I just had to get going and not worry about having a perfect initial narrative.

How do you look at the challenge of transforming 2D work into 3D?

It can be intimidating and upsetting when you fail at it. But if you push through that and stay motivated, you’ll have a better chance of learning more and creating something you think is valid and interesting, even if it is just one aspect of a final garment.

Do you have any particular theme that recurs in your work?

My identity. The links that I’ve made in this project come from my personal experiences, somehow. Gangs are big part of Wolverhampton, where I grew up. I would see these South Asian boys pray on Sundays at the temple and cause shit during the week days. It was interesting to watch these dual identities that these boys were juggling, while I was juggling my own, you know?

Are you satisfied with the outcome?

Considering the fact that this was an outcome of a ‘one week project’ — when we had two other deadlines, that essentially left us with 3-4 days to make a whole look plus toiles — I guess I should be happy with it. But it’s such a rushed project that it’s hard to be proud of anything you can make in that amount of time. There is so much I would change or scrap altogether; my research was so much richer than the final thing. But the nature of having 3 and a half days to make your garment is pretty rough. You don’t have the time to make mistakes, you don’t sleep and you fuck up.

René Scheibenbauer

What is your project is about?

I was interested in how identities are shaped. I see a personal identity as a state of mind, or time that is unfixed and constantly changes. I observed how people’s identities are manifested in the way they create their private spaces: what they choose to surround themselves with, and how these things are connected to their history, present or future.

Do you have any particular theme that recurs in your work?

The themes and ideas I work with differ mostly between being reflective about my observations, and exploring things I’m curious about. There are definitely themes that keep re-appearing, and that go on to evolve from a different angle in further work.

How do you look at the challenge of transforming 2D work into 3D?

Sometimes I manage to translate 2D work into 3D work naturally, as my ideas mostly come three-dimensionally. It’s very interesting to experiment with varieties of fabrics in 3D, and discover how these materials drape, move and react to manipulation.

Do you primarily use first or second hand research?

My research varies between observative photographs I take, and also include direct sketches. In my work, I try to respond to direct experiences, whether these are emotional, visual, physical or any other form. Books or online sources inform these additionally.

Do you think CSM students are given enough tools to explore a broader area of research methods?

There are definitely several tools to explore different research methods. However, there is not a lot of time to let experiences appear naturally, which can then be explored further in depth. Instead, you rather have to stick to the first thing you see that you consider for your project. There is mostly not enough time to dig into your initial idea, research, or design development more in-depth. There’s not enough time to make mistakes, or have unexpected events that are crucial to push your work into unknown territory.

What do you really think about the library?

The poetry section is a forgotten dusty spot! There is definitely a lot to catch up on!

Are you satisfied with the outcome?

I consider the outcome of this project to be only one starting point.

Vy Cutting

What is your project about?

Basically, I received an all-in-one printer from student finance for my dyslexia, and I just went crazy, scanning random pieces of plastic and existing garments. I became fascinated by the creases, folds and textures of these 3D objects translated in a 2D scan. One of the objects I found was a plastic bag with a label that says “WARNING: plastic bags can be dangerous. To avoid danger of suffocation, keep bags away from babies and children.” This reminded me of Lucy Glendinning’s works, ‘100 ways of falling’, which captured people that were falling down (committing suicide) from plastic factories in China. I then started looking at other artists, such as Karla Black, who played with fragility and draping of plastic. An artist I then explored, was Betty Goodwin, who was attracted by the materiality of found jackets. She used ’soft ground techniques’ to create etchings, which gives her jackets an X-ray effect. I started experimenting with printing my scans onto little samples of fabric, which became a big element in my project. (But please don’t try forcing fabrics through your printer if you have a fancy inkjet one).

Where do you usually begin your research and design process?

It depends on the project, though the best place to get inspired is Deptford Market.

How do you look at the challenge of transforming 2D work into 3D?

I get most of my 2D works from draping with existing garments. As I hardly have any pattern cutting experience, sometimes what I am trying to achieve is slightly unrealistic. Thank God for pattern cutting tutors! Big shout out to Sharon for getting me through this project.

Do you have any particular theme that recurs in your work?

Last year, I was the ‘Queen of big shapes’ and explored abstract silhouettes. But recently, I am focusing a lot more on fitted, tailored garments. My transition means that I am still trying to ‘find myself’, I guess.

What are your true thoughts about the library?

I still have problems finding my way around, to be honest. At the start of every project, I really like to just randomly pick out an armful of books and spend my day flicking through them. I think it’s hard to use the library unless you’re looking for a specific author, artist, designer or genre.

Are you satisfied with the outcome?

I am quite satisfied with my outcome, but I wish I had more time to make some plastic trousers for this look. I feel that my ‘plastic idea’ could have been pushed further.

Words and photography by Matilda Söderberg

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‘Luxury’, what exactly does that word mean? Students at Central Saint Martins are often trained to go into the luxury market, but the word has different meanings depending on who you talk with. Is it related to high quality or rather to a high price? When you walk into a boutique, pick up an expensive t-shirt and find out it has been made with a cheap fabric, does this alter your state of mind about luxury? Is luxury about the dreamworld you create for your customer? We went into the fashion design studios and asked five students what the word means to them.

Daniel Kellaway-Moore, Knitwear

 “Luxury, in a way, is whatever you want it to be.”

What would you say your definition of luxury is?

Something that I don’t have or can’t afford. In terms of items, I would say an Yves Saint Laurent leather jacket.

So you associate it with money?

Money and/or time. Definitely time.

What’s the most luxurious thing you’ve done this week?

Going out for dinner. I don’t have any time, being here at CSM.

In a recent report by luxury expert Jean-Noel Kapferer, seven common elements that characterise luxury are described as: exceptional quality, hedonism, price, rarity, selective distribution, exclusive character, and creativity. What do you think about that?

Definitely quality and rarity. That is luxury.

How would you feel if a luxury house wanted to sell you a polyester t-shirt for £500?

Polyester? No way. I mean, come on. I’d rather have silk.

Would you sell a polyester t-shirt for £500 if you were able to?

No, because I wouldn’t buy it. This [points at garment] is from Christopher Shannon and it was around 100 pounds. I think that’s more acceptable.

So you think that price is associated with luxury, but quality and rarity is more important?

Yes. Something from Comme Des Garcons might not be as well-made as something from Yves Saint Laurent, but both products and brands are so different.

Ultimately, ‘luxury’ is changing then.

It’s in the process of change. I wouldn’t say it’s for the worse. I think luxury, in a way, is whatever you want it to be. It depends on your personality and what you want to spend your money on.

Eva Neuburger, Fashion Print

“Taking the time to actually hand craft a piece is the ultimate luxury.”

What’s your definition of luxury?

Time. Especially since I started at this university. I’m running out of it constantly and money can’t buy it.

Would you say luxury is something that doesn’t have monetary value?

Yes, absolutely. However, you could say that ‘labor time’ is money, and you need that for a garment to work. I’m always needing more time, wanting to do more things. Not just for financial success, but to see and experience more.

It’s almost something unattainable.

Yes, that’s the thing. I think that’s why it’s so luxurious to me: it’s something that I will never reach. The only thing you can do is being more efficient.

Between exceptional quality, hedonism, price, rarity, selective distribution, exclusivity and creativity, which do you think embodies ‘luxury’ most?

It used to be rarity, like materials and colouring, but nowadays I think it’s something more about exceptional quality. Especially when you consider mass production and how most products are made today. Taking the time to actually hand craft a piece is the ultimate luxury. Handwork is the most expensive thing nowadays. Ultimately, it really is the exceptional quality that is most luxurious to me.

How would you feel about a £500 polyester t-shirt from a luxury brand?

I think it’s fucking ridiculous. It’s just a PR gig. It’s just creating a ‘bubble’, but that’s what we live off and that’s what we create as designers, that ‘dream’. But it’s actually just a vacuum. It’s a good and a bad thing, because that’s what we sell our clothes with, that dream and that illusion that we create. But on the other hand: a £500 polyester t shirt is absolutely ridiculous.

Would you ever sell a t-shirt for £500?

If I had someone hand weave the fabric and put labor into it, then yes. But if it was a jersey t-shirt made with a machine, then no. It would need to have something extremely extraordinary about it. If I sell someone a design, it really is about the execution and the process.

Antonio Vatev, Fashion Design with Marketing

“You have to work very hard to be able to sell a polyester t-shirt for 500 pounds.”

What’s your definition of luxury?

Free time.

Everyone is saying that!

It’s true! Especially since being at CSM, I’ve realized that time is a real luxury.

From the terms exceptional quality, hedonism, price, rarity, selective distribution, exclusivity and creativity, which means ‘luxury’ for you?

I think selective distribution, definitely. It’s very important when things get done on time, especially for clients.

So how do you feel about a luxury house selling a polyester t-shirt for £500?

[Laughs] As a buyer, if I had the money, I would spend it. However, I think it’s definitely not about the quality of the garment. It’s just the label. You have to work very hard to be able to sell a polyester t-shirt for 500 pounds. I don’t really think that a polyester t-shirt is very ‘luxurious’, though. The price is all about the label. I don’t agree with it, but that’s how it works.

If you would own a luxury fashion house, would you sell a t-shirt for £500?

No. I would keep the prices lower, but when the house gets bigger and bigger, you have to put the prices higher, as a lot of people work for you and there are a lot of expectations. It’s not necessarily about you, it’s about the business. It’s not about the t-shirt at all.

Edward Mendoza, Fashion Print

“Luxury is having the time to make up your mind.”

What’s your definition of luxury?

Something that is unique to a person. It could mean labels or something more real, like cultural identity.

Between exceptional quality, hedonism, price, rarity, selective distribution, exclusivity and creativity, which do you think embodies ‘luxury’ most?

I would say the most important ones are creativity and rarity. I think cultural rarity is really important. A lot of people don’t know where their things come from, and I think they should have that knowledge.

So how do you feel about luxury brands making £500 polyester t-shirts?

If they’re a business, they have to do that. You’re really just buying into the label.

If you had a luxury fashion house, what would you be making?

I don’t really want a luxury brand.

Why?

I feel like it’s too much. It can get really big and you see all of these designers who can’t cope.

Like Raf Simons?

Like Raf Simons and John Galliano. It’s just too crazy, the whole fashion schedule. I think luxury is having the time to make up your mind. Like Alaïa: if he doesn’t feel like doing his work in time for fashion week, he won’t show. He does it when he wants. I think that’s cool. That’s luxury.

Jamie Challinor, Fashion Print

 “Something only available to a smaller audience is luxury.”

What’s your definition of luxury?

A high level of quality. Something only available to a smaller audience.

How do you feel about a luxury house selling a polyester t-shirt for £500?

Well, people aren’t paying for the polyester t-shirt, they’re just paying for the name. It’s almost a guarantee that it’s going to be ‘good quality’, because it’s associated with the luxury brand.

Would you sell a polyester t-shirt for £500?

Maybe not t-shirts. If it was a nice pattern cut top, maybe I would. But the thing is, you look at Craig Green and he’s selling his trousers for 500 quid, and they’re quite simple. But it’s mental, because his mentor, Walter Van Beirendonck will sell beautifully textiled jackets for half the price. I suppose it’s just about if you can get a way with it or not.

So you would if you could?

Probably [laughs].

Words by Clem Macleod

Photography by Jonas McIlwain

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Producing a piece of work in under two weeks that successfully occupies the vast space of CSM’s Street is a daunting set of conditions for any artist. Striving towards this goal as cross-pathway, collaborative collectives, while responding to specific themes set out by the course’s Critical Studies seminars (as Stage Two BA Fine Art students have been doing for the last few weeks) adds another dimension that offers both opportunities and challenges of its own. While there were inevitable clashes of ideas and personalities throughout the process, the resulting show was testament to what can be achieved when many artists work towards a common outcome- something more conceptually and technically ambitious than any one artist could have achieved alone in the same time frame. Given Assemble’s Turner Prize win, and with Chisenhale Gallery, The Showroom and Studio Voltaire presenting their shared program of collaborative works and events, ‘How to Work Together‘, over the next few years, collaboration is a force that is clearly gaining momentum in contemporary art practice.

Featured below is a selection from the fifteen or so works exhibited on the night, with thoughts shared by some of the artists who collaborated to make them. (Please note, the images do not relate to the text next to them.)

 

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“There is no such thing as art – only artists.”

— Ernst Gombrich, Art Historian

What is the meaning of ‘art’ in the art world today; a time where an artist can legitimately claim that anything is art, even the ready-made? It seems that perhaps credibility is the greatest accolade an artist can achieve. Yet to do this, not only do they have to possess the extraordinary self-confidence to believe in their own work, but to also persuade their audience to believe in it too. Technical skill is no longer a prerequisite for an artist — moreover, it is how skilful they are at communicating an idea.

Within the creative realm, our ideas are formed not simply from what is absolutely ‘right’ or absolutely ‘wrong’, but upon the platform of opinion via our perceptions of the world around us. This leads me to question whether it’s possible as an artist, through art, to modify the perception of an audience and adjust the lens through which they view reality; portraying a belief that what they are viewing is undoubtedly ‘art’. As demonstrated by Allan Kaprow in Essays on the Blurring of Art and Life, art inherently elevates an object. He writes, “The circle closes: as art is bent on imitating life, life imitates art. All snow shovels in hardware stores imitate Duchamp’s in a museum.” Naturally, one then questions whether this suggests that anything can be art, and here enters the favourite statement of all of the aunties and uncles of art students across the world: “But that’s not art!” Ignorance, as we know, is bliss.

I question whether it is in the intention of the maker that an artwork is created; that a piece of work becomes a piece of art, when it is defined as such. But how do we discern a border between art and non-art, when we are faced with the possibility that anything can be designated as ‘art’? Here occurs an absence of distinction, everything has become art and art has become indifferent. It is the anecdote of a rubbish bin in an art gallery; spectators uncertain as to whether it is artwork or functional.

I speak with the artists at Central Saint Martins to find out what it is within an artwork that conveys value and authenticity to its audience, and allows for the all-mighty title of ‘art’.

Flora Grosvenor-Stevenson

“Art can be a commodity, but if you’re making art for money, it will lose its integrity.”

Flora believes that art is an all-encompassing force. Its power is that it can stand for whatever you want it to stand for; it is the audience who apply their perception to an artwork and who bring their own interpreted value to the piece. Value therefore, stems from a personal stance on an artwork, which can vary from person to person. Thus, we have this immeasurable unit of value which cannot positively define whether something can or cannot be art. Although Flora tends to consider that everything and anything can be art, she says that this is on the condition of who is calling it art. The question of “What is art,” she says, also relies on how broadly we consider the term. She believes that the medium of an artwork is dependent on what the artist feels at the time of production, and that the medium itself cannot dictate whether something is or isn’t art.

I ask Flora whether she thinks that art is a commodity, to which she responds that it can be, but that if you’re making art for money, it will lose its integrity. She explains that money is inherently evil whereas art is a thing of beauty, and sees the two, which naturally run side-by-side, as an oxymoron. So perhaps as long as integrity is intact, the artwork is reputable. Flora speaks often of an attachment of emotion to art, believing that art is about emotion, and that it is this emotive attachment to art which creates value. Ultimately it seems that for Flora, art is a question of subjectivity, and that in itself, makes it difficult to pinpoint where the line between art and non-art resides.

Felix Higham

 “Can anything be art? Can anything be anything? Can anything be a hat? Well no, because a bowl can’t be a hat. But when you start using the term ‘art’, it just sounds good and suddenly anything can exist.”

I ask Felix what the word ‘art’ means to him. He tells me about the kinds of people who look at contemporary art and proclaim, “That isn’t art!” but who then spend the rest of their time pointing out random, mundane objects and saying, “That could be art…this could be art.” He makes a good point, it’s something I’ve witnessed myself; it’s both amusing and frustrating. But he himself struggles to clarify what is and isn’t art; he considers it largely indefinable. Having studied Fine Art for three years, he feels that he has earned the ability to determine whether something is or isn’t art, yet everyone else still has this mythical ability to say otherwise. He sees this as the interpretation of individuals; everyone will see something in a different way. He believes that art largely revolves around interpretation, that anything can be art if it’s posed as art. But I wonder whether in contemporary art, we have become overly concerned with interpretation; we are constantly trying to decipher what an artist or artwork is trying to say, and subsequently we can easily overlook the original purity that art once claimed.

As a child, Felix says he sold his soul on a piece of paper (in the style of Bart Simpson) and we discuss whether this assimilates with selling your art as an artist. After all, Charles Baudelaire did historically state that “Art is prostitution.” Perhaps there is a difference between selling yourself and selling out? His soul, by the way, made the grand sum of £3.50. I ask Felix how he would summarise the word art, and he nonchalantly compares the word ‘art’ to the words ‘mud’ and ‘fish’ and tells me, “There are lots of different types of fish and they’re all really different, all in the ocean, all getting on with shit. But what is a fish? And what is art? So my answer is, art is fish.” It’s a compelling argument, right? I think the point he is making, is that art is a very broad umbrella term with lots of components that build it up, and to question what is or isn’t art has to become a discussion about very small things in an incredibly vast vacuum. He says that the word ‘art’ is too broad to define it as a singular term, and that the definitions within this will naturally contradict one another.

All art is a commodity, he tells me, due to the value we place on it, whether that is monetary or symbolic; one man’s crap is another person’s gold. Felix believes that art is so close to the hypothetical that it becomes an imaginary argument. If the question is “Can anything be art?” then he says that the answer is “Yes,” but he wants to see it in physicality, rather than hear about an idea. He explains, “Can anything be art? Can anything be anything? Can anything be a hat? Well no, because a bowl can’t be a hat. But when you start using the term ‘art’, it just sounds good and suddenly anything can exist.” I ask whether he describes himself as an artist to strangers. “It depends on whether you’re drunk enough at a party to admit to it, or if instead you want to avoid a crap generic discussion about ‘art’ with an ignorant art outsider. Sometimes I’ll say I’m a painter, but occasionally I’ll have to then be like yeah, you know, like a painter and decorator, painting walls. And the other person is relieved, because they can understand that, so it just goes down better. The alternative is being asked if you can paint a nice picture for their wall.”

Shireen Liane

“We exist in a time where anyone with a cup of tea can call themselves a curator.”

I ask Shireen what ‘art’ means to her, she tells me, “Right now, I feel like art means trouble.” At the risk of sounding negative, she admits that she looks forward to a day where she can engage with her art, as opposed to having to justify it constantly. She tells me that what can or cannot be art depends on who you ask, “We exist in a time where anyone with a cup of tea can call themselves a curator.” So I ask, if anyone can be a curator, can anything be art? Shireen explains that context is everything and that it’s about who is saying whether something is art; “Even if that’s some authoritative figure coming down from the mountains to announce, ‘This is art! This is crap!’”

She suspects that ‘value’ is a gigantic con-game where the art market is concerned; that symbolic value speaks much louder than capital value. Symbolic value in art, for Shireen, is about whether something speaks to you or not. She personally chooses to keep the notion of ‘commodity’ separate from her practice, pointing out that graphic design would have been a more appropriate pathway if she was chasing money. When I ask whether a person needs a degree to be an artist, she answers “No” before I have finished the question. Instead, she believes that it’s having the confidence to declare yourself as artist, adding that “It’s telling that the word con is in there.” At which point she apologises for coming across as sour.

Shireen came to study art following a long career in the music industry, seeking the institutional support. She ironically exclaims, “Come and get some Cultural Capital of Validation from an Elite Art School!” But three years in, does she feel as though she has been given this support? She shrugs, it’s telling enough. While Shireen is certain she’ll appreciate the theoretical art discussions in a few years’ time, at the moment she simply feels weighed down with the justification of every move she makes.

Kat Buchanan

“You’re not an artist, you’re an art student…”

Kat has always found the categorisation of whether something is or isn’t art very problematic. She tells me that ‘art’ as a term is incredibly broad and therefore too difficult to easily summarise, but she does say that to an extent, anything goes, and comments that when something is presented in an art context, it exists as art. For Kat, if she is told that something is art then she doesn’t question it; she is far more concerned with whether the work interests her or not.

We discuss the possibilities of art and non-art, and Kat explains that the boundary between art and life is a particularly difficult one to separate. Performance art, or any artwork which sits especially close to life, becomes harder to differentiate. She makes the example of washing her dishes at home: she has the ability to call it an art performance, but who will see it, and does this make it any more or less an art piece? She suggests that a person performing in the street could in fact just be having a nervous breakdown, acknowledging that the idea that it could be either an art performance or a personal crisis is what she finds interesting. I ask who or what decides if a person is an artist, and she states that being an artist is about having a practice, that we have to provide ourselves with the title of ‘artist’. However, her boyfriend recently told her, “You’re not an artist, you’re an art student,” and we consider whether there’s a difference. She concludes that perhaps it depends on who is looking at the artwork or the artist; that it is in the lap of the audience to decide.

(Check out Miss Belief 2016 from Kat Buchanan on Vimeo)

Art by its very nature is problematic; it is subjective and malleable and thus an immeasurable unit of value. And naturally, when discussing a subjective subject, perceptions of value vary from person to person. It is as though one has to take art as a belief. To question whether something can or cannot be art is going to remain controversial, and the further the search for a core understanding of what we can define as art in the modern world, the more questions arise. It seems rather unanimous with my interviewees that the term ‘art’ is too broad and too loaded to sum up in one easy sentence, but perhaps it is this notion that makes art such a curiously wonderful subject to engage with. It’s an infinite and compelling discussion to which one cannot easily reach an explicit answer. Instead, let’s keep believing in art.

Words and photography by Holly Delaney

The post How do the art students at Central Saint Martins define the word ‘art’? appeared first on 1 Granary.

“Each designer has their own style, and it is our job to make their dream come true. We work in the shadows.”

A sea of iridescent beads is spread across a table in the MA studio, shimmering in the harsh, fluorescent light. A particularly intricate design lies in the middle of the mass: a swirly blue sky made of pastel sequins frames a cluster of scarlett tulle poppies centred with beaded 3D stigma – the sample was for Saint Laurent in 1997. 

This is the work of Maison Lesage, one of the oldest embroidery houses in the world, owned by Chanel since 2002, but rich with a history of great partnerships. Customers and friends have included Yves Saint Laurent, Christian Dior, Christian Lacroix, Christobal Balenciaga, Elsa Schiaparelli, Karl Lagerfeld and Pierre Balmain. Today the house maintains these relationships, and continues to develop new ones, creating beautiful fabrics for haute couture and ready to wear. New customers include Mary Katrantzou and Alexandre Vauthier.

François Lesage set up his first studio in 1948, but the family legacy of embroidery had existed long before. His parents, Albert and Marie-Louise Lesage, ran the Michonet embroidery atelier which was founded in 1858. Maison Lesage has racked up a stunning 70,000 samples in their archives over this long period.

Laure du Pavillon, a representative of the house, explains: “Archives are very important for us. We have some pearls from the very beginning of haute couture. Although this is our history, we think that this is also the future, because any designer can come and take inspiration.” Pavillon speaks with an elegant, French-throttled English accent. “We never make the same sample twice.”

At the moment, the samples are only available to design studios. When asked whether these will ever be made public, Pavillon replies with a wry smile, “that, is a secret.”

“There are people who have been here for 30 years and they love embroidery. It is a commitment, and you have to be committed when you are working for 12 hours, or the day before a fashion show.”

Pavillon also declines to reveal some of the famous pieces that were created by Maison Lesage, laughing and brushing the question away with her hand, “I can’t tell you that, we have so many.” The modesty of the maison is admirable, working away anonymously behind great designers. “What is important is that with each designer, there is something incredible and important. Each designer has their own style, and it is our job to make their dream come true. We work in the shadows.”

In 1992, after the bedazzlement of the eighties, a new wave of minimalism surfaced, and the demand for couture and embroidery waned. This, along with the effects of the Gulf War, saw an economic crisis hit the house. Lesage refused to let his staff go (“he saw the embroiders as his daughters,” Pavillon claims) so he made a new role for them: teachers of embroidery. This way, he could save their jobs, and prevent the craft from dying out by passing on the knowledge.

This is no easy feat, however, as on average it takes five to seven years to be fully trained. To achieve this, you must be able to fulfill any request thrown at you.

The school Lesage founded now takes in 400 students a year, who come from all over the world to learn embroidery. Hours of lessons range from 12 to 350, and some students stay for over a year. Occasionally, the house will hire from within the school.

 The maison is diverse, the 70 embroiderers range in age. “There are people who have been here for 30 years and they love embroidery. It is a commitment, and you have to be committed when you are working for 12 hours, or the day before a fashion show,” says Pavillon. The school and the house are closely linked; all of the teachers in the school are embroiderers in the house.

Ecole Lesage has exchanges with schools all over the world, including The Royal College of Art and Central Saint Martins in London, Parsons and Fashion Institute of Technology in New York.

Maison Lesage has come to Central Saint Martins, enabling students to pour over an abundance of beautiful samples, and receive one on one tutorials from the embroiders of the house. They are teaching the method of the luneville hook. An embroiderer explains: “It is not so easy, because they work on the reverse of the fabric. If the fabric is opaque, you can’t see what you are embroidering at the time.”

“We are still working the same way as decades and decades ago, but we are always creating new samples and new materials.”

Qiao, a second year BA Fashion Print student, believes it is necessary as a designer to learn the skills of embroidery and embellishment. “Right now, it is a fast fashion industry. Most students are interested in something edgy, like Vetements, but there is still so much embroidery in fashion,” she muses.

Everything made by Maison Lesage is done by hand – as it was in the 19th century – even for their ready-to-wear buyers. With so much time and effort (some pieces take over one hundred hours of handy work) put into single items of clothing, it is a wonder how the house survives in today’s rapidly paced industry.

Pavillon assures me: “We don’t compete in that way. But of course, we have many assets which are very important to designers.”

Alongside Alessandro Michele’s fuss and frills method at Gucci, we have also seen a move toward Scandi style and clean, minimalist designs, but Maison Lesage simply rides the waves of trends fearlessly.  “Of course, we are suppliers. One season a designer can have a lot of embroidery and another none – that is normal. But, that is why we have many different clients and different activities. We keep a good balance for the business.”

Under the creative direction of Hubert Barrere (François Lesage died in 2011), the house strives to stay contemporary while honouring their historical legacy. “We are still working the same way as decades and decades ago, but we are always creating new samples and new materials. This is really the spirit of Francois Lesage.”

In the midst of an industry filled with factory–made fast fashion, it is refreshing to see that such delicacy and craftsmanship can continue to flourish.

Words by Abigail Southan

Photography by Liam Leslie

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