Portmanreau List: Sarah Burton for Alexander McQueen - my favourite piece


As I was humming happily and eating my breakfast porridge and doing my morning ritual of going through the latest tweets, my spoon dropped and my heart started beating at a rate not recently experienced by a chair potato like me. I came across Fashion Foie Gras' post about Sarah Burton's first Resort Collection for Alexander Mc Queen, sourcing her pictures from Jim Shi's twitter account.

More precisely, my heart fluttered as my eyelids opened wide and the goosebumps slowly but steadily worked their way across the surface of my body.

Look at the perfection of this dress/ coat. As I write this, my heart rate is still trying to calm down. Now, I'm not going to discuss whether she was the perfect choice or how far this is in connection with the real Alexander Mc Queen (although I probably should) - I simply want to admire this dress/coat. On its own. Without context, without meaning, just for its alone standing perfection.

And here it is, once again, in its full glory of perfection (in my eyes):

Portmanteau List: Playing peekaboo with German Pop Songs from the turn of the century

Although I tend to forget that I ever lived in Germany and believe myself to be firmly anchored in British culture, there is no denying that every now and then my German past catches up with me. It doesn't happen often, and I am usually on my own, but this catch-up manifests itself mainly in the form of German Pop Music, disrupting my usual taste in music, firmly based within groups that tend to have a "the" prefix to their band name, long hair and were around in the 60s. At the high tide of puberty, I was blessed, or cursed, with the presence of cable television. For a single year only, before we moved into a massive light white heavenly loft without phones or internet and generally were cut off from the outside world. Having very happily grown up playing with my beloved rabbit and climbing trees to get out of reach of chore reminders so I could read my books in peace, my mother had consciously, with mine and my sister's approval, decided to not have TV. And ever since that one year at the height of puberty, I've quite happily continued with that pearl of wisdom. I don't have TV and I don't want one, especially since things such as the BBC iPlayer grace our lives.

To get back to the point, though, nostalgia does play peekaboo with me every now and then - for an afternoon or so. Today is another such day, so I decided to share the joys of my guilty pleasures, the joys of German pop culture that has stuck with me from that single year. To my disappointment, most of the original music videos were either taken down or not available in the UK, so some of them are just lyrics.

Portmanteau Commentary: Knowledge vs Intelligence - Defining expertise in the world of fashion

The 10000 hours rule
One of my favourite concepts is that of Malcom Gladwell's 10000 hour rule. You can become an expert in anything when you practice 10000 hours. However true the concept of abundance of ideas and quantity leading to quality might be, I am not certain whether the same applies to fashion style. Sure, expertise is needed in the craft of creating a dress, or in a situation when actual knowledge is involved for instance as someone who is meant to analyse trends. However, does this rule also apply to taste?

Knowing yourself is having good taste
I've done some research and it seems everyone disagrees with each other on this point. 'Fashion consultant' Robert Pante from the 1980s, calling himself an 'expert' after a few years of being involved in fashion, suggests that although taste is born, with a 'right' and alert attitude anyone can copy and consciously measure their style into being tasteful. However, I'm sure many readers will agree with me when I say that this is utterly cringey. The idea of taste and style is to be yourself, not copy, and make "it" work in a way that fits you as an individual best. In many cases just copying someone's outfit that might have suited that person perfectly, most likely won't suit you.
However, I have come to realise that taste comes from knowing yourself, which is a form of knowledge that increases with the amount of hours one spends on actually getting to know the way in which the self interacts with fashion and combinations of pieces. Experimenting, making mistakes and stretching your fashion use to the max does seem to improve the knowledge of oneself and results in an increased awareness of what one can pull off, what looks good on oneself and what is - for your own individual body and type - good taste.

Copying or interpreting?
Where do the boundaries of expertise actually blur, though? When can someone working in the fashion industry actually be called an expert? A great example for this, and what set off the chain reaction of thoughts on this subject were the DIY tights made by the lovely blogger The Haute Pursuit who openly establishes her consumer and amateur stance as a down-to earth girl with fashion sense. 'Inspired' by Cecilia from KeepItFvncy, she copied the idea of Miu Miu prints by skilfully creating tights using similar designs and is utterly open and proud about it. Curiously, its result were a lot more tasteful in the context of her style than the commercially perfect, neat lines of the Miu Miu pieces themselves would have been. My question now is - as an individual, who has spent hours and hours coming close to the 1000 hour rule on fine tuning herself (as it should be) paired with a talent, which must also have been honed in unmentioned hours - can she be counted as an expert despite her 'consumer' presentation?


Despite its certainly fun and talented application, there is a substantial itch that needs to be addressed and although it may not be a particularly important point for a consumer, it always will be an itch for anyone who is a creator of fashion - that of uniqueness. Here I go back to the idea of expertise in fashion - taste is to know oneself because the self is unique. However, as the wise designer Rosario from El Ultimo Grito has once said, ( immortalised on a badge by Stuart Bannocks) - value hirarchy of creative claim is based on either being better or having done it before everyone else. If you exclude cultural attachments and social status that comes with official titles 'blogger/ consumer' vs. 'big-name-established-designer' and look purely at the fashion pieces in the used context themselves, this applies here - the tights look definitely better and in terms of finish and application as well as the placing of the idea on tights and sheer fabric with a rock glam finish rather than on a solid coloured, thick black suit. On the other side of the spectrum of this argument I have come across Lou Lou Magazine from Canada today, which claims to be an 'expert in shopping'. This is, I can assure you true in the sense of the word, but sounds strange as the concept of 'expertise' carries a business, logical attachment as opposed to a the fashion equivalent of 'good taste', which is a lot harder to use as an official status claim. Intelligence has always been harder to prove than knowledge.

It all boils down to value
As in so many of my articles it all boils down to value. Expertise, in its textbook sense of knowledge accumulated in quantity, doesn't apply to the consumer fashion industry in as much of an extent (only through a backdoor way to establish taste) as does the hirarchy of value and contextual and visual intelligence, which is born, not learned as is knowledge and skill.

Portmanteau Diary: A week and a day with Lira Leirner


I have never really been much of a diary writer. I tried to do it two or three times, always resulting in a lovely empty book that had the first couple of pages covered in random scribbles. I have written regularly, especially in primary school where I had to write an essay, play, story or whatever took my fancy about a discussed topic every single day, but writing about myself every day seemed kind of… boring.
The act of a blogger can be and has been compared to that of a diary writer but there is a big difference – you don’t have to write about yourself or the things you did that day. So, writing a blog is quite different, I’d say. The act of writing every day involves a discipline and commitment that I tended to not want to tie myself to.
However, when Charlotte from Stylecartel made me an offer I could not, or more accurately, didn’t want to refuse. After all, whipping up an article about what and when and where I do over a week is still doable, I thought. Keeping me up before bed time, which is already more than late, as you will see, I stuck by it and bring you the “Week with Lira Leirner” including household dramas, fashion making and art shows. In order for you to not get bored, I whacked in a lot of pictures.
DAY ONE
Every morning either the sun or Stuart’s stampede wakes me up as he rushes to work. As my upper eye lid still unglues itself from the lower I intuitively reach for my iPhone and blink at it while I don’t waste my first half hour of the day trying to wake up – I already do some of my work whilst trying to wake up. Good ol’ iPhone. After an hour or so curled up under the duvet having done as much of the “soft” work possible, my arm ventures out of the cave and grabs whichever dress is on top of a heap of unorganized clothes near the bed. I peel myself away from the sheets and stumble down to my office knowing I have real work to do now. The opening sound of the macbook is as strong a catalyser for my awakening as is coffee for others, so I usually manage to get some solid client work done from 8am to around 2pm.
In addition to that I finished off the article about Daisy Dares You for Stylecartel when I came across the strange dilemma of electronic dependency. One of the films looked bad but sounded good, and the other was undecipherable but looked steady. Instead of exasperating at the face of electronic failure, I decided to simply use the sound of the former. I wanted to get ready to go to the market in order to get silk knit jersey for Kristin Knox of Clothes Whiperer’s custom made QR code dress but got tied down with work: the translation editorial from French to English for yet another client. It was interesting because the client is an architecture magazine.
I figured it was already too late to leave the house so I finally created a company page on facebook. I was still deep in the juju when Charlotte came home at 4.30pm and snapped me out of my working trance to remind me that I had, once again, completely forgotten about breakfast and lunch. We had a nice chat over a bowl of porridge then it was back to work.
I restructured the entire Lira Leirner website deciding to create a follow section, excluding a whole collection and adding new content and made a big change – instead of entering a text only list on the first page the landing page now redirects to the shop page directly, allowing a complete overview of all the pieces before deciding which one to learn more about.
At about 5pm Stuart came home and made me a badge to cheer me up as I was getting some serious recovering shopaholic blues.

Portmanteau List: Prada Milan Men's Collection S/S11

I watched the live stream of Prada on AnOtherMagazine and the industrial set up with a beautifully arched fluorescent lighted runway was exciting and beautiful - more so than the collection.





A mix of suits that were not exactly groundbreaking in a "wide" palette of gray, beige and a weird denim somehow wasn't special or crisp but pretty boring. Bearing in mind that nude palettes are very sexy on a man, it simply didn't work - especially with the frame of the stylization being really unflattering - and what was up with the horrible, awful ski sunglasses necklaces? The only place I tolerate these is on an actual skiing person and even then I find it tacky and early 90s. The worst element, however, were the surgical shirts - OK, maybe I don't "get" men's wear but this really didn't excite me at all.



What I liked, though was the arched U-neck outline of the denim jumpers layered over shirts and ties.






At the end of the show things started lightening up with a gorgeous series of knitwear that visually cut the upper body in third by introducing a poncho-like pattern, which I found very inspiring.












There seems to be mixed feelings about the "platform creeper with espadrille and colored rubber sneaker-like layers" (TheMoment). Stylebubble seems to love them but I personally don't.


All images are screenshots taken by me from the live screening except from the last image takes by "TheMoment" twitpic.

Portmanteau Commentary: When Branding gets out of Hand

Brands. In essence a name, a brand has almost as much character and social attachment, stands for as much content as does the name of a human being. In fashion and design, a brand name is marketed to convey quality, when it is in fact conveying fame. What is actually happening is that we accept that they are famous FOR being of a certain quality, almost implying that non famous brands are not entitled to use the word "label" or "brand", socially speaking, until they are actually known. This doesn't change with quality or craftsmanship. Many unknown creators and makers may create high quality garments but are still regarded to be of lesser value because the "label" isn't famous. Originally, the fashion label was only meant to be a signature of the maker. However, I have come to accept that I am brainwashed and actually enjoy and toil in the social as well as stylistic, immediate classification and implications that come with being the wearer of a certain brand. Yes, I admit I'm brainwashed, and I admit that because these social stigma have been taken on within the fashion world, they do, in fact, mean what they imply.

However, there is a tipping point. Being too popular excludes the exclusivity as we have seen with Louis Vuitton bags. Perception changes, even if I can still differentiate between the spoilt teenager who is using a vintage tote she inherited from her grandmother hence carries it with a flair of entitlement, to the horde of Londoners that wear their fakes with a sense of "Well, it's just a bag and I like that it's brown". Good point, but it does change one's perception of the brand.

There is also a tipping point in a different direction, which is that of pushing the brand too far from their own lines. In order to stay abreast nowadays, big fashion lines and stores need to be able to stock and provide the entire range of products. Chanel is no longer just about the perfectly tailored tweed two piece casual suits, but about sunglasses, bags, shoes, jewelery, anything you can think of. However, when do brands go too far? It is difficult to tell because in many instances, actually having ventured that far out of their original concept and interest was so welcomed by brand mad fashionistas that it has gradually become part of the brand's spectrum.

One instance, however, is that of what has been reported by styleite.com as an idea by Christian Dior to brand contact lenses. Am I alone or does this just seem utterly tasteless? Then again, we buy branded glasses and having contact lenses from one brand may find buyers interested in showing off they bought labeled, hence "better" contact lenses than the "normal, unlabeled ones". You know, those which may, in fact, have been created by experts, and not a fashion house.

Along these lines, not long ago, Chanel decided to bring out a limited edition of transferable tattoos of the brand, slightly shaking their elegant image marketing it as a "rock punk edge" (independent.com) to the label, which I personally think was PR bullshit to cover bringing out a gadget. A very popular one, sure. In fact, it looked pretty hot. That does not, however, make me think this is really acceptable.

At what point does the wearing of a label that we pay very big sums of money for actually become a simple form of advertising? Isn't it weird that we pay to carry the stigma and connotations of a brand when we should actually be paid for doing so since it is, in fact, advertising? As a result of this train of thought I think that the limit I would like to imagine marks the end of acceptable forms of branding is when the brand is either applied to our own body or used in a "gadget" that is a necessary form of support such as glasses and hearing aids, rather than worn as a stylised and chosen product. But that's just my opinion.

Portmanteau Diary: Enjoying the Creme de la Crepes in Covent Garden



As Karl Pilkington pointed out in his wisdom, Pancakes should be enjoyed any day, one shouldn't have to restrict itself to only a Pancake Tuesday per year, and maybe that Tuesday one fancies cupcakes! Anyway, in another stroke of genius, Charlotte opted to go have lunch at the Creme de la Crepes in Covent Garden for her birthday in order to take into account all our combined food issues.

I was in heaven. I don't usually like eating out. In most places there is exactly ONE thing on the menu that I can eat and if I get lucky, maybe two. And I usually need to ask for some form of adjustment to that order, as well. So I never really get the same sort of excitement and 'problem' of choice, let alone utter the need to want to eat everything on the menu saying "Ohh everything looks so good" as other people do. No, that's not what you hear coming from me. You usually hear a lot of apologetic and frustrated, slightly teary remarks. "So, this is what normal people feel like when they look at menus" I thought. Finally.



I was so happy that I ordered three things while the others such as pretty Jema here, being used to that happening, opted for one pancake (as normal people do). I had a cheese pancake and a Nutella pancake, and I also wanted to get the banana pancake and the vegetables pancake and the... OK you guys can see where this is going. I also had the urge to order about four different smoothies but went for a strawberry, raspberry and mango one, which was so rich I nearly fainted from sheer happiness.



With a pink decor (not my thing) their lovely wooden benches and cute corner tables and even cuter reception and drinks stall were absolutely my thing. They had a pancake machine that took my attention ("Don't be a pancake!" Sorry for the crappy iPhone picture) and a Nutella jar that was bigger than the cooks head - and that's not proportion, it actually was!





Strolling around Covent Garden, trying to rest my overfull tummy. So glad I wore a dress that allowed me to expand as much as I like. Stu and Charlotte giving each other a birthday goodbye!



As usual I was snapping away, so here are some fashion highlights I came across that day.



Portmanteau Commentary: A rant about unfair sizing in fashion - We're not all models!

Fashion Foie Gras took it upon herself to state what I'd been thinking for a while now. The last week I've come across at least three articles that stated news of magazines so and so featuring plus size models, always including outraged comments such as "They aren't plus sized, they are normal. That just makes me feel fat." I quite agreed with whoever wrote that post (can't find it anymore! Sorry!) but wondered if the industry was shooting themselves in the foot by calling perfectly healthy, relatively thin women (in a normal, not fashion sense) "plus sized". I wrote a long comment but then decided that it was worth real consideration and a real and thorough reaction.

As Emily from Fashion Foie Gras then unfolded to me and her other readers, it all made sense. Industry standards put the "plus size" down to a ten from a 14, clearly in order to promote themselves for making "plus size garments", but at the same time not actually increasing the range. That's kind of ridiculous, isn't it? I mean, people will actually be trying these on. That's like telling a kid that pickled cabbage tastes like chocolate in caramel. It will get excited, come along and even put a first spoon into their mouths, only to of course spit it out. What were they thinking?!

I can really identify with Emily's frustration although from a completely different angle. As some of you know, I started up my fashion line because I COULDN'T FIND ANY DRESSES THAT FITTED ME! Yes, sure, I could pop down to Primark or some other crappy high street store that works with loose fitting stretchy polyester, and, if I'm lucky, cotton, to get some flimsy, badly finished dress from horrendous ethical conditions, but I didn't want to!



I wanted the perfectly fitting, real material, detailed, perfect length dress. I will never forget that time I had found a gorgeous dress in a store, which I won't name and shame, but was not high street. Everything was great except it was a little too big, so I asked for a smaller size. They got it for me from the petite department. It was the exact same dress, not a similar one, it had the same name etc so I tried it on and it was perfect. However, the dress was a third more expensive than the one size up. I thought it was a mistake and asked them to change it but they simply said that because it was petite, it cost more. I was so outraged that not even the manager would budge that I pretty much told them to F off (but politely) and refused to buy it. I could afford it, but that was not the point. In principle, a petite dress is LESS MATERIAL. It takes a shorter amount of time to sow it. Now why do I have to pay more for that just because I am not a generic 6 foot tall model type person? Talk about discrimination! In fact, so few are aware of this particular issue, they even confuse "petite" with simply meaning small, hence size two for people that are 6 feet tall. See, I'm tiny:



Unlike Emily, the other reason was that I didn't have money to burn in petite stores and it was actually cheaper to make it myself - and more fun. But now comes the other point I want to make:

Normal women are pear shaped. I don't have the patience to look up a study that confirms it because I KNOW that most women are pear shaped. Most designers use generic sizes because they have to "think about everyone" but in fact, this just excludes the majority, pretending that the majority of women aren't pear shaped and in fact have two sizes. By that I mean - bust 8, hips 10 etc, which then means that something doesn't really fit. When will designers realise that they should create designs that acknowledge this? I love wearing dresses, and when I ask my few female friends why they don't, I usually hear that they just don't fit them (same problem I had) because the top would look too loose and the bottoms too tight, so they prefer buying a top and a skirt in the respective sizes and matching it - now why would I want to spend heaps of poundage on something that doesn't fit either way?



The other issue is that I am tiny (5 feet one inch! And I insist on the extra inch). Just trimming the bottom of a dress doesn't do the trick. I have normal proportions, my back is shorter and so are my arms, to match my legs and the rest of my body. On my own, I look normal. Sounds like a given, right? Nope. Only very few even design for petites and the ones that do, for some reason, design mainly for old ladies.

So, in response to Emily and her passionate rant, my rant comes from the opposite spectrum but includes all the same arguments. Models are only a tiny percentage of the population. Are you designing for them or for us? Seriously. What am I meant to do, cut up my legs and infuse some sticks? Heels help, but they don't change my proportions, do they?

For me personally I can at least say that this rant is almost a bit old. It is still offensive, but as I can actually create whatever dress I actually wish to possess, in my own size, I don't really have much to complain about any more. We should all just go back to tailoring, I think. They had it right all along with their individually crafted clothing.

What bugs you about the fashion industry and their sizing system? I've created a poll, what do you choose?

Portmanteau Diary: Daisy Dares You to wear an album with Music Tee in Selfridges



Yesterday evening Selfridges hosted a Daisy Dares You concert in line with the UK Music Tee launch. Providing a great way to change the conceptual visualisation and distribution of Music through fashion, the Music Tee is literally an album in T-shirt form. At the front you have the art work, at the back a list of the included songs and inside - well inside is music! No, I don't mean your body, I mean there's a url and a unique code, which allows you to download the music that you bought with the album - I mean Tee. I saw most of the Tee versions they have on offer and the Daisy Dares You Music Tee is my favourite - it may be because of the black and white chrome, her expression or the fact that she is in a pose so sexy, it should be only fitting to Kate Moss. 16 may sound young to us, but she doesn't act it, and if you think about it - that's the age at which Bob Dylan first moved to New York. You can see the parallels in the presence of their facial baby fat. However, you may not all share my view, so in addition to the Daisy Dares You Music Tee, Selfridges will also be stocking The Music Tees for The Plasticines, Devenrda Banhart, Monsters of Folk, Perez Hilton and Sliimy, all of which have created their own art work for the Tee in collaboration with Invisible DJ Records. At Selfridges the Music Tee prices start at £55, but remember that you're actually buying both an exclusive music artist made artworked t-shirt as well as the album!


Considering Daisy Dares You is from Essex, it seemed only fitting that I was traveling in from Essex myself today. Once I arrived at Selfridges on behalf of Stylecartel with Jema the photographer, we were welcomed by the fabulous Mercedes, the most relaxed and therefore nicest PR person I've ever come across.

I had a twenty minute interview with Jeremy Wineberg of Invisible DJ Records, the brainchild of the Music Tee concept. Clearly chewed through and bored by numerous interviews throughout the last year after the project started, Jeremy, an avid talker, needed only five very short questions (great!) to have answers ready that were five minutes long and hit the general area of the question yet made sure to include as much name dropping as possible (I only remember "Juicy Couture"), where we discussed how information is essentially the format being sold, the factors and steps that were included in him actually getting to establish the great idea of selling music in relevant concrete form that appeals to many people (FASHION!) and most importantly, his aim to want to re-intodruce the experience of a whole album, including its art and visuals, which is lost with the downloading experience.

Being more of a business chap rather than the creative enthusiastic and passionate defender of his idea that I expected him to be following research I'd done, the interview felt a bit like I was sitting in a voluntary salesman booth. I love the idea (hence voluntary), and it's a great new way of marketing music although I do think there's a lot of scope for this to be pushed to which he doesn't seem to want to do, but it was being sold to me as if I was an approving committee rather than talked about with passion - at least that's how it came across to me in the interview. Luckily, the project itself beams with passion - that of the artists, and their art work, which is exclusive to Music Tee. I guess every success story needs a business brain behind it!

Portmanteau List: Oscar de La renta Resort Runway show - Tweed and Silk in screenshots and pyjamas

Comfortably sitting in my Pyjamas I was waiting eagerly to watch the Oscar de la Renta Resort Show 1011 at 1pm, hence 6pm in London. Here are some screenshots I managed to take.

It started out with lots of tweed in blue and nude tones and some adorable straw hats that I am known to wear and would wear, moved on to flowing chiffon prints in layers and layers of ruffles, onto voluminous skirted corsetted ball gowns that just took my breath away.













I was too in awe to get a picture quickly enough. These two were my favourites! (Above and below). The embellished nude sheer black dress - amazing. The nude layered big, big gown - almost incomprehensibly perfect. I'm swooning over here.













And here's Oscar de La Renta, the man himself!



The pictures were taken in screenshots from the live streaming at FullFrontalFashion Sundance Channel.

Portmanteau Diary: Making time organic, creating a mediator between reality and fiction or opting for immaterial design consumption - BA Design Show Goldsmiths 2010

Here are some of my favorite works at the Goldsmiths BA Design Degree show "Curious".

Toother - by Clair Neal


With the concept of creation of fiction based on the desire to escape reality, Clair managed to wittily and with tremendously beautiful execution materialise a possible object of childhood fantasy into reality, including the exploration of material dissolution through chemistry and an interchange of romanticised exchange of payment with real objects through a mediator, further outlining the mediation between reality and fantasy.




Wolves Don't Wear Watches - by Rachel Howe


This was possibly my favorite project, not only in terms of execution but also because it pointed out a not much thought of situation that truly is an issue. Unlike many other designers (including the much hated iPad people) that develop an object for a problem that doesn't (yet) exist, Rachel identified that time doesn't always want to be measured with watches. Exploring several methods of measurements, time and, in fact, experience of time, Rachel provided way in which time becomes organic and a lot more enjoyable with a form of measurement that suits the activity at hand. Providing an already established need to not want to follow the clock with it's ridiculous preciseness that are, for many activities, harming rather than useful, Rachel created alternatives such as a recipe based on the cues of a song.



Temporal Symmetry - by Livia Rossi


Despite dealing with the much overstretched topic of communal experience Livia managed to infuse an fresh perspective with her fun tri-baloon, double handled ping pong bats and long feeding fork objects. She states that "The process of mediating, adjusting and sharing our pace with others is so effortless and extraordinary that it is taken for granted." Although I have a problem with the use of a contradiction in terms here ("extra ordinary" equals NOT ordinary, making the "taking for granted" a contradiction), the objects were unusual, well made, engaging and certainly outlined a well thought-out activity to point out the matter of harmonious interaction for a communal outcome.






This image has been take from Livia's page on the "Curious" Website.





Hairdressing by Pixels and Vectors - by Christopher Simcock

I am scared of hairdressers, in the same manner that regular children are scared of dentists. I get nervous, I shake and sometimes I hyperventilate and cry. I love my long hair and through sheer job description, it is the hairdresser who cuts it. Without any fault of their own, they are immediately in my bad books, and whatever the cut, it will always be shorter, therefore always worse than it was before. My point is, I came across a project that produced such great results, it would certainly help me to overcome that fear, much like the lollipop that gets pressed into a child's hand for being brave.

Less of a design project but more at home within the specification of being an interactive art project, Christopher managed to take a process, which is very familiar to all of us, and create something beautiful and lasting with it. A hair cut, especially the particularities of it, are invisible to us, and the cut itself quickly grown out. However, beyond simply visualising a haircut (which the haircut in the mirror does itself, obviously), the digital map creates a beautiful blueprint and language of the condition before the cut, the process of the cut as well as the final results all in one. I sense a true possible commercial interest in this process.





Im-Materialism - by Jane Ellen Taylor

In response to a much discussed and truly big issue of the "aggressive rhythms and routines of consumer culture", Jane visualised the image heavy, yet transient and often see-through and unfetchable momentum of possessions. It was clear that she was particularly referring to the fashion industry. She worked through the expression and exploration of that material condition by designing without material and projecting the dresses onto a body. The second image has been taken from Jane's page on the "Curious" website.



Other projects that I also felt executed the brief well and showed a real sense of the grasp of design, their projects, the concept and the resulting objects: Urban Dolls by Vilma Jaruseviciute, Artificial Synthesia by Max Kropitz, Recycled Hollywood by Max Smith, Extending your Senses by Philipp M. Faehndrich and In Pursuit of Perfection by Matt West. There is also a really lovely catalog, which is worth going to the exhibition for in its own right.

For more images of the opening night, including snaps of the "in-crowd" spanning generations of Goldsmiths students all the way back to 2002 (we got given labels! Very cool) and proud and nervous tutors in the Truman Brewery on Brick Lane, have a look here.

If you'd like to read more about the projects, have a look at the "Curious" website and make sure to pop down to the Old Truman Brewery on Brick Lane where you can discuss the projects with the designers themselves, the exhibition still stands until the 7th of June, every day from 10am to 7pm (5pm on Monday). If you'd like to contact one of the designers I have mentioned, please let me know and I'll put you in contact with them.