LONDON-BORN ENGLISH ACTRESS CAREY MULLIGAN CAME TO INTERNATIONAL PROMINENCE ON THE BACK OF HER ACADEMY AWARD-NOMINATED TURN IN LONE SCHERFIG’S AN EDUCATION, A ROLE FOR WHICH SHE ALSO EARNED BEST ACTRESS AWARDS FROM THE NATIONAL BOARD OF REVIEW, THE BRITISH INDEPENDENT FILM AWARDS AND BAFTA. SHE RECENTLY STARRED IN MARK ROMANEK’S ADAPTATION OF KAZUO ISHIGURO’S NEVER LET ME GO, WITH KEIRA KNIGHTELY AND ANDREW GARFIELD, AND ALSO IN OLIVER STONE’S WALL STREET 2: MONEY NEVER SLEEPS, PLAYING THE DAUGHTER OF MICHAEL DOUGLAS’S ICONIC CHARACTER. SHE ALSO STARRED AS KITTY IN JANE AUSTEN’S PRICE AND PREJUDICE. ADDITIONAL FILMS INCLUDE PUBLIC ENEMIES, THE GREATEST, BROTHERS, WHEN DID YOU LAST SEE YOUR FATHER AND DRIVE.

Carey has just won the best supporting actress award at the Hollywood Film Awards as well as the Detroit Film Critics Society Awards for her role in the tense drama Shame, directed by Steve McQueen where she plays Sissy, sibling to Michael Fassbender’s character, Brandon.  AGENT2 brings you this interview before the UK release of Shame.

Your character in Shame, Sissy, is another fantastic and really interesting part…

Yes. My agent gave me the script. She read it and she told me that there is this insane part of Michael Fassbender’s sister and I read it and I thought, ‘No way on earth will Steve McQueen ever let me play this.’ I thought they would cast someone gritty and American. So I met Steve thinking that there was no way this would come off and he kept on trying to leave! Like ten minutes into our meeting, he was like, ‘Right, okay, thanks.’ And I was, ‘Oh, no!’ And I kept making him sit down again.

What did you say to him?

I just said, ‘Look, Steve, the thing is’, and then I wouldn’t have anything to say. But we did end up talking about The Seagull, which is my big obsession. Playing Nina in The Seagull, I have never really recovered from it and I want to play Nina for the rest of my life, but I couldn’t find a film role that was on the same level, or as difficult or as interesting. Then when I read Shame I thought it was as difficult as Nina and that is what I told him, to convince him to let me do it.

Why is Sissy so close to Nina in The Seagull?

They both have an uncompromising nature. Both of them have the ability to jump without a safety net and they both have really, really high standards for love and for success and yet neither of them can meet them. There is a tragedy in that. When we were rehearsing for Shame, Steve and I talked a lot about Francesca Woodman who was an artist. She was a photographer, an American from Connecticut, and she started taking photographs when she was 15 years old. The majority of them were self-portraits and nudes and she killed herself; she jumped out of a building when she was 22 years old in 1981. I don’t know what it was about her but she had this same thing. She wasn’t afraid. She had no boundaries. She wouldn’t accept less than taking over and being seen and being heard. I don’t know why she killed herself but one of her frustrations was that she was not accepted in her time. People didn’t really appreciate her work and now, of course, her work is sold for thousands.

Tell me how Sissy fits into Shame…

I think Shame is about a man who is trying to control his life and won’t allow people to become intimate with him. He is trying to forget and has a regimented life and part of that is an addiction, his relationship with his sister and the people around him. But the sexual addiction has always been a side note to me, because I think it is more about how he connects with people and how any obsession or addiction informs how you behave towards the people around you. The sexual thing is obviously very specific and it is uncomfortable. I think that is Steve’s intention. It is funny because in the cinema if you make light of sex, or you are crude or you make a joke of it, then it’s fine and acceptable. But the minute you start to talk about it seriously it is unattractive and there is nothing in Shame that is very sexy. It makes you go away and never want to have sex again!

It must have been an intimidating role?

Terrifying. If I had been playing any kind of character, playing a tea lady, I would have been scared, because it was Steve McQueen and Michael Fassbender. The standards that they set are so high, so that in itself was terrifying. Added to that the particulars about the character, the music and the singing and all that stuff, it was a pretty big leap.

It’s an intense film, but can you also have a laugh when making the movie?

You can. I didn’t know what to expect because my first meeting with Steve was quite intense. He sort of riles you up. I almost cried! I think I did cry at our first meeting because he stirs up a desire to make art and no one else ever has ever done that in the same way. He really challenges you on why you make the choices that you make — what kind of films you make and why you are doing them. And that was really intimidating and alarming but he also reminds you why you want to act. He would come in when we were doing a take and he’d say, ‘Ah, Michael, you two seem like Fred Astaire and Ginger Rogers’, and it was amazing. You’d be so in awe and at the same time he’d be telling you to do it better. He would be like, ‘It is half time and you are 4-0 up and you have got to be 8-0 up. You can do it.’ Stuff like that. Sometimes it would be very quiet but often he was like a real cheerleader. He can mess around, especially with Michael. 

The bathroom scene and the singing scene — was one more frightening than the other?

Singing. The singing was more nerve racking than the nude scene. The nude scene in the end was fine actually. I think I was nervous beforehand. I remember lying down in the bath in that bathroom and I knew that Michael was going to burst into the first take at any point and, strangely, I didn’t feel nervous at all. Whereas with the first take of the singing I was really scared. Steve always wanted it live and he wanted it in one take. So that set of requirements meant you couldn’t muck it up. We were there for about two hours and we did take, cut, take, cut. And the lyrics when you study them are desperate. It was really fun to play. I had singing lessons and a singing coach and she actually played the piano in the scene.

Have you sung much before?

I was in the choir at school. I sang in musicals and stuff but never the big roles and, weirdly, Belle & Sebastian asked me to sing on one of their songs last year. That was very scary. I was terrified. I had no idea. It was so random. They just rang up my agent and asked if I’d be interested and I was like, ‘Yeah!’ It was cool but so nerve-racking. Singing is terrifying. It was the scariest thing. Not the worst thing to do but it scared me to death.

When did you first think you wanted to do this as your career?

The first time I did a play was a musical, The King And I, when I was six in Düsseldorf. My brother was in it and I wasn’t which didn’t go down very well with me. That was the first thing I did. But I don’t think there was a light bulb moment when I thought of it as a career. I just always thought that this was what I was going to do.

And you’re currently shooting Baz Luhrmann’s The Great Gatsby. Is it ever so lavish?

Yes. His style is so unique to him and he is the only person who can do it. It is amazing doing a period film and really walking into sets where the design is so grand. It is perfect. It is accurate. It is so intricate. It helps inform the role. It was the same in Shame. We were in a tiny apartment, literally, much smaller than this whole room and that confinement was so helpful. Michael and I played out scenes in one shot and it was really just the tiniest space and that made you feel claustrophobic. It is the same with Gatsby; the design and the set informs your work and it is so helpful.

SHAME is released in the UK and Ireland on 13 January

Check out AGENT2′s great SHAME t-shirt and DVD bundle giveaway courtesy of Momentum pictures here.

For more information; facebook.com/shameuk or follow @shamefilm

GLENDA BAILEY IS ARGUABLY ONE OF THE MOST PROMINENT WOMEN IN FASHION. SINCE BEING MADE EDITOR- IN -CHIEF OF HARPER’S BAZAAR SHE HAS TRANSFORMED THE MAGAZINE. IN CELEBRATION OF HER TEN YEARS AT THE MAGAZINE, SHE HAS TEAMED UP WITH CREATIVE DIRECTOR STEPHEN GAN TO PRODUCE A COLLECTION OF THE MOST STUNNING PHOTOGRAPHS TITLED ‘HARPER’S BAZAAR: GREATEST HITS’. JENNIFER BUTLER SPOKE TO GLENDA BAILEY ABOUT HER NEW BOOK.

Why did you decide to release a collection of photographs featured in Harper’s Bazaar and why did it seem like the right time now?

I wanted to celebrate the work of all the fantastic photographers, stylists and writers that I have been privileged to work with at Bazaar over the last 10 years. When Stephen Gan and I started at Bazaar a decade ago, we wanted to create a joyful tribute to the world’s best fashion, talent and artistry each month.

How did you choose the pictures that went in to this book? Are they personal favourites?

As I edited the book last summer, I was struck by how many remarkable images I had to choose from. I have so many favourites, but in particular; Jean Paul Goude’s fantastical portraits of Naomi Campbell, William Klein’s portfolio of designers and their team (Lanvin’s Alber Elbaz brought a bus full of people), Peter Lindbergh’s cover of Kate Winslet hovering over the Manhattan skyline, Demi Moore and the giraffe, Marc Jacobs and Winona Ryder recreating ‘Who’s Afraid of Virginia Woolf’ and sending the Simpsons to Paris (Marc Jacobs even got a tattoo of his Simpsonized self on his arm)

Why did you decide to realise a book of pictures rather than features of interviews?

We included a feature or interview from each decade in this book, but we had a lot of brilliant work to choose from, which leaves another opportunity for the next book!

What do you look for in a photograph to make it onto the pages of Harper’s Bazaar?

It must be iconic and epic.

What photographer have you been most proud to work with? Did you have any lifelong dreams?

Richard Avedon – I got to meet him on the first day on the job at Harper’s Bazaar, and it’s been a highlight of my career.

Harper’s Bazaar: Greatest hits is published by Abrams and Chronicle and available now at Amazon.

Words Jennifer Butler  Images Harper’s Bazaar

AS MANY OF OUR AVID READERS ARE PROBABLY AWARE, WE ARE MASSIVE FANS OF PUNK HERE AT AGENT2 AND THE FANTASTIC COLLABORATION BETWEEN LONG CLOTHING AND BOY LONDON IS NO EXCEPTION!

We just had to bring you these amazing images from a series of shots by London photographer Teddy Fitzhugh that were taken to celebrate the Long x Boy collaboration earlier this year.

The collection focuses around a group of friends whose lives embody a distinct attitude and spirit found in both brands. The photos intend to provide a reflection, not only of their relationships with each other, but also of the distinct connection between the clothing and their lifestyles.

Check out the rest of the series here.

leavetheboyalone.com | longclothing.com

Hollyoaks tends to deal with issues like that in quite a sensitive way. What is it like to be part of a programme like that?

Laurie: It’s really fantastic. You get a sense that you’re helping out because the show does deal with a lot of issues. Sometimes the storylines have to be a bit out there and it’s nice because they set up help lines and support for people going through that kind of thing.

Tosin: Hollyoaks does have a big influence on other kids, they look up to the characters. To be something kids can look up to is really nice.

Lucy: They approach it and they word it in a very sensitive way which is obviously very important. Things like my character being a lesbian and I had that relationship with Esther that was a summer romance. The way they wrote it was really nicely done, it wasn’t too over the top and it really showed a genuine romance that was at its first stage where you’re getting butterflies and you’re really excited when you see each other. It was really nice and really exciting to do that because I have never played a role like this before.

Is that romance going to continue?

Lucy: Oh, no, Esther wants it to but Tilly’s a realist, she thinks things through almost, I think, too sensibly but she always was like it’s not going to happen I need to get my head down and focus and it was what it was. I think Tilly could be a bit of a player. You can tell from her take on relationships that she’s had quite a few and they’ve never been mega serious, they just are what they are. That’s what I like about her.

Is this the sort of thing that you’ve always aspired to do?

Laurie: Acting in general. Just getting out there and working.There are actors out there who aren’t in this position who can’t say that they’re working on a show but it’s a fantastic opportunity.

Steven: We’re very lucky. It’s a great platform I think.

Tosin: I never wanted to be an actor I wanted to be a businessman. Don’t let this fool you I wanted to work in investment banking. I was going to go to university this year but I thought I’m getting work let me see how this goes then I got this and I thought I’m going to stick at it.

Was it intimidating to come into such a popular programme?

Steven: Everyone’s so lovely but it’s a big undertaking in a way. It’s a bit surreal. You walk in and you see Hollyoaks College and then you find yourself walking through the McQueens living room.

Laurie: It’s weird but everyone here is so unbelievably nice. It’s cool, you don’t feel any pressure really.

Tosin: The first day everyone asked which character I was playing, and had a chat. They all made us feel really welcome.

Lucy: It’s really nice because although everyone is really friendly and really welcoming at least we’re all in the same boat and it’s nerve wracking and you’re a bit anxious but it’s really nice we’re working together all the time. We’ve had lots of time to gel and our chemistry is getting really good. All the guys are living together and Scarlett and I are as well so it’s going to improve even more. I feel really lucky that we’ve come in as a group.

Have there been any big arguments?

Tosin: Yeah I had an argument with Dylan about moving the milk, no I’m joking.

Laurie: We had a slight argument because he’s a Manchester United fan.

Tosin: It’s only a bit of football banter.

Laurie: I’m an Arsenal fan so there’s a bit of rivalry and the other guy we’re moving in with is a Liverpool fan.

Steven: I’m any fan just keep me quiet. I just switch to whoever’s the loudest and scariest at the time.

What sort of projects have you worked on before?

Scarlett: Tosin and I did a show called The Switch which was great fun. I used to describe it as a Skins meets Hollyoaks for a younger generation. It was great we filmed all around London as well which was great because we both lived there.

Lucy: I was in Waterloo Road previously to this so I’m trying to get out of my Manchester accent, trying to neutralise it a bit. I’m the black sheep out of them all. I’m the northerner.

Do you have any say in what your characters wear?

Dylan: Yeah a bit, if you’re comfortable in it then yeah but if you’re not and they think its right for the character then they change it until it fits.

Scarlett: I think Maddie and myself are one and the same I have both these items in my wardrobe and they’re mine too. Our stylist is really great because he said if you don’t like it there’s no point buying it because if you’re not comfortable then you don’t feel comfortable on set. He was great he took us to all the great shops like American Apparel, Topshop, Office and Kurt Geiger, it was great.

Lucy: My characters really quirky and really funky and really edgy so he came up with things, we’d start off in Topshop because it has so  many different styles all under the same roof so it’s easy to start off there and kind of stamp a trend on what your character’s going to be and then go further afield and go to different stores. He’d pick up things and say try that on that were really clashy prints that I personally would never be brave enough to wear but actually you see how it really works.

Check out the new crew from this week on Channel 4 at 6.30pm.  AGENT2 brings you part 1 of this interview here.

www.e4.com/hollyoaks

Interview Elizabeth Horsfall  Video and stills Lucy Sharratt

THIS YEAR’S INTAKE OF NEW SIXTH FORMERS ARE ABOUT TO HIT HOLLYOAKS AND THE GROUP OF SIX ARE SET TO BRING SOMETHING DIFFERENT.

THERE’S THE BITCH, THE QUIRKY GEEK, THE LONER, THE OUTSIDER, THE JOKER AND THE GAY BEST FRIEND.

Scarlett Bowman, Lucy Dixon and Dylan Llewelyn who play Maddie, Tilly and Jono made an appearance earlier this year when some of the cast took a trip to Abersoch.

New to the show this week are Tosin Cole, Steven Roberts and Laurie Duncan who play Neil, George and Callum.

AGENT2 caught up with the stylish new additions to the cast as they explained how their characters are going to inject some new grit and fashionable flare into the soap.

In your first scene in Abersoch you were all wiped out after a party, is this sort of behaviour going to continue?

Lucy: Well we’ve just started back at school so we’re behaving ourselves a little bit more and focussing on work but the first time my character is seen is at a warehouse party and I’m not meant to be there because I’m meant to be in London with my family and then I end up turning up at the party with my friends and then Esther who I had a little fling with in Abersoch turns up but Maddie’s in before that at college.

Scarlett: Yeah there’s a house party scene before we start back at school in the week leading up to that. Then we need to study.

Lucy: My character is very studious, she’s always reading and learning. I love reading the books when I’m on set. I read a biology text book the other day about whales and it was really interesting. My character rubs off on me a bit.

Scarlett: I’m like the absolute tart because I’m there flicking through Now and Hello.

Maddie’s quite territorial, she knows who her friends are. There’s a drama with Bart which you saw in Abersoch and she’s out to get him back, but she’s got her wingmen so it’s alright.

Dylan: My character’s a bit desperate and he’s very different to me he’s more cocky and confident whereas I’m a bit more shy and awkward. He’s cool, I like playing him I want to be more like him. But he’s a bit too cocky, he gets wacked a bit.

How do these different characters fit in with the present Hollyoaks dynamic?

Scarlett: They don’t.

Lucy: Yeah, it’s a little group on our own. If someone were to be watching our group I don’t think they would think it was the stereotypical generic Hollyoaks, which is, I think what they’re going for with this new look and what I find really exciting because we are a new look for Hollyoaks.

Scarlett: I think it’s really interesting to see how it forms from the old version of Hollyoaks how we slot in as a group. Everyone’s wardrobe’s really cool, hair and make up’s wicked.

Lucy: We’re all really different. My character’s punky, arty, yours is kind of along the lines of 90210 but I would say Kate Moss as well.

Scarlett: My character references are Regina George (Mean Girls) because I’m a bit of a bitch and the girl from Mad Men.

Lucy: So that’s what’s great about it, especially because us two are best friends, we’ve known each other for years and we’re so different we’re like chalk and cheese so that’s what I really like as well.

Are you anything like your characters in real life?

Tosin: We have similarities. Sometimes you do tend to big yourself up when you’re with your friends, you edge it up a little just because you’re around the lads. So in that sense I would say I’m quite similar. In terms of playing football, being a lad, all that stuff. Trying to enjoy your young life while you can.

Steven: George is a good friend and so am I. Although George knows a lot about fashion and I don’t really. I’ve taken a more active interest in it now, I notice it more. My characters outfits are very out there and very colourful, I think they look quite cool. I bought a belt that he wears but that’s it, everything’s a bit too colourful.

Laurie: Since I started playing Callum I’ve started reading a lot of poetry. He reads a lot of Bukowski and I haven’t put the book down for about three days. He’s very dark and very abstract.

Steven: He was reading some to us on set the other day, he’s quite weird, quite cool.

Your introduction to Hollyoaks seems to have a Skins type vibe and they dealt with some really gritty issues. Will your characters be involved in anything like that?

Scarlett: I have wind of a storyline but I’m not sure. I know it will focus on the ups and downs of a standard student between 16 and 18. The stuff people go through like first boyfriends, losing your virginity, exam stress. I don’t think there’s anything really hardcore like Skins.

Lucy: I remember watching Skins and was absolutely hooked for the first two series and then I went back for the third or fourth and I kind of though they were glamourising the wrong things and making things out to be super super cool and you should do which are things that are naughty really which you shouldn’t be doing. I like that that we’re not doing that, we’re not showing that we’re getting wasted every night and turning up to school and not concentrating. We have our fun but at the same time we’ve got our heads on our shoulders, getting our heads down and working which is what I like and I hope that we’re going to be good role models for people of that age. That they can relate to that character and think if she’s going through it and she’s coping then so can I.

Check out the new crew from this week on Channel 4 at 6.30pm.  AGENT2 brings you part 2 of the interview from the cool new kids on Hollyoak’s block here.

www.e4.com/hollyoaks

Interview Elizabeth Horsfall  Video and stills Lucy Sharratt

IF YOU WERE AT LONDON FASHION WEEK THIS FEBRUARY, YOU’RE PROBABLY AWARE OF PANDEMONIA. AS A 7FT TALL, LATEX COVERED, CARTOONISH CHARACTER, SHE’S SOMEWHAT DIFFICULT TO MISS. ALTHOUGH SHE’S SEEMINGLY EVERYWHERE RIGHT NOW, LITTLE IS KNOWN ABOUT THIS SELF MADE CELEBRITY. IS SHE A LIVING HOMAGE TO THE POP ART MOVEMENT, A WAY OF COMMENTING ON CONSUMER CULTURE, A PR EXERCISE IN BRANDING? AGENT2 TALKED TO HER TO SEE IF WE COULD GET TO THE BOTTOM OF MYSTERY.

There’s a huge amount of discussion surrounding what Pandemonia stands for and what you’re trying to say. Are you making a fixed statement or are you open to interpretation?

Discussion is a good thing. Traditionally, art is illusive; does any one know the meaning of Mona Lisa’s smile and isn’t it all ‘in the eye of the beholder’ anyway? Can a person be a statement? Pandemonia is a cartoon reflection of metropolitan life in the 21st Century.

You talk about products being the new celebrities: conversely, how much do you think celebrities have become a product or brand themselves? Is your plastic nature a commentary on this?

Products hold the real power and celebrities are products in the media. Being a celebrity you have to manage your image in exactly the same way as a brand does.  It’s only the branding that distinguishes one thing from another.

Presentation means everything and it all comes wrapped in plastic.  Who needs content when the surface says it all? Commodities are no longer just things of use: they have become part of what we are. I went straight for that laminated look.

You’re placing yourself in the public eye in a huge way, but remaining anonymous at the same time. How do you deal with this duality and is it a deliberate comment on celebrity?

There’s nothing new about anonymity and being in the public eye. Just look at all the advertising.  Those images are flawless, and you can’t get beyond the surface.

I live beyond my self as an act of self creation. I’m a conceptual artist presenting the concept of  “A Pop Up Celebrity”.   Like an advert, I am another image in the media. Pandemonia is a story with legs and mysteries make good copy.

You’ve talked about being the creation of the ideal female shape – blonde, leggy, thin. Are you deriding society’s obsession with feminine perfection or are you part of it?

I’m just as influenced by the current aesthetics as anyone else. I take everything at face value.

The nature of Pandemonia means that you’ll never age – you’ll forever be shiny and new. Are you therefore the ultimate celebrity? 

Yes! I’ve taken it to its ultimate conclusion as another pre-packaged multi platform commodity. I work well in print, web, moving image and reality. Its catch up time for the cosmetics industry, they’ve missed a trick or two.

Would you say that becoming part of celebrity culture is the best way to comment on it, or is your immersion into the ‘it crowd’ just a way of getting yourself and your work known? 

Definitely! I place myself in the public eye so that I have a bigger impact on objective culture. News is spread in the market place. Celebrities make good press and people relate to them so being one of them is like giving your ideas a free ride. In the glossiest of magazines my ideas get exhibited right next to their influences. And of course the ready made audience is a big bonus. You can’t just buy PR like that!

Are you ever going to reveal what’s behind the latex?

There’s nothing there; isn’t that the point?

Finally, why Pandemonia?

Pandemonium means chaos. In Milton’s Paradise Lost Pandemonium was a palace of gold built by Mammon. All that glitters is not gold.

www.pandemonia99.com

Interview Tamsin Worrad

THE PAINTINGS AND SCULPTURE OF KONRAD WYREBEK CONTRAST HYPER-REAL COLOUR WITH TWISTING DARK-DEPTHS. FROM CELEBRITIES AND THEIR MODEL BOYFRIENDS TO A PENTAGRAM BASED SHRINE TO BEYONCE, THIS APPEARS TO BE ART ABOUT IDENTITY IN AN IMAGE BASED CULTURE – UNTIL YOU’RE PULLED BENEATH THAT ALLURING SURFACE. 

Though much of your work has a surface edge of celebrity or fashion, it is cut with challenging currents that make it hard to pin down.  Would you say there’s any dominant theme at play?

Above all I’m interested in idealised worlds. Many of my works – including the new circular paintings – feature hyper-bright colours that to me represent dreams, targets and ambitions. I think that often these aims are impossible ideals of perfection, so it’s important to me that the zones are faded into each other; elusive. Our ambitions are the same: what we aim for can quickly become somewhere else.

There are shadows in the glamour in though – through use of monochrome and twisted or deformed paint-strokes and also some threateningly ambiguous situations.

In a lot of my work  - such as the Paintings ‘Young Slaves’ and the sculpture ‘Three Graces’ – I’m exploring the possibility that the ideals we’re aiming for can enslave us. Our culture places high value on celebrity, fashion, youth and beauty. Super-perfect images and messages – celebrating and advertising these targets – are all around us. I think our attempts to attain at least some of that ‘perfection’, whether through shopping, sex or body transformation or whatever, can trap us in. We can end up in prisons of work, debt and limited ways of thinking.

What’s your process – from inspiration to finished piece?

Well, I work across different practices  - painting, sculpture and digital so it varies a lot. But often I use the unreal images of fashion editorial and advertising as a starting point. I search through magazines, papers and online sources like blogs and websites with fashion and lifestyle shoots. Sometimes I get them off Facebook too.

I’m seeking out images that, to me, say something about the times and our culture – that have a potential to open a dialogue and question the nature and value of the world we exist in. As much as I can see a dark-side to the kind of craving and ambition these kind of fashion and celebrity images can provoke I‘m also, like most of us, attracted to them.  So in a way, with paintings such as the diptych ‘We are Slaves to the World that Doesn’t Exist’ and ‘Ideal Five Rings Target Circle’ I’m trying to make sense of my interest in them and also investigating the ambiguous meanings in the images. So with ‘Ideal Five Rings Target Circle’ I’m trying to capture the uncertain quality; whether that boy’s S+M mask accessory is trapping him in a magazine page – or someone else’s borrowed idea of a sex prison.

The painting ‘Beyonce Is New Black Madonna’ is the centrepiece of a pentagram installation, that has echoes of Russian constructivism as well as creating an shrine-like impact. Is there a darker meaning to the pentagram?

In European culture and Christian-based society, I read the pentagram as a symbol of anti-religion. But it can also be also read as a new religion – the birth of new beliefs through the negation of an old one. So with that work I built up almost an altar-like installation with an oil painting of celebrity in an iconic pose. She’s a goddess for many.

She’s an icon.  The title says the rest.

See Konrad Wyrebek’s work in a show curated by Michael Petry at:

Clifford Chance Collection, 10 Upper Bank Street, Canary Wharf, London E14 5JJ.
Tel: 020 7006 1000. Opens to public 17 June-31 July 2011.

Turps Banana

NOW IN ITS SEVENTH YEAR AND RETURNING FOR ITS MOST CREATIVE EVENT YET, THE VAUXHALL ART CAR BOOT FAIR ANNOUNCES AN ENVIABLE LINE UP OF TALENTED ARTISTS, FASHION DESIGNERS AND FABULOUS PERFORMERS.

This year, just for the day, TURPS Banana – an innovative and highly collectable painting magazine – will collaborate with art world legends Damien Hirst, Marcus Harvey, Ryan Mosley and the Chapman Brothers to present 75 limited edition prints each. At an incredible price of between £200 – £300 for every piece, get down early to secure a coveted piece of art.

Julia Royse, independent curator and director of POSTED will be collaborating with emerging artist duo ‘The Girls’ to transform a Vauxhall postal van into a shrine to our wonderful postal heritage selling beautiful stationery created by artists including Tracey Emin. The editors of Five Dials magazine and Penguin Classics will be collaborating to create their next edition from scratch, live from the back of a fantastic vintage Vauxhall.

Get down early to nab one of Sir Peter Blake’s unique limited edition prints or to be in with a chance of buying works from 2010 Turner Prize winner Angela De La Cruz, being sold by Jane Simpson. Boot fair regular Pam Hogg will be launching her new limited edition tax disc holders for Pretty Taxing: Road Hogg.

Between haggling for bargains, you can join the Cinemoi Can Can Girls and smash some crockery at their Boules in a China Shop or turn yourself into a human snow shaker with the help of Lucy Parker and iconic Vivienne Westwood model Sarah Stockbridge. Artist Marty Thornton will be presenting a deliciously camp and glittery Big Fat Gypsy Fortune Teller, who will be in the back of a van (complete with light-up wedding dress). A new addition to this year’s event is The Art Improvement Clinic, visitors to the event are welcomed to bring along any piece of art they don’t like and have it ‘improved’ by a team of both famous and emerging talents.

Pam Hoggat

The 2011 East London event will include top named talents including, Gavin Turk, Bob and Roberta Smith, Oliver Guy Watkins, Jessica Voorsanger, Pure Evil, Pete Fowler, Jessica Albarn, and Guts for Garters who will all be selling works of art from their own car boots.

Gavin Turk

Browsing for art bargains is not the only attraction of the day, with delicious food and drink available courtesy of St John’s Bread and Wine’s famous ox-heart buns and the Southampton Arms, along with entertainment from the Bethnal Green Working Men’s Club and A Band on a Car, plus lots of opportunities to get stuck into some artistic endeavours of your own.

For more information visit;  www.artcarbootfair.com.

THE DIESEL SCHOOL OF ISLAND LIFE, LAUNCHED THIS MONTH OFFERING DIESEL ISLAND PASSPORT HOLDERS ALL INCLUSIVE ACCESS TO AN EXTRAORDINARY SERIES OF EXPERIENCES INCLUDING EVENTS, PARTIES, AND WORKSHOPS, HOSTED BY SPECIAL GUESTS FROM THE WORLDS OF ART, FILM, POLITICS, MUSIC AND ALL OTHER CREATIVE FIELDS.

With an emphasis on pioneers, new creative communities and inspiration insights, The Diesel School of Island Life will offer a new outlook, where its inhabitants can creatively thrive, express a point of view about relevant social issues and stimulate action.

All events will bring to life Diesel’s ‘Land of the Stupid, Home of the brave philosophy’.

The creative pioneers on hand to guide you through their unique take on the world include: Howard Marks, Goldie, Metronomy, Mr Hudson, Errors, SBTRKT, Totally Enormous Extinct Dinosaurs, Guerilla Gardening, DIY Taxidermy, Last Tuesday Society, Joker, Project Pigeon, Stephen Walters, BUG & Adam Buxton, Optimo and much, much more.

Tuesday, May 3^rd kicked off with a DIY taxidermy class from Charlie Tuesday Gates.

There will also be a very special series of talks from one of the most fascinating figures of our time – Howard Marks – who will be sharing his stories and imparting his own unique Island wisdom in three cities across the UK.

Other highlights include geodesic dome-building, creating an Island postal service with pigeons, adventures with subversive gardener Vanessa Harden who will teach citizens how to grow an urban island veggie patch and food foraging expert Jesper Launder who will show you what’s worth eating in Manchester’s urban parks.

There will also be a special trip to the English Riviera to shoot a music video with Metronomy for their next album, with Diesel Island citizens starring as extras.

All aspiring Diesel Island citizens need to do in order to attend some of the upcoming events is head for their local Diesel embassy (store) to pick up a Diesel Island passport or visit facebook.com/Diesel to sign up and unlock this array of life affirming workshops, special guest insights and VIP summer parties. By attending the School activities or making a brave purchase at Diesel stores, they will be given a Diesel Island visa, which will reward them with further Island perks, to be revealed throughout the campaign.

Details for all events can also be found at facebook.com/diesel

NEXT MONTH THE METROPOLITAN MUSEUM OF ART IN NEW YORK IS TO HOST ALEXANDER MCQUEEN: SAVAGE BEAUTY, CELEBRATING THE LATE DESIGNER’S EXTRAORDINARY CONTRIBUTION TO FASHION. THE LANDMARK EXHIBITION WILL CHART MCQUEEN’S 19-YEAR RISE FROM ENFANT TERRIBLE TO ONE OF THE LEADING DESIGNERS OF OUR TIME.

Curator Andrew Bolton, working in conjunction with Sam Gainsbury and Joseph Bennett, the production designers responsible for McQueen’s extravagant fashion shows, has organized the exhibition thematically, in keeping with recurring concepts inherent within the designer’s work. “His fashions were an outlet for his emotions”, Bolton explained, “an expression of the deepest, often darkest, aspects of his imagination. He was a true romantic in the Byronic sense of the word – he channeled the sublime.” Rooms, including ‘Romantic Gothic’ and ‘The Savage Mind’, will delve deep into McQueen’s characters, and his obsession with Romantic literary traditions.

The exhibition, which will be held in the second-floor Cantor galleries, will feature approximately 100 pieces designed by McQueen. Signature designs, including McQueen’s iconic bumster trouser, will be on display. Taken primarily from the McQueen archive in London, the exhibition will be supported by garments from the Givenchy archive and private collections. Pieces from longtime collaborators milliner Philip Treacy and jeweler Shaun Leane will also be on display.

The exhibition launch will coincide with the Met’s Costume Institute Gala Benefit, with Honorary Chairs François-Henri Pinault and Salma Hayek, a fitting nod to the theatricality that characterized the designer. Thomas P.Campbell, Director of the Museum commented, “Alexander McQueen’s iconic designs constitute the work of an artist whose medium of expression was fashion. This landmark exhibition continues the Museum’s tradition of celebrating designers who changed the course of history and culture by creating new possibilities.”

From 4 May – 31 July 2011

www.metmuseum.org

Words Graham Gartside Bernier

THERE WAS ONLY ONE PLACE TO SEE AND BE SEEN ON 20TH AUGUST THIS YEAR- THE FACE. MODELS, MAKE-UP ARTISTS, STYLISTS, FASHIONISTAS, DESIGNERS, PHOTOGRAPHERS, PUNKS, GOTHS, YOU NAME IT- ALL DESCENDED ON THE LEGENDARY CLUB NIGHT, INCLUDING AGENT2’s VERONICA CARPIO…

AGENT2's Veronica Carpio

Despite a brief hiatus, The Face club night returned with a bang, promising to ‘turn London back to its best with a night celebrating eccentricity, art, eclectic music, fashion and excess’. And it certainly delivered. The Green Carnation in Soho saw a night dedicated to freedom, beauty, art, eccentricity and extravaganza with renowned DJs Steve Strange and Princess Julia hitting the decks in a celebration of 80’s fashion and music. The aim? According to party boy, model and host Alejandro Gocast, “This night is all about expressing yourself, being free, releasing the artist in you, being whoever you want to be”.

The Green Carnation is a fitting backdrop for such hedonism. A stylish bar inspired by Oscar Wilde, with elegant décor, dim lighting and green and gold walls full of quotes from the writer- “I can resist anything except temptation”- the atmosphere is a cocktail of Bohemian passion and Victorian luxury with a laid-back ambiance.

Vaudeville’s darkest muse Mr Pustra was the star of the show, presenting his fabulous new show King Midas. Covered in gold, with bruised make-up, very long lashes and extreme red lips, he moved elegantly around the stage dripping wax onto his semi-naked body, transporting the viewers to a world of decadence and melancholy. There is no attempt at storytelling, simply a creation of beauty, an experiment, a fantasy, both visually stunning and hugely entertaining.

Mr. Pustra performs on stage

Mr Pustra started in 2006 creating shows inspired by the 1930s, Charlie Chaplin, cabaret and burlesque, making Vaudeville’s art fashionable again. “I want to create something that is visually beautiful. I don’t do shocking things as people don’t get shocked anymore”. He looks for unexpected ways to entertain the spectator: “I am on a continuous journey of learning, always trying different things, always challenging myself”. He gets his inspiration from films, music, paintings and then creates a unique performance. “I don’t follow anyone. I just do my own thing. The most important thing is to be passionate about what you do. You have to believe in yourself and then people will believe in you”.

And this is certainly something that partygoers have taken on board- with guests encouraged to ‘Bring along a face like no other’, we can’t wait for the next one…

thegreencarnation.co.uk

Words Veronica Carpio  Images Dan Harley

MILLIONS OF WOMEN MAY GIVE ALL THE LUXURY LIPSTICKS IN THE WORLD TO LOOK LIKE HER TODAY, SO IT’S PERHAPS PARADOXICAL THAT THE ELEGANT LOOK THAT GRACE KELLY PULLED OFF WAS ALL APPARENTLY DOWN TO A VERY EFFORTLESS APPROACH.

The late actress and princess applied a similar simple attitude to her wardrobe as the set of values that she lived her life by.

Her style is currently the subject of a Victoria & Albert museum exhibition that was nearly two years in the making. It will probably turn out to be the most popular one ever held in the museum’s Fashion Gallery temporary exhibition space.

Grace, who married Prince Rainier III in 1956, was “loyal to her old clothes the way she was loyal to her old friends”, one magazine article in the 1950s reported her as saying.

“I just buy my clothes when they take my eye,” she said.

“And I wear them for years.” Her treasured brown leather Hermes “Kelly” handbag, which collected numerous marks over the years, is probably the most famous example of this.

V&A curator of fashion Jenny Lister says that the Style Icon exhibition, which features mostly items on loan from the Princely Palace in Monaco, is surprisingly attracting, among others, many 20-somethings and younger people born after Grace tragically plunged off a cliff in Monaco in 1982.

“You often see fashion students sketching the dresses, so they are still clearly interested in using Grace Kelly’s wardrobe as a reference and maybe as inspiration for their designs,” she says.

Although her life story was “extraordinary, encompassing the glamour of Hollywood and European royalty,” Grace Kelly became “almost a kind of short-hand or code for that classic, restrained way of dressing that never quite goes out of fashion, in contrast to more outlandish, or overtly sexual styles”, Lister says.

“She loved things that were beautifully made,” Lister says.

“Perhaps things are not made to last as well these days.

“But I think from Grace Kelly we can all learn to appreciate our clothes more, look after them and enjoy them too.”

Of course post-war austerity may have had a lot to do with her demure, sensual style.

But even when she was sporting a diaphanous silk chiffon dress that billowed out into a beautifully flared full length skirt, perfect for dancing with Frank Sinatra, or an elaborate gold headpiece like the one she donned for a 1969 Dier des Testes bash – it was so fancy that Grace had to ride there on the floor of a van – the princess’ personality still outshone any diamond. She wore the clothes, and not the other way around.

“I think it’s important to see the person first and the clothes afterwards,” Grace in fact once remarked.

“I have to choose simple clothes because when I wear anything dramatic I seem to get lost.”

During the 1950s Grace’s face was plastered on hundreds of magazines.

LIFE featured her on an April 1955 cover in the Edith Head pale blue silk satin coat that she’d worn to accept her Best Actress Oscar that year.

Another magazine circa the same carried the headline: “Grace Kelly tells how to travel light”. Can you imagine today’s style icons, the likes of Victoria Beckham, doing the same?

Interestingly, Grace Kelly was the first to admit that she’d never be seen front row at the fashion shows.

In fact, she was the first one to admit that she never attended fashion parades, proving – may we all breathe a collective sigh of relief -  that one can care about more than fashion and still become a style icon.

“Grace had determination and worked hard for her success, and had to make difficult decisions about her career and family,” says Lister.

Although the exhibition, which lasts until September 26, has been a crowd puller for the V&A, the press coverage it’s received hasn’t been all positive. One broadsheet reviewer in fact branded it ”damp squib”. Visitors may also agree that there is far too much packed into two small galleries. While the same critic was apparently disappointed by the worn-out handbags which appeared to have come from a “high-class Oxfam shop”, another broadsheet fashion writer seemed to celebrate Grace Kelly’s ‘thrifty approach’, pointing out that while the royal may have had the same handbag for years, today Victoria Beckham is believed to own more than 100 by the same label. I am inclined to agree with the latter approach.

What I took away most from the exhibition wasn’t really to do with the actual physical items that Grace Kelly carried, but how she carried herself.

vam.ac.ak

Words Amy Fallon

NEW YORK-BASED FASHION PHOTOGRAPHER MICHAEL DAVID ADAMS, 35, ORIGINALLY FROM PENNSYLVANIA, SPILLS HIS SNAP HAPPY BEANS ON LIFE AS A PROFESSIONAL PHOTOGRAPHER, A QUICK CAREER CHANGE FROM AN ORCHESTRA CONDUCTOR AND HOW IT FEELS TO CALL THE BIG APPLE HOME. HIS WORK HAS BEEN FEATURED IN PUBLICATIONS INCLUDING VANITY FAIR ITALY, MARIE CLAIRE CHINA, VOGUE NIPPON AND QVEST.

Your work has a very strong feel. Do you plan for it or does it just happen?

I do plan certain things with shoots: the flow of the days shot list, how the makeup and hair and styling work together when working with creative ideas or messy props… But the emotion of the shoot, be it strong or vulnerable, is something that just happens. I can intend on shooting an editorial with a sense of strength (or any other emotion) but, after that initial intent, the rest falls in place….

How did you end up being a professional photographer? Is it something you’ve always envisaged yourself as?

I started seriously considering photography as a career in my 20s.  I used photography in my art, predominately black / white and darkroom work, some infrared (that was fun, I miss the darkroom!).

Up until then, I had experimented with a friend’s camera, a Nikon 35mm. I really enjoyed working with it and working with friends to create images that expressed my thoughts and emotions, as well as capturing special moments in time. This quickly led to working with makeup artists, hair stylists, and models from local agencies. At that point, my fate was sealed!

When I came to New York City, I could sense that I was finally “home” and that this is where success as a photographer would manifest itself. From making shoots happen in small apartments to putting in hours conceptualising and organising shoots, the first few years here were a lot of work, but well worth it.

When you were younger, what did you want to be when you grew up?

I was always intrigued by the many facets of the arts, such as acting, singing and painting.  In college, I was studying towards becoming a conductor.

In my 20′s, after enrolling in a photography course, it dawned on me that photography was my true calling. I have always been a natural at it. The photos I took as a teenager all have a great sense of composition. I have a natural gift for concepts and execution. It’s funny how your true calling may not always be obvious to you, but it will hit you over the head when it needs to.

Who has been your favourite client to work for so far?

Always the one who understands photographers as creative people and respects their point of view and decisions. Otherwise, why would they hire me in the first place, as those aspects are crucial to who you are as a photographer, and they become evident in the final images that you see in print or on screen?

What equipment do you use?

I usually use a Hasselblad H2 with a PhaseOne P30+ and CaptureOne. If the lighting situations require it, I’ll whip out the 5DII. Lighting is usually Profoto or ambient with fill reflectors.

Is there a particular style of photography you prefer?

Not really, I love all different styles. Growing as a photographer, you experiment with different lighting, from soft/airy to punchy and vibrant. Soon enough, you find your “voice” and what makes you an individual. Props and various elements that you incorporate into each shot also help define your style.

Which fashion photographers do you admire?

Joyce Tenneson, I love her work!  As a budding photographer, it was really wonderful to talk with her. When I was taking my photography course, “Intro to B/W and Darkroom” my professor asked me if I had heard of Joel Peter Witkin due to some of the work I was producing. I did not but he brought in a book of his and I was immediately hooked. A few years later, I discovered Gottfried  Helnwien. Many of his photographs are similar to some private work I have done on my own.

What is your life plan so far?

To share my passion with the world around me and hopefully that world will expand year after year.

What is next in terms of photography for you?

The same as what’s happening now, except bigger and better!  Plans are to keep shooting and making more amazing work, both in advertising and editorials. I want to keep exploring new ideas, find new amazing locations and travel the world!

michaeldavidadams.com

Words Natalie Davies  Images Michael David Adams

HE WAS A DEFINING DESIGNER OF THE ‘80s, IMAGINING ICONIC GARMENTS AND ACCESSORIES RANGING FROM THE TABI SHOES TO DECONSTRUCTED TAILORING. THIS SUMMER, LONDON FASHION-HUB SOMERSET HOUSE IS DEDICATING AN EXHIBITION TO THE WORK OF MARTIN MARGIELA. THE ANTWERP-EDUCATED DESIGNER GREW UNDER THE WING OF JEAN-PAUL GAULTIER BEFORE CREATING HIS FIRST LABEL IN 1988, MAISON MARTIN MARGIELA. BELOVED OF FASHION DESIGNERS AND CUSTOMERS ALIKE FOR THE OTHERNESS OF HIS DESIGNS, HE MADE HEADLINES LAST DECEMBER WHEN HIS LABEL, NOW OWNED BY DIESEL, CONFIRMED HE HAD LEFT THE COMPANY.

The exhibition, curated for the 20^th anniversary of the Margiela brand, has previously been shown in Antwerp and Munich. “It takes a chronological approach but it really unpicks the themes and concepts of what the Maison is all about”, says Somerset House curator Claire Catterall.

The Embankment gallery was cleansed with a monochromatic palette and clinical white walls, creating an asylum-like backdrop to the row of power-dressing tailored jackets displayed. Architectural-scale models of previous exhibitions show the visitor how the London curators adapted the artifacts to fit the unique spatial characteristics of the Gallery space.

An assortment of catwalk invitations made from plates, chocolate, wishbones, CD’s and cutout numbers and letters scattered in a display case greets the visitor. The minute you step into the silver-spotted and glitter-covered room, you feel that the clothes are as much about the visual language as they are about the garments themselves.

On the ground floor, the multilayered-exhibition parades Margiela’s spring/summer 2009 20^th Birthday Show on a large screen. The pounding music generates the sense of power that these iconic clothes portray. Walking up a spiral staircase to the Mezzanine Gallery, you start recognising shapes of clothes that you wear everyday. The Maison uses every fabric and medium available  to make its creations exciting and visually splendid. Some of the clothes, such as the disco-ball top from the spring/summer 2008 Artisanal Collection, are unwearable and fantastical. However, if you look closely, you can see how they have translated down into the high street. Margiela’s habit of covering garments with paints, for instance, has filtered down to mainstream chains such as Zara and River Island.

The “Incognito” section of the exhibition pays homage to Margiela’s emphatic decision to withdraw from public view. Legend has it that no one knows what he looks like. In extracts of his collections played on old Orion TV sets, the models are made anonymous by having their faces covered by what Sarah Mower described as “stocking scarves and cascades of hair », as if to protect their identity. They are pushed along the catwalk like dummies in a shop window.

Displayed on the Mezzanine Gallery, the spring/summer 1996 “Trompe L’oeil” collection almost makes you feel like you were looking at pictures of clothes, rather than the garment itself. Each item of clothing is printed with the picture of a different garment in black and white, sepia or brown. According to the exhibition catalogue, a cardigan is printed “with photographic print of a safari jacket”, a v-neck dress “with sequined retro evening dress”. A camera in the corner of the room flickers through retro images and flowers and projects them on a dress sculpted from a duvet.

Elsewhere, a bustier dress is the focal point of the dark “XXXL” a side room. It is oversized and would not look out of place on Alice in Wonderland when she nibbles “the eat me” treat and shrinks to the floor.

Elsewhere again, a visual installation shows Maison clients trying on their Margiela clothes. The sofas around the centre of the room provide a comfortable place to spend an hour or two looking at the visual displays that circle the edges of the walls.

This exhibition really makes Margiela’s fashion come to life. This is by far one of the best fashion shows London has hosted so far. It is more than a bunch of clothes on hangers. All the garments are brought to life by all the little added details. You could spend hours going over each piece over and over again, you would still find things that you had missed the first time around. The whole experience is mystifying and gives you a real understanding of how this fashion house creates such wonderful clothing.

Maison Martin Margiela ‘20’ The Exhibition

At Somerset House
Strand
London
WC2R 1LA

Daily 10.00-18.00, until 20.00 Thursdays
Embankment Galleries, South Wing
£6, conc £5, under 12s free

Words Jennifer Butler

LONDON COLLEGE OF FASHION PHOTOGRAPHY STUDENTS ARE EXPLORING THE POSSIBILITIES OF FASHION IMAGERY WITH THEIR 2010 CAPSULE #2 GRADUATE SHOW, CURRENTLY ON PUBLIC DISPLAY AT THE RICHARD YOUNG GALLERY.

Edward Barber, course director of London College of Fashion’s BA Hons Fashion Photography wrote in the preface to Capsule #2 that the exhibition “is a collaboration between London College of Fashion and the Richard Young Gallery that aims to promote the talents of these emerging photographers”.

The 51 graduates from the course are showing their work at the Gallery all summer. Shiva Hajiebrahimaraghi’s work ‘Shedding the Skin’, which won the award for the graduate who displays the most creative potential, was placed at the entrance of the exhibition.  Hajiebrahimaraghi’s final project was shot in Iran in Tehran, Taleghan and the village of Abyaneh, questioning whether “fashion is about conformity or about self-expression”, whether there is “any point in being
fashionable if fashion does not reflect core aesthetic and cultural values”. More poignantly, “what can fashion signify, and what can it not?” According to her biography, “The style of women’s dress was a crucial element in Shiva’s final project. The imposition of a dress code on women in Tehran has meant that many of the trends in fashion over the last 40 years cannot be used. Instead, many fashions seem to reflect styles worn by western women in the 1950s, such as the headscarf.”

Images ranged from black and white to colour to Matjaz Tancic’s 3D project, shot in 7 different locations in Slovenia and the UK. “Everything is going 3D now. Cinema, TV, laptops, photo cameras. Football championship is filmed in 3D, as is Burberry fashion shows” said Tancic, who is currently preparing for the biggest 3D fashion exhibition in the world.

“I was always looking for different interesting locations, techniques that have challenged myself and my creativity. I have already done a coupe of underwater shoots, a shoot in a working coalmine 500m below ground, painting with light and now 3D photography,” he added. “I started doing research, testing, research, testing until I got the 3D result I was happy with.”

Overall, the class of 2010 showcased a range of images that reinforces the relationship between fashion and photography, reminding us that the concept of the image is very much at the core of the artistic and commercial sides of fashion.

Capsule #2 will be on show at Richard Young Gallery until 13th August.

Words Phyllis Lui

THE CATWALK HAS SEEN A VARIETY OF STYLES AND MATERIALS OVER TIME. ONE OF THE MOST BEAUTIFUL ONES, SUPPORTED BY SOME DESIGNERS AND ARTISTS IN THE FASHION WORLD, IS PAPER. UNFORTUNATELY, IT IS NOT THE MOST PRACTICAL OF MATERIALS FOR OFF-CATWALK WEAR. NEVERTHELESS, DESIGNERS ARE EMBRACING PAPER ACCESSORIES AND GARMENTS. INNOVATIVE AND STRIKING, PAPER-FASHION IS INSPIRED BY THE MODERN-DAY DESIRE FOR AN ECOLOGICAL AND ORGANIC LIFESTYLE. THE PAPER-CUT-PROJECT IS A KEY EXAMPLE OF WHAT CAN BE CRAFTED FROM THE HUMBLE MATERIAL. AGENT2’S LAURA MCNALLY CAUGHT UP WITH CO-FOUNDER AMY FLURRY TO UNDERSTAND HOW INTRICATE PAPER-FASHION IS MADE.

The Paper-Cut-Project is the brainchild of Nikki Salk, who holds a keen interest in interior design and fashion, and Amy Flurry, a writer and a stylist. According to the creative couple, their works of art “are fuelled by a love of passion and an appreciation of the grace and nuance of this humble material”. Acknowledged by Marie Claire and Glamour magazine, their impressive paper masks and wigs are beginning to gain worldwide recognition. The pieces can be seen on display in Jeffrey stores in Atlanta (their hometown) and New York.

What inspired the Paper-Cut-Project?

We introduced these delicate paper cuts as an antidote to mass production, a sort of allegiance to hands-on design at the intersection of art and fashion.
Nikki has long nurtured affection for paper through her own art and I am a veteran fashion editor and stylist. We initially dreamed up these three-dimensional sculptures as styling concepts for fashion shoots, window displays and runway productions.

What have the highlights of the project been so far?

One has been a sharing of ideas and inspirations that then evolve over time to become uniquely Paper-Cut Project. We have both worked independently for some time and still do.

How long does it usually take to create one piece?

It can take anywhere from one day to one week, depending on the creation.

What’s usually involved in the designing and production of your work?

The first thing that happens is the gathering of images. Some are purely for inspiration and others are for true details, so as to be able to capture authenticity in as many aspects of each piece as is possible. From there, sketches – sometimes – and then digging in and feeling each moment. Most of it happens as the building process plays out. Adding, cutting, adding, gluing. Eventually a finished piece emerges and a few moments of completion shock ensue!

How important do you consider the exploration of different materials in fashion and art?

Part of fashion is exploration, whether it be in fabric, color, design, or whatever. Any exploration in fashion is what makes it “fashion” and current and fresh and new and exciting. If no one had explored, wouldn’t we still be wearing boned corsets. Thank god for material exploration!

Would you consider following in the footsteps of Violise Lunn and Jum Nakao and begin working on paper garments?

Being that fashion is part of our existence, if an opportunity arose to create a full garment from paper, I am not sure that we could resist.

Who are your favourite “artists” in the fashion world right now?

Camille Miceli, Prabal Gurung, Olivier Theyskens, Solange Azagury-Partridge and Nicolas Ghesquiere

What can we expect to see from you in the future?

Generally new concepts take shape while we’re working on current pieces. Stay tuned!

Words Laura McNally

BLACK IS THE COLOUR OF CHOICE HERE AT AGENT2, SO WHEN WE CAUGHT WIND OF THE NEW EXHIBITION BLACK: MASTERS OF BLACK IN FASHION AND COSTUME WE JUST HAD TO TAKE A LOOK.  WHAT BETTER LOCATION COULD THERE BE FOR SUCH AN EXHIBITION THAN THE FASHION INDUSTRY’S UNOFFICIAL HOME OF EVERYTHING DARK AND MINIMAL, ANTWERP.

As fashion capitals go, much of the city’s influential status is owed to the Antwerp Six—graduates from the Royal Academy of Fine Arts in the early ’80s—whose members include Dries Van Noten, Walter Van Beirendonck, Ann Demeulemeester, Dirk Bikkembergs and briefly, Martin Margiela whose work is also receiving homage at a new London retrospective this summer.

The city, famed for dyeing fabric black throughout the 16th and 17th centuries has become intrinsically linked with the colour. Antwerp’s Mode Museum now plays host to the exhibition exploring the significance of fashion’s favorite colour throughout history and the different messages it has conveyed.

The exhibition also explores the textures and the potential of the colour black in diverse materials, including fur, leather and lace; drawing masterpiece examples from contemporary designers who, like the city of Antwerp, have a special connection to black.

Mode Museum’s Black exhibition features garments from the likes of Ann Demeulemeester, Olivier Theyskens and Dirk Van Saene, as well as the international couture houses of Givenchy (Riccardo Tisci), Chanel and rapidly rising star Gareth Pugh.

The exhibition runs until August 8.

Words Graham Gartside-Bernier

PLANNING A BANK HOLIDAY WEEKEND IS NEVER EASY TO DO BUT WITH THE RETURN OF THE QUEER UP NORTH FESTIVAL THIS MAY, YOUR CHOICE COULDN’T BE EASIER. AS MANCHESTER’S STREETS FILL WITH THEATRE, CABARET AND BURLESQUE PERFORMERS, THERE IS MOST DEFINITELY GOING TO BE SOMETHING FOR EVERYONE TO ENJOY.

Manchester’s annual international queer festival has become a thing of legends. Opening for the first time in 1992, this year marks the long-running event’s 18^th birthday. So you can just imagine the festivities and flamboyant fanfare planned for this year’s coming of age carnival. Stretching its audience beyond the Northwest’s gay community, Queer Up North (QUN) is the UK and Europe’s leading queer festival and hosts events that appeal to everybody.

Showcasing quality cultural events over two weeks, culminating on the last May Bank Holiday weekend, the QUN provides much welcomed theatre, dance, musical and comedy and debating performances to the people of Manchester.

The first of its kind in Europe, this Northern city has paved the way for queer festivals, producing a diverse collection of live performances, arts and ideas from around the world. Over 100 artists and performers from 12 different countries, including South Africa, the USA, France and Canada, take to stages around the city, showcasing their quirky and queer talents in a cultural exhibition that’s out of this world.

QUN’s Artistic Director, Jonathan Best says of the festival, “There’s a diverse line up, so whether you’re up for cutting edge European theatre, the finest drag theatre on the planet, or a night of ragingly glamorous cabaret, QUN has something you’ll enjoy.”

One of the biggest highlights of the festival is always the La Gayola Spiegeltent, a 1940s retro mobile dance hall that hosts cabaret, comedy and burlesque performances that ooze post-war time glamour. The classic wooden tent, open from Wednesday 26 May to Monday 31 May, promises to be one of the most important events of the festival. Its impressive line-up opens with Empress Stah, an award-winning cabaret artist and closes with ‘performer, presenter and all-round chubby glamour puss Amy Lamé’.

Queer Up North’s ‘Big Birthday Bash’ takes places on 23 May to celebrate this year’s important milestone. Reminiscent of many a Northern 18^th birthday do, the event will take place in social club ‘The Razzle’ serving sausage rolls. However, unlike the coming of age party you and I will remember, this one will be hosted by comedian Chris Green, joined by Stockport housewife Mrs Barbara Nice on the Tombola, performing strip artist, Ursula Martinez and many more, to be confirmed. Tickets cost £10 and should be booked in advance to avoid disappointment.

At the end of this two-week bonanza, disappointment is going to be the last thing you feel. Bid a sad farewell to this ‘boundary-pushing, risk-taking, heart-breaking, pulse-racing’ festival but rest assured that it will return all over again next year. No doubt bigger, better and bolder than ever before.

The Queer Up North festival runs from the 12 to the 31 May 2010.

For more information and to book tickets visit www.queerupnorth.com.

Words Natasha Al-Atassi

A SEVENTY-FIVE STRONG TROUPE OF MYSTIFYING ARTISTS HAILING FROM MANY REGIONS OF THE INDIAN SUBCONTINENT COME TO FRANKFURT AM MAIN UNDER THE PATRONAGE OF HIS HONOURABLE GAJ SINGH II, MAHARAJA OF JODHPUR, TO ENTERTAIN AND INSPIRE US WITH THE SPECTACULAR WORLD PREMIERE OF THE SHOW ‘INDIA’.

With help of superbly innovative stage technology, Prime Time Entertainment AG transforms municipal space in the centres of European cities into a magical tent village. The huge marquee, in the perfect illusion of a palace landscape, is where the bewitching Indian culture presents itself in a whole manner of new and exciting ways.

Upon entering this fabulous marquee world, it is easy to conjure up the great Maharajas of times gone by as ornate pile carpets, colourful Divans and furniture made of precious woods line the walls, floors and ceilings. You may take in different aspects of life at court by visiting themed rooms such as Sky Garden, Bengal Door, Banyan Lodge Himalayan Court, White Elephant, Emerald Room and also a lively bazaar before the big spectacle in the high Chapiteau begins.

The scene is set by a silently meditating Fakir sitting frozen on a bed of nails and the frenzied whirling dance of a glamorous eunuch. The lights dim, the drums begin to beat and out rush dozens of scantily clad, body-beautiful dancers all undulating to the sounds of Keith Levenson’s groundbreaking fusion of Indian and Western music.

The shows takes you on an awe-inspiring journey to the land of mystery and wonder through performances by fire jugglers, magicians, fakirs, contortionist and musicians; from the ape-men of Jogi who can shin up three meter vertical poles and hold spectacular gravity defying shapes to the mesmerising shadow puppeteer who creates a wonderful catalogue of animals with his bare hands.

The show has been designed by the world renowned Pascal Jacob, an expert in circus arts and Brian Burke who staged the legendary Las Vegas shoe ‘Le Reve’. The encounter with Indian myths and rituals, with dances and acrobatics is truly a work of art firmly embedded in the music, which combines traditional character with a modern soundtrack. This fascinating panorama of a world culture, which is marked by an aesthetical brilliance and erotic charm as well as by philosophical depth, is not to be missed.

“India” is at St Pauli Heiligengeistfeld, Hamburg until 3rd March 2010 then touring Germany and Austria throughout 2010-11

pte-ag.com

Words by Almaz Ohene

AS WE ARRIVE AT THE SECOND DECADE OF THE NEW MILLENNIUM, AGENT2 ASKS WHETHER WE ARE STILL A NATION OF ROMANTICS, OR IF ROMANCE REALLY DID GO OUT WITH THE RECORD PLAYER.

There was once a time where the term ‘in a relationship’ meant more than just a Facebook status. Love letters were as eagerly anticipated as the text messages of today, and Valentine’s Day was not just about the number of cuddly toys to pass through Clintons’ front door in the run-up to February 14. But today, it seems as though romance might just be exclusive to the chocolate industry and cinema’s rom-coms.

The likes of Jennifer Aniston and Cameron Diaz continue to repeatedly meet their soulmates in the most charmingly imperfect of circumstances on the silver screen – but in real life, even these honey-haired, perfect-pinned goddesses remain happily single. What hope is there for the rest of us if even the Anistons and Diazes of the world are existing on a romance-free diet? Today we are living in a time of technological revolution yet sentimentally, it seems that if romance isn’t dead, then it certainly lies in an intensive care unit somewhere, currently unresponsive to treatment.

Don’t get me wrong, the concept of romance is still alive and if not kicking, still twitching. It’s just that the concept of modern-day romance is all wrong. The Oxford English dictionary offers up, ‘A pleasurable feeling of excitement and wonder associated with love’ as its number one definition for the term. At no point in that definition does it say that romance should mean flowers, massive cards and stuffed toys. But each year, the commercialisation of Valentine’s Day and, ultimately, of love has led us to believe that the concept is really about nothing more than the giving or receiving of this miserable trio of Hallmark-crafted goods. OK, maybe Hallmark don’t make flowers but surely at this rate it’s only a matter of time before they do.

Anyhow I digress. This was not intended to be a rant at the money-making aspect of one day in the year; rather an argument that maybe in these modern times, the main ingredient missing in the love potion is actually a little bit of creativity and… feeling? Romance at its best is spontaneous, fun and reciprocal. Ladies, you can hardly be complaining that your man doesn’t spoil you any more when he is the one having to spend all the moolah and put in all the effort to make you happy.

A while ago, while standing in the queue of a popular lingerie shop, I was eavesdropping on the conversation of two fellow shoppers (as you do). Clearly, the best friend of some misguided girl was instructing said girl’s boyfriend into exactly how he should be treating her, starting with which presents to buy her. “Last Christmas, my boyfriend only spent £700 on me,” she bleated. “I nearly dumped him.” The poor sod went green.

First of all, if true, let me be the first to tell this man to grow a pair: £700 in the midst of a global recession? Either he’s a famous footballer or he thinks that not spending all his money each time an annual celebration rolls round is akin to telling his beloved that he just doesn’t love her any more. And I’m pretty sure that the girl queuing behind me was not Coleen Rooney.

Clearly this young lady was not of the belief that it’s the thought that counts. For our male readers, let me assure you that this girl is in the minority. I truly believe that most of us would rather spend a special day with the boyfriend, doing something away from the regular constraints of courtship, than rummaging through his pockets to find the receipts of his tokens of love.

Moving away from the material, something that has been lost along the years is the old-fashioned ways of expressing blossoming relationships – yet the sentiments remain the same. Royal Mail is no longer inundated with love letters between sweethearts, but a simple Facebook message tends to cause just the same reaction.

A first date might now be a quickie (drink!) down the local as opposed to a candle-lit dinner and dance, but you can bet your bottom dollar that at least one half of the potential couple will have spent just as long getting ready for the hot date as their ancestors did. And while gentlemanly customs such as holding doors open for and kissing the hands of their ladies might now be scoffed at, it’s unlikely that you will find many women who don’t want their boyfriend to get down on one knee when they eventually propose.

The world is getting older, its human inhabitants are still evolving and social concepts like romance are always going to be changing. As cave people, it was probably once considered quite romantic to hold a lump of ice to the head of the woman you’d just clubbed. Perhaps one day we’ll sit in our deckchairs with our trousers rolled up to our knees watching the sea levels rise, reminiscing about the good old days of the social networking site where romance was just a click away. Just remember that no matter what the shop display window might be telling you, you really don’t need a big pink teddy bear and a 5-feet-by-3-feet card proclaiming its love to you, to know that someone cares about you. Really, you don’t.

Words Sian Ranscombe

Walk through a hall of mirrors and pass by the one that turns you into a lanky stretched-out version of yourself. After pulling a few faces, doing a little dance and quite possibly making a little love and/or getting down tonight; remember that gangly reflection. That’s you. And for the short amount of time before you move on to the next mirror, that ‘you’ is almost a Lori Earley rendition of yourself. Almost. What that image lacks however, among the many other aspects of an Earley painting, is the celestial quality and the almost ridiculous amount of emotion that is poured into each one of her portraits.

DRAINED - OIL ON BOARD (2007)

So why is it only now, after years of producing unique portraits, that Earley is truly being recognized, and more importantly appreciated, by the general public? Could it have something to do with the painting of Madonna on show for this year’s Grammy’s? I don’t think so. Because if one was able (and many were, trust me) to take a look at that image and instantly know it was a Lori Earley portrait, then surely she was heard of before? Too right – you were just late for that little bandwagon.

Earley began exhibiting her work in 2004 in New York where she not only grew up, but also nurtured her talents at the School of Visual Arts: New York. Just one other reason to put on that awfully camp ‘I ♥ NY’ t-shirt you “don’t recall” buying, you say? Really, is there ever a reason? (Take it off, burn it and we’ll never speak of it again). A gifted artist from a young age, Earley managed to create a concrete distinct style by the winter years of her adolescence. Storming through all sorts of mediums including canvas, paper, oil and graphite with flying colours, Earley was soon ‘acclaimed as an exceptional new talent’- getting much notice for her instantly recognisable portraits.

Her twisted take on reality drew praise and attention from various galleries and other artists, not to mention collectors. The sad truth is though, the public as a whole are rather slow to catch on to these sorts of things so going through her gallery, you’d be forgiven for thinking her work is a tad repetitive; the same lengthy-limbed anorexics with big anime-esque eyes;  yes, yes we saw it all in her other galleries in a slightly different setting. I’m not going to disagree with you there, but as we weren’t around to witness these collections develop, seeing them as a whole makes it harder for us to appreciate just how much Earley has grown as an artist.

Of her work, Earley believes her paintings are a ‘combination of classic realistic rendering with a personal element of distortion…[which] comes from [her] innate desire to transform…emotions into tangible planes’. To me, the thing about these bizarrely seductive skeletal sirens is, as with most things, the details. Do you realize none of them are smiling? Did you pick out the abundance of beautiful naked shoulders and décolletage?  I did. Oh, you did too? Well yes, well done you and I then. I mean sure, we all noticed that for an artist noted for her ‘undeniable feminine force’, these angular individuals she paints are all just that. Very angular, skinny ladies who instill that ‘why do the only designer clothes I can afford come in sample sizes?’ feeling in her more shallow, newer fans. But were you aware of the subtle lighting that really makes these paintings what you know they are, but just can’t quite put your finger on. They have that glow; those understated shafts of light that reflect off those pointed shoulders. The colours that work together to form a seamless dreamscape that we can only hope to even imagine. The often sad but strong women in her works have more emotion in their eyes than this writer could ever express, no matter how many articles she writes; run-on sentences and all. These ladies are jarring and almost wrong in such a beautiful way, that they must exist somewhere; either in different worlds or times to ours. Their overly expressive eyes are rich with detail and knowing. And it’s the urge to learn what it is they know that is valuable enough to steal you away from whatever space you observe them from, straight into their hall of mirrors.

THE PARTING - OIL ON LINEN (2005)

And if having your work thought valuable enough to be stolen is a sign of just how far you’ve come, then these really are Earley’s days. Her last show ‘Fade To Gray’ was unlucky (or lucky from a publicity point of view) enough to have not one, but two paintings pilfered. While the thief was caught, the drawings are yet to be recovered. However, fans of the 2008 solo show will still be able to enjoy at least one of the drawings as a limited edition print. And to me, knowing that somewhere in our fat, dull- eyed, boring little world there’s a little bit of Ms Earley hidden away in a cheap poster tube waiting to be discovered (and by that I mean her artwork, you twisted madman)…Well that is pretty darned thrilling.

loriearley.com

Words Niki Renganathan Images Lori Earley