Archive for the ‘Staff’ category

Printmaking in Changing Contexts

Paul Coldwell: Symposium - Printmaking in Changing Contexts

Paul Coldwell, Material Things: Sculpture and Prints.

Symposium: Printmaking in Changing Contexts
30th April , 1- 3pm
Cartwright Hall, Bradford

In response to Paul Coldwell’s exhibition Material Things: Sculpture and Prints at Gallery II, University of Bradford (13th March – 7th May 2015) there will be an afternoon discussion about printmaking, past, present and future. Printmaking in changing contexts will be held at Cartwright Hall, Bradford on Thursday 30th April  (1 – 3pm).

The event will be chaired by Sonja Kielty (Curator, Exhibitions, Bradford Museums and Galleries) and Andy Abbott (artist and University of Bradford) and will include a presentation by Coldwell outlining his long association with printmaking and Bradford.

Further details: http://www.bradfordmuseums.org/venues/cartwrighthall/activities.php

Free event, all welcome.

Spaces will be limited, please RSVP: 01274 431212, cartwright.hall@bradford.gov.uk

A review of Material Things can be found on the following link:  CV: Material Things

Graduates Break Cyanotype World Record in India

The finished cyanotype © Melanie King and JJ Hastings

The finished cyanotype © Melanie King and JJ Hastings

Central Saint Martins MA Art and Science graduates Melanie King and Jaden Hastings recently broke the record for the world’s largest cyanotype at the Story of Light festival in Goa.

In January 2015, the pair travelled to India to take up a residency at the old British Defence Colony in Porvorim. With the help of students from the local college, they produced a huge prussian-blue ‘light print’ the size of several bedsheets.

To create the cyanotype, Melanie and Jaden coated a bolt of cloth with potassium ferricyanide and ferric ammonium citrate in a temporary darkroom. When it had dried for four hours, they ran the cloth outside for the student volunteers to lie on.

After ten sweltering minutes holding their poses in the midday sun, the volunteers leapt to their feet. Everyone gathered the cyanotype into a bin of water and washed off the remaining chemicals. Where the paper had been exposed to the sunlight, an insoluble blue dye had stained the cloth.

 People and the universe

The artwork drew attention to how connected people are to the universe. Melanie says: “We often feel that we are separated from space, but actually we have a very strong connection with it.

“This is an attempt to demonstrate how the sun’s energy affects materials on earth and highlight our connection with the broader universe as a source for creativity and inspiration.”

Melanie plans to break the cyanotype record again on 2 May 2015, at the Wellcome Collection’s On Light weekend even series. She is also curating and exhibiting at UAL Showroom’s Aether event in April and convening a photography symposium in May.

More information:
– MA Art and Science

New degree to tackle costume-making skills shortage in the performing arts

Royal Opera House, University of the Arts London (UAL) and South Essex College have formed a new partnership to deliver a BA (Hons) degree in Costume Construction, specifically to address the current shortage of people with high quality costume making skills.

Robin McGrorty and Mal Barton Photo by Sim Canetty-Clarke

The new degree course will focus on the cut and making of costumes for theatre, opera, film and TV with professionals from the Royal Opera House (ROH) working with the students on live briefs for new productions for both The Royal Opera and The Royal Ballet.

The students will be taught how to make costumes that are lightweight and flexible for Royal Ballet dancers to perform in, as well as costumes that are made to last many years as some productions remain in the ROH repertory for up to four decades. They will also learn how to make a range of different styles of costumes from leotards for contemporary ballets, to historically accurate costumes for opera productions set in specific periods of history.

The BA (Hons) Costume Construction degree will be validated by UAL and receive its first intake of students in September 2015. The course will be based at the new Bob and Tamar Manoukian Costume Centre currently being built at High House Production Park in Thurrock where the Royal Opera House Bob and Tamar Production Workshop is already based.

Alex Beard, Chief Executive of the Royal Opera House, said: ‘This course is a fantastic example of industry and higher education coming together to invest in young people, training them alongside the very best professionals in their field, and giving them skills that employers so desperately need. The skills the students will learn on this course will give them the foundation to work not only in opera and ballet, but also in theatre, film or fashion, expanding the job opportunities even wider for the graduates’.

Louisa Troughton 1 - Photo by Sim Canetty-Clarke

Angela O’Donoghue, South Essex College Principal and Chief Executive, said: “We are proud to be delivering this unique degree in Thurrock. It is wonderful that local people will benefit from such an outstanding opportunity. The partnership with the Royal Opera House is a superb example of how colleges and universities can respond to a shortage of skilled workers in a particular industry.”

Nigel Carrington, UAL Vice-Chancellor, said: “We’re delighted to be helping to provide this degree which will give students the vital skills to flourish in the performing arts industry. The UK creative industries are worth more than £76billion to the UK economy and we are proud to support them by helping to develop the creative workforce of the future.”

Modules over the three years will include hand sewing techniques, pattern cutting, garment construction and the history of costumes throughout the years, plus plenty of live brief opportunities and work experience placements.
As well as the degree course being taught from the new Bob and Tamar Manoukian Costume Centre, the building will also house more than 20,000 Royal Opera House costumes and wigs from productions in the ROH repertory. The historic costumes from the ROH Collection will also now be stored in the building and be used as a basis for part of the degree course focusing on costume preservation and conservation.

The Costume Centre is the latest development at the High House Production Park which is also home to Acme Artists’ Studios, who provide low-rent studio spaces for artists and the Backstage Centre, run by Creative & Cultural Skills, where young people are trained in backstage skills such as lighting and sound. The addition of the Costume Centre further confirms the High House Production Park as an international centre of excellence for the creative industries.

Photos by Sim Canetty-Clarke

UAL selected to host one of six debates celebrating 10 years of AHRC

University of the Arts London (UAL) has been selected as one of six universities to participate in a debate series celebrating the 10th anniversary of the Arts and Humanities Research Council (AHRC).

Books and the Human

 The Medium is the Massage: An Inventory of Effects,  Marshall McLuhan, Quentin Fiore, 1967

The theme of the series is ‘The Way We Live Now’ and the debates will examine key aspects of the human world, the ways in which these subjects are changing and shaping our lives, and will explore the ways in which the arts and humanities can help us understand this changing world.

UAL was selected from over 40 universities to take part in this prestigious series of events, and will be hosting its debate entitled ‘Books and the Human’ in December 2015 at Central Saint Martins. The debate will pose the question: what are the primary relationships between books and knowledge, and between books and human beings? This question will be addressed through expanded debates which draw together the fields of philosophy, history, politics, sociology, literature and creative practice. Additional events held at Central Saint Martins and other UAL colleges will explore how books are conceived, crafted, experienced and shared.

The debate series will be launched with the Curating the Nation debate on 11th  June at the British Museum and will run for several months, with further details to follow over the next few months.

Programme Director and Course Leader of MA Communication Design at Central Saint Martins Rebecca Wright, who was part of the team to put forward UAL’s application, said of being selected for the series: “We’re delighted that UAL has been chosen to take part in this debate series to celebrate ten years of AHRC. The Graphic Communication Design programme at Central Saint Martins has a long and rich history of association with typography and book design, dating back to 1896 as the Central School of Arts and Crafts. Hosting this AHRC national debate provides an exciting opportunity to explore the form, function and future of the book from the perspectives of making and thinking, integrating design with the wider humanities. Our interest is in how the book is intimately linked to the way we live now.”

New Course Discourse // BA (Hons) Information and Interface Design

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Digital installation.

In our latest New Course Discourse feature, we chat to Programme Director Ben Stopher to find out more about the new BA (Hons) Information and Interface Design course.

So Ben, can you explain a little bit about the course and its aims?

Well this new course is highly digital and its design lead, so really the core of the course is about putting information design and interface design in this more digital context. There are three key specialisms that make up the course, UX and UI, data visualisation and graphic and information design.

If you’ve ever want to make websites, or build apps and data-visualisations, or even just something screen based and visual then this is the course for you.

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Gephi network graph, Ben Stopher, 2015.

What can students expect from the course in terms of structure?

So in the first year you do graphic design, typography and information visualisation. You also do graphic design animation coding for the web, which is a really valuable skill to develop.

In year two you start to work in the user experience (UX) and user interface (UI) design studio, then you do interactive data visualisation and a major industry project. In both of these units we visit studios and also get live briefs from industry.

Why is this course unique?

It’s highly industry aligned and highly digital. We’ve offered this very specific area because there is definitely a gap. No one else explicitly teaches UX and UI design and no one else explicitly teaches interactive based visualisation so those three things are really unique to this course.

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Gesture capture data visualisation, Ben Stopher, 2015.

In terms of careers and futures, where could this course lead its students?

You can be a UX designer, you can be a UI designer, basically anyone who wants to work with how things look on screen; phone apps, websites, any kind of digital interactive content. There’s tons and tons of work for people with those sorts of skills.

One of the main selling points of this course is that it is highly industry aligned, and designers that have those kind of digital skills – that can work with data – are going to be highly sought after.

The industry really struggles to find designers with that digital skill set – and so that’s partly why we developed this course.

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Introduction to Infographics Workshop, 2015.

So what skills or qualifications are you going to be looking for in students?

We take students from foundation but we would also consider students straight from A level, if they know that they want to do digital design then we will look at their portfolios. Students will have similar qualities to applicants for Graphic Media Design, but also an awareness of what UX and UI is.

If you are an A level student who knows what those things are then you are highly likely to be a person that would be relevant for us to look at. I don’t expect schools to have a clue about the nuance of this course, but it’s about if the applicant has enough presence of mind to know what these things are, and thinks they might want to do them, then I’ll look at anything.

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LCC student with digital work.

Any last words?

It’s a super future relevant digital course. Graduates are going to be highly sort after because it isn’t a massive course, there are only 25 places. Students will get a brand new studio and a whole new team of tutors.

Find out more about BA (Hons) Information and Interface Design.

The post New Course Discourse // BA (Hons) Information and Interface Design appeared first on London College of Communication Blog.

World Theatre Day 2015

To celebrate World Theatre Day 2015, we asked Course Leader of BA Theatre & Screen: Theatre Design at Wimbledon College of Arts Lucy Algar to tell us how theatre can be used as a positive force for change and understanding.

“For many centuries cultures from all over the world have turned to performance as a way of celebrating change and important events, of marking the passage of time and as a means by which people can question their very existence. Theatre offers us glimpses into other worlds and helps us to make sense of contemporary and historical issues.

From the Olympic Opening Ceremonies to the most intimate one to one performances people are affected and influenced by music, words, moving bodies and extraordinary design. This influence can change peoples’ perception of others and so it is through theatre that communities, both small and on a world scale, can develop new understandings and enjoy life.”

Theatre Day

Image from collaborative project run by Lucy Algar and 3rd year theatre designers with choreographer Angela Woodhouse from Middlesex University and her 3rd year dance/choreography students – performed at Wimbledon College of Arts in February. Set design by Qinzi Huang.

Course Director of MA Theatre Design at Wimbledon Michael Pavelka recently wrote a piece for the Guardian Culture Professionals Network on how to become a theatre designer, listing patience, grit and resourcefulness as essential attributes for budding designers:

“Life in the theatre is not kind to the shy and retiring, so you have to be able to give (consistently) 100%, made up of the clichéd but no-less-truthful 99% perspiration and 1% inspiration. What if you don’t find “that spark” in a project? If you want the job, you’ll just have to, to challenge yourself.”

On Wednesday 25 March MA Curating and Collections at Chelsea College of Arts opened ‘Work from the Collections #3: Jocelyn Herbert and Samuel Beckett’, a new exhibition held at Wimbledon College of Arts exploring the working relationship between acclaimed theatre and film designer Jocelyn Herbert and iconic playwright and author Samuel Beckett. The materials for the exhibition, including sketchbooks, set and costume drawings and annotated scripts, have been selected from the Jocelyn Herbert Archive at the National Theatre, the NT’s only archive dedicated to a theatre designer. The exhibition runs until 10th April.

From LCC to Hollywood, alumnus Henry Hobson talks to us about his work on the Oscars, his feature film and more

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Oscars graphics 2015, The Grand Budapest Hotel, Henry Hobson.

Since graduating from the BA (Hons) Graphic and Media Design course at LCC, Henry Hobson has gone on to make it big in showbusiness. From leading the graphic designs for the Oscars, to directing his own feature film ‘Maggie’ starring Arnold Schwarzenegger, Henry has worked his way to the top.

In the week that the first trailer for his Tribeca Film Festival-nominated movie is released, we caught up with him to find out a little more about his journey from LCC to Hollywood.

Can you tell us a little bit about your time at LCC. What were the most important lessons you learnt here?

I studied at LCC, or LCP as I knew it, for my Foundation course and BA. From the outset the focus on design was what drew me in, even on Foundation my tutors helped me explore the possibilities of design, and this was just before computers were becoming truly effective design tools.

Handmade and crafted techniques that I learnt, testing out colour and thinking critically meant that when I got to the BA I already had a shorthand in place.

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Oscars graphics 2015, The Imitation Game, Henry Hobson.

During term time I would do internships – I worked in my first year with Why Not Associates. I found the first couple of weeks a bit dull, but doing small tasks and little pieces of work helped me understand how valuable the creative experience I was getting at LCC was.

I learnt to push as hard as possible with projects, answering the briefs how I wanted to answer them. I learnt there is no incorrect answer if you have navigated to it from the brief. I still stick to that open way of thinking now, when a brief comes in.

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The making of the Oscars graphics 2015, Interstellar, Henry Hobson.

Can you quickly talk us through your journey from graduation to where you are now in your career? Were there any key opportunities that you feel particularly grateful for? Formative experiences?

By the time I left LCC I had done so many internships that I was able to get a job at Why Not Associates almost straight away. I worked for them for years, before getting a place at the Royal College of Art. Whilst studying at a postgraduate level, I still found that my experiences at LCC, and the lessons I learnt there were fundamental in developing my ability to think creatively, even though they were hard to get my head around at the time.

What made you move to America, and is there a difference in the culture of design in the UK and the US?

The move to America came a little bit out of the blue, after my work was spotted. I found the design culture intensely different. Even my first week in the States when I was asked to pitch and I was presenting concepts and theories, the Americans wanted finished designs in the pitch not theories. The technical skill level is insane here.

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Oscars graphics 2015, Boyhood, Henry Hobson.

How did you get into films, and can you explain a little about what led you to your feature film, ‘Maggie’?

I chose LCC because of the late Ian Noble, who sat me down when I went to a D&AD event in Holborn. I wanted to study film and Ian convinced me that design was a secret backdoor into cinema, telling me that Hitchcock, Ridley Scott, Kirostami and others all started as designers, and that the British film industry is so closed off it would be so difficult.

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The making of the Oscars graphics 2015, The Grand Budapest Hotel, Henry Hobson.

So my long game always involved film, using moving image and design as a creative outlet to try and tell stories. Why Not Associates had their foot in all sorts of doors and shortly before arriving I was able to be mentored by David Ellis in directing, going to shoots and being behind the camera.

I learnt the technical terms and ways of working and this allowed me the confidence when I moved to the states to tell bigger stories. It was a few of those bigger stories that led me to Maggie.

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Oscars graphics 2015, Birdman, Henry Hobson.

With your feet so firmly in both the graphic design industry and the film industry, where do you see yourself in 10 years’ time, how will you maintain that balance, or do you want to move more definitely into one area?

I love being in both areas! Creatively design allows for a more spontaneous outlet and film is the slow fix, you have to have immense stamina to build and work on films, because they take so long to make!

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Oscars graphics 2015, Maleficent, Henry Hobson.

What advice would you give someone graduating from a graphics course this summer?

I left LCC and my website was filled with conceptual thinking and graphic projects, which was an exciting position to be in. However, I soon realised that to get where I wanted to be I needed to tailor my portfolio into a language that design studios could see as applicable; to show proficiency in the core software and subtlety within my designs. My advice would be to keep this exciting conceptual stuff on your websites, but think about sectioning them off to show the different ways you can work.

Find out more about BA (Hons) Graphic and Media Design.

Read Slate.com’s fascinating interview with Henry about his graphic designs for the Oscars.

Read Artofthetitle.com’s interview with behind the scenes pictures of the Oscars graphic design process.

The post From LCC to Hollywood, alumnus Henry Hobson talks to us about his work on the Oscars, his feature film and more appeared first on London College of Communication Blog.

Drama Centre London talks love, sex and death

OFS

We spoke to students from Drama Centre London and their director Jonathan Martin about their most recent production, One Flea Spare, an intense play written by Naomi Wallace, set in plague ravaged London.

Why did you choose to perform One Flea Spare in particular?

Jonathan Martin: I read this play for the first time about three years ago and thought that it was a really unusually interesting play that has a lot of resonance. It is set in 1665 during the outbreak of the plague in London and when I re-read it recently it coincided with the Ebola outbreak. It’s one of those plays that because the themes are so strongly to do with survival, love, sex and death it will always have meaning. It is a very metaphorical play so you can read it in many ways. I suppose when I read it for the third time before actually choosing it, I thought yes, it’s a really unusual, terrific play and still very applicable to today.

What were your initial reactions when you found out that you would be performing this play?

Jed O’Hagan: Excited, definitely excited. I have never been in play from this period before. I really enjoyed the read through, there is just so much in the play. We all loved the characters and couldn’t wait to get stuck in.

One Flea Spare has only been performed professionally a hand full of times, how did you find inspiration for your production?

Hannah Moorish: We talked for a long time, really delving to find character inspiration, and understand the world, we tried to liken it to something we could all relate to. We had a historian come in who is a specialist on the plague so we had a real sense of the visceral feeling of the time. From there it has just really developed through rehearsals and finding out what works and what doesn’t work.

Through finding similarities between the Plague and the Ebola outbreak, did you find yourselves using quite contemporary references within the production?

Jonathan Martin: The play was first performed in 1995 so it is not a strict period piece; it is essentially a contemporary view of the period. As a result you get a very contemporary take on all sorts of issues for example, the sexual politics, class politics and the role of the body. It gives us an opportunity to investigate the play outside of the historic representation of the plague.

Hunter Bishop: It’s very much contemporary mixed with classical. For example we’ve been drawing on characters from Philocrates to Heathcliffe and contemporary films , even drawing on people that we may known in real life as well to help build on our characters behaviour.

In what ways did you feel your character has tested you?

Georgie Morton: I am playing a 12 year old and it began as this terrifying thing where you have to really consider what it is to be a child. In terms of her experiences I have to consider what she has been through, especially considering her age. I had to think about how I could use what I know and what I have been through and marry the two. But the whole play itself is completely like that. It’s about sex and death and you have to draw your own reactions into your characters. It’s been incredibly challenging.

Hannah Moorish: I would say that it has definitely pushed us the most that we have been, largely because it is such a different world. Jordan and I are playing quite old characters and, as with Georgies’ character, it is about finding the truth in their reactions. The characters experiences are so extreme that it has been testing.

Jordan Kemp: We were just talking about immanent death and mixing that in with the challenges of transformation. You have to do really imaginative work to start to realise what it might be like to be faced with that worry and then how you respond and how your character would respond to it. What’s stopping them from losing all of their stability and running for the hills? Trying to discover that strength in our characters was quite a challenge.

What is a classic Drama Centre London performance?

Jonathan Martin: I don’t think that there is such a thing as a classic DCL show. Our first duty is to do plays that are suitable for actors. We have to find plays that we think suite our particular actors, their skills and the gender balance. But we are also looking for plays that are not done to death. One Flea Spare is by an American writer and it is not that known in this country, not many people will know it – and that is becoming something that is quite important to us. We want the public facing repertoire of our actors to be interesting and unusual. I was speaking to the cast just the other day and I said that I think we follow Woody Allen when he says that the only themes of interest are the big themes, sex, love and death.

What is your next big project?

Jonathan Martin: Next term all the actors are going to be taking part in a play specially commissioned by Drama Centre London by Mark Ravenhill who is a very well known and interesting writer. He has written a play based on the aristocratic victims of the French Revolution. I think it will be another glorious portrayal of sex, death, decay and the politics around all of that.

More information:
- Event page and tickets
- Drama Centre London
- Hannah Moorish profile
- Georgie Morton profile
- Hunter Bishop profile
- Jordan Kemp profile
- Jed O’Hagan profile

Metaphonica: fine art and music collaborate

Image Credit: John Sturrock

Image Credit: John Sturrock

Last week The Street was host to ‘Metaphonica’, a night of experimentation between art and music, inspired by the historic relationship between art school and noted musicians.

With acts including Tim Exile, The Bloody Bishops, Resonance Radio Orchestra and The Perverts, the evening considered the relationship between contemporary art and musical excess.

View the gallery below to see more from the event.

More info:
BA Fine Art course page
MA Fine Art course page

Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross 150313_183 Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross

Image credit: John Sturrock

Alexander McQueen: Savage Beauty

 Spray painted dress  Artist: Alexander McQueen  Date: No 13, S/S 1999  Credit line: Model: Shalom Harlow represented by dna model management New York, Image: Catwalking  Special terms: None  Title: Tahitian pearl and silver neckpiece  Artist: Shaun Leane for Alexander McQueen  Date: Voss, S/S 2001
Following a record-breaking run at The Metropolitan Museum of Art in New York, ‘Alexander McQueen: Savage Beauty’ has arrived in London in even more fantastical form than the original. Curated by UAL academic Claire Wilcox, the exhibition at the V&A expands on the dazzling retrospective of one of history’s most visionary fashion designers.

Tahitian pearl and silver neckpiece Artist: Shaun Leane for Alexander McQueen  Date: Voss, S/S 2001 Credit line: Model: Karen Elson, © Anthea Simms
The story of Lee Alexander McQueen’s entrance to Central Saint Martins has passed into legend. For the London exhibition, V&A senior fashion curator and London College of Fashion professor of fashion curation Claire Wilcox has added a new section focusing on his time as a fledgling designer in London, just after graduating from the MA Fashion course. Claire is uniquely positioned to curate the show, having worked with the radical designer on a number of events during his lifetime.

Title: Jellyfish ensemble and Armadillo shoes Artist: Alexander McQueen Date: Plato’s Atlantis, S/S 2010 Credit line: Model: Polina Kasina, © Lauren Greenfield/INSTITUTE
Speaking to SHOWstudio, Claire said: “On so many levels it feels so right that the show should be happening in London this time. What’s been so incredible it working with all the people that knew him and care hugely about getting it right.”

Artist: Alexander McQueen Date: It's Only a Game, S/S 2005 Credit line: Image: firstVIEW

When the show was first announced, Claire told The Guardian: ““I am – well, everyone in fashion believes they are McQueen’s biggest fan, don’t they? I think we all feel a huge sense of responsibility to do the right thing by him.” While his former colleague and fellow Central Saint Martins alumna Sarah Burton reflected that: “Lee’s [McQueen’s] work transcended the catwalk. He had this ability to touch people from all walks of life, which was a huge part of what made him special.”

Title: Butterfly headdress of hand-painted turkey feathers Artist: Philip Treacy for Alexander McQueen Date: La Dame Bleue,S/S 2008 Credit line: Model: Alana Zimmer, © Anthea Simms
The six month run has already seen unprecedented demand for an exhibition the Evening Standard describes as celebrating Alexander McQueen’s “position as the capital’s greatest fashion visionary.”

Title: Installation view of 'Romantic Nationalism' gallery Artist: Alexander McQueen Savage Beauty at the V&A Date: 2015 Credit line: Victoria and Albert Museum, London

Hear Claire Wilcox speaking about the epic exhibition on the V&A’s Savage Beauty An Inside View video.

Title: Curators Andrew Bolton (Met) and Claire Wilcox (V&A) Credit line: Alexander McQueen: Savage Beauty Fashion Gala at the V&A, presented by American Express and Kering, Dave Benett Getty Images for Victoria and Albert Museum

Guido, guest, Sarah Burton and Kate Moss Credit line: Alexander McQueen: Savage Beauty Fashion Gala at the V&A, presented by American Express and Kering, Dave Benett Getty Images for Victoria and Albert Museum


Read about the V&A’s Savage Beauty illustration competition winning drawings by Wimbledon, LCF and CSM students, which are on sale at the V&A shop. Carmen Whitely design for the V&A's Savage Beauty exhibition print
Read about the Savage Beauty campaign graphics designed by LCC alumna Jo Glover.

Savage Beauty, Jo Glover, V&A, 2015

From 30 April, the Fashion Space Gallery will host ‘Warpaint: Alexander McQueen and Make-up’, a satellite exhibition to ‘Savage Beauty’, focusing on Alexander McQueen’s catwalk make-up. Find more about the Warpaint exhibition.

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Discover more about Savage Beauty on the V&A website.

Search fashion courses at UAL.

Portrait of Alexander McQueen  Artist: Photographed by Marc Hom  Date: 1997  Credit line: © Marc Hom / Trunk Archive