Archive for the ‘Student’ category

UAL Edit interview: Teleica Kirkland

Director of the Costume Institute of the African Diaspora and winner of one of UAL’s Vice-Chancellor’s scholarship award, Teleica is currently studying on LCF’s MA History and Culture of Fashion. CIAD’s inaugural exhibition opened this month in London, featuring garments from Vivienne Westwood and the Black Watch Museum.

Teleica Kirkland

Who or what first inspired you to follow your chosen career?
Actually my family are from Jamaica, from the mountains, that means they were quite poor so in my direct line going back my nan, great gran, great aunt, everyone made their own clothes, my mother sews and knits, it’s a family thing – not on purpose to be passed down, it’s just something that we do, it’s just one of those things that we just end up doing. It wasn’t necessarily an inspiration, it was just one of those things that just happens, it’s just there.

What are you working on at the moment?
The exhibition – for the rest of my life! Basically this exhibition has been about two and a half years in the making. It started on the 23 June 2011 because it was the first time I traveled to the Caribbean specifically to visit seven countries finding out about the different types of traditional dress, it was from there that I really picked up the understanding about madras and its link to tartan, so it was really from then that the whole idea started to percolate, it wasn’t even an idea then to be a project, the project itself has ballooned out of all proportion, mushroom clouded – you tell a few people and they tell a few people and then the V&A and Vivienne Westwood are involved, and then here you are!

Tartan exhibition

What are you most passionate about?
Creative freedom. Having the freedom to express yourself as you see fit – as long as it’s not causing detriment to anyone – to creatively explain or pronounce what is going on in your heart without fear of reprisal or retribution. People’s ideas of creativity are different but as long as it’s not causing harm to anyone or living thing then I think it should be allowed to be. When you think of Pussy Riot, I mean that’s not my thing, but what happened to them was ridiculous. When you’re creative and sensitive trying to traverse the seas of life is more difficult when your only avenue of being able to live some kind of life is curbed, in whatever form those retributions come, I just can’t have it!

Which piece of art/design/performance/communication/fashion do you wish you had created?
There have been several pieces of art, I’m a trained fine artist – I couldn’t go through the standard fashion route and so I went through the fine art route – I’ve come across so many pieces that make me go “that’s amazing”. One of the most amazing pieces of dance that I’ve ever seen is Revelation by Alvin Ailey, it’s just really a stunning piece of dance and the choreography is amazing, the music is so fitting using old slave songs to choreograph the dance pieces to and it’s just beautiful. Also work by Andy Goldsworthy, I’ve got a real thing about circles and curves and he does some of the most amazing things with leaves, petals and bits of found objects, lines, curves, pathways, it’s so impactful. Things like that really make me want to stop. One time when I was doing my first degree I saw a piece by Richard Wilson, 20:50, which is crude oil in a tub. That at the time was so impactful because it was so still, it was so powerful because the oil is so heavy, it was in a steel tub, black steel, black oil, and the reflection on it was so still and clear, it looked like a shiny hard surface, the fact it was oil and the play on sensory perception, I can’t even find the words! Amazing doesn’t do it justice. Things like that have really impacted on me.

Andy Goldsworthy Time

Where is your favourite London haunt?
I really love the Southbank, I love the river, the river at night time is one of the most beautiful places in the whole of London, the skyline, the light, the blue trees, it’s absolutely perfect, especially at this time of year, there are people chatting, skateboarders, people on dates, it’s such a nice atmosphere, it feels oddly safe.

Southbank

What is your guilty pleasure?
I don’t think I have one, isn’t that boring! I don’t live far from Farringdon and there’s Bea’s of Bloomsbury Bakery there, they have these amazing cinnamon buns, I’m going past looking at all kinds of naughtiness. Also there’s a cheese shop in Covent Garden, it stinks to high heaven and I’m allergic so I’m not supposed to eat it but I love cheese, so I go past and see the cheese in the window, sometimes a tiny little bit of cheese is my guiltiest pleasure.

Neal's Yard Dairy

Name a favourite book, song and film
The Life of Pi, before the film, Wild Seed by Octavia Butler, Two Thousand Seasons by Ayi Kwei Armah.

Wild Seed by Octavia Butler

I’m a real lover of musicals, I think for ages my favourite film was Cabaret, for the story more than music. A film I truly love is Burning an Illusion, it’s a film from the early 80s by Menelik Shabazz but it’s such a great story and it says so much about the Black British experience.

Burning an Illustion poster

So many songs resonate with you. Leave My Kisi Loo is a really old, old, old Jamaican song, by Stanley and the Turbines, it’s not like a favourite song but it’s one of the first I ever heard, whenever I hear it I have real nostalgic memories of my Nan and her putting it on. The lyrics are a bit out of order if you listen to it, it’s a bit off key, but I’ve just got fond nostalgic memories of being with my grandmother when I hear it.

Leave My Kisi Loo

What is your signature dish?
I’m vegetarian so I like making a variation on a Gambian dish called Domoda, I make it with peanut sauce.

Do you think University of the Arts London has an important role to play in Britain’s cultural life?
Yes I really do, I don’t know that there’s a uni bigger than UAL that focuses on all the different types of art. I do think that it has a really important role to play in the UK to outline and underline what creative culture is in this country. It’s very difficult because UAL have a push to try and bring together a more ethnically diverse understanding of the student body, but the UK has never been one single type of people, as an island all kinds of people have settled here over thousands of years. There needs to be a creative education with regards to that and UAL has a role in terms of that. When you teach things in a creative way it’s fun, if UAL can really get to grips with that it can really fly.

What advice would you give to aspiring creatives?
Do whatever you can, however you can, wherever you can. Don’t think you can’t do something because there isn’t funding, space, whatever; there is nothing to stop you doing anything if you want to do it enough. I can’t stand when people think there’s only one way to do something, there are millions as long as you find one way, anyway, find a way to produce, find an outlet. When I was younger there was no internet, but people still found a way to produce and get their stuff out there, now it’s much easier. Just do it!

justdoit

Tell us more about your current exhibition
The exhibition is called Tartan: Its Journey Through The African Diaspora, but really it’s about how the cultures in Africa and the Diaspora have used tartan in their own material culture, to highlight the agency and autonomy of these people, what they’ve done with what was left after colonialism and drawing the story back from where they are now. Pointing arrows to those links and trying to highlight the autonomy of these people. They were in this awful situation but look what they did with what they were left with.

tartan fabric

Tartan – Its Journey Through the African Diaspora is at Crafts Central until 30 August. Read more

Find out more about MA History and Culture of Fashion

Find out more about Vice-Chancellor’s Scholarships

Friday Feature // The LCC graduate helping Rio prepare for 2016

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A brainstorming session at the Committee developed by the Rio 2016 Digital Communications department.

After graduating from LCC’s MDes Service Design Innovation course in 2012, and with experience running an interaction design studio, Marcelo Albagli hoped to pursue a career as a digital communications and service innovation consultant.

When the Rio 2016 Organising Committee got in touch after a few months, he was delighted. Their digital communications department needed help in developing the strategic plan for the pre-Games period, but during his few months with the team, Marcelo began to realise the size of the project:

“In the next two years, the Games will involve 8,000 employees, 35,000 third party service providers, and 70,000 volunteers in the making. Rio 2016 will probably be the largest sporting event ever, with 15,000 athletes from 204 countries participating.

“Over 7 million tickets will be sold for the 64 Olympic and Paralympic competitions, and more than 20,000 media professionals are being expected in the city. It’s overwhelming”.

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Signing the ’2 Years to Go’ board

Marcelo decided that the digital communications strategy should be devised not through interviews with the leadership but during brainstorming and co-designing sessions with employees.

People from different departments were invited to generate ideas, beginning a collaborative creative process. These sessions allowed Marcelo to understand the Games from many different perspectives, while he and the team also researched the London 2012 and Vancouver 2010 Games.

Co-designing proved to be a powerful approach, translating the idea of social participation into practice. Marcelo adds:

“In my opinion, it is possible to say that co-designing served the Committee almost as an analogy for what we wanted to be doing online. These sessions also confirmed how highly motivated everyone was.”

Marcelo was then invited to write the creative brief for the development of Rio 2016′s digital channels during Games time and outline how proposals should be assessed. He also conducted brainstorming sessions to design the Olympic torch relay:

“We all have an idea of how the Olympic flame usually travels across the hosting country to finally light the cauldron in the main stadium of the Olympics. However, the torch design, who the torch bearers are, and which landmarks are highlighted during the relay, that is what needs to be realised and orchestrated to create a meaningful narrative.

“And from what I’ve seen in these sessions, where most of the participants were not members of the Organising Committee, I can tell how unique the relay has the potential to be in Brazil.”

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In the Olympic torch relay brainstorming sessions, most participants were from outside the Committee.

Marcelo has also been involved with the development of a mobile app for volunteers, the first test event in Rio – the International Sailing Regatta 2014 – and an education programme to help students communicate using digital media. But most centrally, his job is to plan and deliver the digital communications channels for the Games period.

Reflecting on the challenges so far, Marcelo points out:

“One needs to learn how to cope with frustration when helping to make the Games. There are many exciting opportunities to build something meaningful being revealed all the time. However, just as it is with any other project, regardless of its size, resources are limited and you can’t control everything. We work for the best, and we hope for the best.

“I learn something new every day, which is the most rewarding aspect of the job apart from having the opportunity to contribute to society in some way. Whatever direction you look in you will find something amazing.”

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Guanabara Bay, where Rio’s first Olympic test event, the International Sailing Regatta 2014, took place.

Read about MDes Service Design Innovation

Read Marcelo Albagli’s alumni profile

The post Friday Feature // The LCC graduate helping Rio prepare for 2016 appeared first on London College of Communication Blog.

News // Summer refurbishment at LCC

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Crated printmaking and letterpress equipment is moved by crane into the new studio spaces

It may be holiday time for many at LCC, but the College’s management and technical teams have been very busy relocating, revamping and reorganising in time for the start of the autumn term.

The major improvement works currently underway affect many areas of the building, but particularly the letterpress and printmaking workshops, which will now be located on the second and third floors of the Workshop Block, adjacent to the existing Heidelberg room (second) and print workshops (third).

There will be a full range of resources for different types of traditional printmaking, typesetting, book arts, textile printing, offset litho print and finishing.

The aim is for a more collaborative working model between areas which had formerly been spread around the building. For example, print and letterpress will now share the paper and chemical stores, and with around ten technicians in total between all disciplines, the areas will offer fantastic facilities and expert support to students and academic staff.

The letterpress staff are also taking the opportunity to sort, rationalise and update their typefaces before they set up home in a new space.

The heavy and delicate antique equipment has to be moved from one block to another by crane, stationed in the yard between the two blocks. Every piece of machinery is being packed into crates or onto pallets, picked up with the crane and set down on a platform on the appropriate floor.

Instagram crane

Part of a printing press is lifted into its new location

As many items as possible are being reused or recycled during the process, with even specialist sinks being preserved and transplanted to new homes.

Letterpress’s former studio on the lower ground floor of the Design Block is to be used by Foundation students for photography, as it is close to some of the College’s darkrooms, while the old printmaking area on the Design Block’s ground floor will be split into three studios for BA (Hons) Photography and BA (Hons) Production for Live Events and Television.

Also on the way are a new small TV studio suitable for TV journalism, green screen and animation on the lower ground floor of the Media Block, and a new blacked-out project space between the Main Lecture Theatre and the wood workshop.

The eighth, ninth, tenth, eleventh and fourteenth floors of the Tower Block are being redecorated, with new ceilings, new lighting and where necessary new carpets and blackout curtains. The Kit Room is being extended, which will facilitate a greater provision of equipment loans to students and staff.

PowerPoint Presentation

New outdoor furniture arrived at the College earlier this year

This is in addition to the new concrete benches and cycle storage installed in front of the College during the summer term.

Watch footage of the crane in action //

More detailed information about the summer works and room changes will be circulated to staff and students in due course.

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Professor Reina Lewis interviewed by Islam Channel to give commentary on the growing spending power of the Muslim consumer

reina

Reina Lewis, Artscom Centenary Professor of Cultural Studies, London College of Fashion, was interviewed by the Islam Channel for a documentary about the Islamic economy to give commentary on the growing sector of fashion in the Islamic world.

The documentary will be repeated on the Islam Channel (Sky 806) on Friday 22nd August at 9pm (originally aired on Wednesday 30th July, 2014).

It is also now on YouTube and you can watch it via this link:

The Islamic Economy

Professor Reina Lewis’ research profile

LCF Alumna designs costumes for English National Ballet

Antonella Petraccaro, MA Costume Design for Performance

Antonella Petraccaro, MA Costume Design for Performance

LCF Alumna Antonella Petraccaro, MA Costume Design for Performance, recently designed costumes for Fabian Reimair’s, We Are Free, as part of the National Ballet’s choreographics series.

Every year the English National Ballet gives their dancers the opportunity to choreograph a short dance performance, and having worked for the English National Ballet before as a freelance costumier, Antonella was recommended by the wardrobe staff to produce the costumes for Fabian’s show.

Antonella spoke about the opportunity:

“I was very excited to work with the choreographer on his piece and about having my designs showcased by an internationally known company. I also felt very grateful for the support I received from the costume department staff to help create the costumes.”

Antonella was asked to plan the visual concept of the piece in accordance with the choreographer’s vision and physical requirements for the dancers. The job entailed designing and making costumes for 3 female and 2 male dancers.

The designer told LCF News about her passion for costume design:

“I absolutely love designing and creating for the body in movement. I like the challenge and to challenge the body in movement and that is what inspires me and keeps me going.”

Antonella now plans to forge ahead with her costume designing career, working for the National Ballet and the Royal Opera House.

The post LCF Alumna designs costumes for English National Ballet appeared first on LCF News.

LCF BA14 alumni selected for Fashion Scout Graduate Showcase

Luke Bullen and Jana Dahmen, both BA (Hons) Fashion Design Technology: Womenswear (2014) Charlotte Knowles, BA (Hons) Fashion Design Technology: Womenswear (2014) Charlotte Knowles, BA (Hons) Fashion Design Technology: Womenswear (2014)

Recent LCF BA14 graduates, Charlotte KnowlesLuke Bullen and Jana Dahmen, all BA (Hons) Fashion Design Technology Womenswear, have been selected for the Fashion Scout Graduate Showcase.

The Graduate Showcase returns this September for its fourth year, announcing the ten best fashion design graduates from the UK, scouted from over 300 collections viewed in February and June’s graduate shows.

Fresh out of university, this is a wonderful opportunity for Luke and Jana – whose collection is a collaboration – and for Charlotte, with each of them having the chance to present a selection of three looks from their final collections at London Fashion Week. The Showcase allows press, buyer and industry members attending the event to meet the graduates and discover their creative vision first hand.

Charlotte, Jana and Luke’s success comes on top of three LCF MA alumnae being selected for Fashion Scout’s ‘Ones To Watch’.

  • Image credits – Right & Left: Roger Dean – Centre: Photography, James Rees; Direction, Rob Phillips.

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Drunken Painter Decapitates Mannequin Lover at Champagne Party

Salvador Dalí holding an artist’s lay figure (the chauffeur in the Taxi pluvieux), International Exhibition of Surrealism, Paris, 1938

A photo of Salvador Dalí by Denise Bellon. © Les Films de l’Équinoxe – Fonds Photographique Denise Bellon and Salvador Dalí, Fundació Gala-Salvador Dalí, DACS, 2014.

The dark tale of Expressionist Oskar Kokoschka and his stuffed girlfriend is just one of the stories explored by our second-year Fashion History and Theory students, in response to the Fitzwilliam Museum’s forthcoming exhibition.

Jane Munro, curator of Silent Partners: Artist and Mannequin from Function to Fetish, asked our students to respond to the exhibition, which explores the evolution of the artist’s mannequin. Through short videos, they looked at the transformation of the mannequin from inconspicuous studio tool to fetishised object.

Student Angelina Todd focused on the shocking story of Viennese artist Oskar Kokoschka. Kokoschka was devastated when his lover Alma Mahler aborted their baby, and he enlisted with the Austrian army to fight in World War One. When he returned home severely wounded, he found Mahler had married a former fling – Bauhaus school founder, Walter Gropius.

A waltz with a polar bear
In an unconventional attempt to rid himself of his passion for Mahler, Kokoschka ordered dollmaker Hermine Moos to make an exact, life-size replica of his ex-girlfriend. He wrote: “Yesterday I sent a life-size drawing of my beloved and I ask you to copy this most carefully [...] Pay special attention to the dimensions of the head and neck, to the ribcage, the rump and the limbs.”

Träumende by Umbo © Phyllis Umbehr / Galerie Kicken Berlin / DACS 2014

Träumende by Umbo © Phyllis Umbehr / Galerie Kicken Berlin / DACS 2014

It took Moos six months to fulfil this order. While waiting, Kokoschka took up with his serving maid, who carved his initials into her breast as a sign of commitment. When the mannequin finally arrived, Kokoschka was horrified to find that, far from life-like, it had furry limbs.

He wrote to Moos in disgust, saying: “The outer shell is a polar-bear pelt, suitable for a shaggy imitation bedside rug rather than the soft and pliable skin of a woman […] Even attempting to pull on one stocking would be like asking a French dancing-master to waltz with a polar bear.”

Beheaded in the garden
Kokoschka came to terms with the mannequin’s hirsute appearance, painting and sketching the doll as he once drawn Mahler. Rumours emerged about his trips to the opera with the mannequin, their long carriage rides together and their private rendezvous.

Eventually, Kokoschka was convinced that his custom-made muse had cured him of his passion for Mahler. He threw a big champagne party with chamber music, destined to be the mannequin’s last. Kokoschka wrote: “When dawn broke – I was quite drunk, as was everyone else – I beheaded it out in the garden and broke a bottle of red wine over its head.”

Other subjects explored by our students include France’s consumer revolution and the story of mannequin maker Pierre Imans. The exhibition, which features life-size mannequins, dolls and over 180 remarkable artworks from across the world, runs at the Fitzwilliam Museum from 14 October 2014 until 25 January 2015.

More information:
BA Fashion Communication: Fashion History and Theory
The Fitzwilliam Museum’s Silent Partners exhibition

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‘Popular Culture and the Interior’ is theme chosen by UAL Chair

Ben Kelly RDI, Chair in Interior & Spatial Design, has announced the theme which he will be working with during his tenure as a cross-university Chair at University of the Arts London:

‘Popular Culture and the Interior’

Seditionaries

Ben Kelly

Ben is interested in the ability of iconic interiors to effect and influence the direction of popular culture and the wider world. This effect has been demonstrated by the power and influence of Malcolm McLaren and Vivien Westwood’s shop at 430 Kings Road which has morphed its way through five decades from punk to couture in the form of Let it Rock to Sex and then Seditionaries and, most recently, to Worlds End. From this one small interior, via the platform of popular culture, music, fashion, graphics, law, society and its values have been simultaneously embraced, challenged and confronted.

This theme will be explored, examined and debated using a number of digital and analogue platforms. A number of activities on the subject will be announced later this year.

Anyone who is interested in learning more about Ben’s intentions for this themed project, and perhaps participating, are invited to contact Ben directly at ben.kelly@arts.ac.uk

LCC Alumni in the 100 Archive

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A Place Is A Space We Give Meaning, Paul Bailey, 2011.

The 100 Archive is a community centred initiative to document and record the past and future of visual communication design in Ireland. It is a valuable resource which acts as a simple and transparent record of the professional activity, working practices, career paths, professional associates and collaborators of Irish designers.

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A Place Is A Space We Give Meaning, Paul Bailey, 2011.

The Archive houses an impressive amount of work from LCC postgraduate alumni, including three projects by our very own MA Graphic Design Course Leader Paul Bailey as well as work from Wayne Daly, Stephen McCarthy, Brian Heffernan, Niall O’Shea and Mark Shiels.

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# Magazine, Paul Bailey, 2013.

 

Brian Heffernan, now a senior a designer at design studio Aad in Dublin, talks us through his journey from LCC to 100 Archives:

“I had been a practicing graphic designer for nearly ten years when I returned to full-time education at LCC. My year on the Contemporary Typographic Media MA proved beneficial in ways I could not have foreseen.The course facilitated the development of new criteria by which work, both mine and others, can be assessed and this in turn has enabled me to identify the potential of my practice.

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Cork Midsummer Festival Program, Brian Heffernan, 2013.

“It’s a real honour to have my work included in the 100 Archive. As a practicing designer, I find being part of the pier group identified hugely beneficial. In this regard the archive is less about Irish identity and more about being part of something that recognises good graphic design, and that benefits everyone.

CMF_Programme_2013_D

Cork Midsummer Festival Program, Brian Heffernan, 2013.

“I think the archive provides a much needed focal point for Irish graphic design. Not only does it contextualise individual projects within a wider body of work, it contextualises Irish graphic design internationally. Having little by the way of legacy, the archive documents the path Irish graphic design has taken, and in doing so, shines a light on the road ahead.”

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DCU Student Support & Development, Brian Heffernan.

Read more about MA Graphic Design

Read more about Paul Bailey

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Gyo Yuni Kimchoe Scoops Fashion Scout’s Merit Award

© Gyo Kim

© Gyo Kim

Gyo Kim, who has is half of the award-winning Gyo Yuni Kimchoe label, has just graduated from the womenswear pathway of BA Fashion. His partner Yuni Choe makes up the other half of the label.

Having been named Fashion Scout’s Merit Award winner for the spring/summer 2015 season, Gyo Yuni Kimchoe will showcase their work at London Fashion Week in September. Their on-schedule catwalk show will be fully sponsored.

Speaking to Vogue, the duo said: “We are so honoured to be selected as the winner. The Merit Award is the best opportunity for new designers to show their vision and creativity.”

© Gyo Kim © Gyo Kim © Gyo Kim © Gyo Kim

‘An exciting approach’

Originally from Korean, Gyo Kim and Yuni Choe first met in New York. They then moved to London in 2011 to continue their studies. The couple’s concern about environmental problems, social issues and animal cruelty has led them to follow a philosophy of respecting life and nature.

Phoebe English, who was on this year’s judging panel, noted their work to be “very original with an exciting approach, you can tell they really enjoyed making their collection.”

Gyo Yuni Kimchoe’s eco-friendly, quirky and unexpected designs can be seen on schedule at the Freemason’s Hall in Covent Garden in September.

© Gyo Kim © Gyo Kim © Gyo Kim © Gyo Kim
More information:
BA Fashion
Gyo Yuni Kimchoe
Fashion Scout

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