Alex Fury on . . .
Interview by Eshe Nelson

. . . London

“Have you ever read the fashion conspiracy by Nicolas Coleridge? It’s an amazing book from 1997. One of the things he talks about is London fashion, the idea that women don’t really dress up in London. There’s people saying London doesn’t have the grandeur of Paris or New York and it’s essentially, because it’s never been ripped down and built again or built from scratch to a specific plan, it’s like a lot of little villages. Women don’t dress up because they feel like they can hang around in their village and sort of look a bit ‘scrubby’, that’s my word not Nicholas Coleridge’s’. London’s got little pockets and it’s almost like you don’t know what’s in between those. I can’t really think what’s between Central London and West London. I suppose it’s Hyde Park but you don’t really get that and it feels like it’s quite far away, it feels like Knightsbridge is miles away from here [Mayfair] but it’s not I could probably walk it, but it sort of feels miles away.

“You don’t have the unity you get in Paris where you want to dress nicely because it’s so beautiful wherever you go and it’s always looks like the eighteenth century. London’s weird because it’s a medieval city and you still get that feeling from it, it’s got some charm to it in that way. I also like that it’s progressive in a way that Paris isn’t. There are arguments going on in Paris now because there’s a rule in Paris that you’re not allowed to build anything in Central Paris that’s modern because it disrupts, they sort of see Paris as a historical entity. There are lots of arguments that a city isn’t a city if it can’t grow and develop. If you look from the Eiffel Tower at Paris now you see what Gustave Eiffel would have seen when he built it. It hasn’t changed, you have La Défense but that’s the only kind of modern architecture in Paris. London embraces growth more and more so than elsewhere in England.”

. . . Virtual Space

“I think it’s democratising. That’s the really amazing thing about it and also that it’s unedited which can be a good thing and a bad thing. There’s something quite exciting about the idea that you can write about fashion and publise it to the world. It’s not filtered by anyone else but at the same time that’s quite a dangerous thing. However, it depends on how well informed the person writing is. It gives a lot of people a voice and I think that especially now it’s been recognised for that but now the time has come when you need to decide which of those voices you actually want to listen to. I think that there is a danger that there’s going to be too many people putting out information. Its not just in fashion, there’s lots of stuff about politics obviously but in fashion it seems to be a particularly now that lots of people are jumping on to this bandwagon. I was really shocked when I went to Milan in February/March time. People were coming up to you going ‘are you a blogger?’ and you’re like ‘no’ and they were going round trying to find people to take their picture and that’s what they were really obsessed with. There was sort of this whole online obsession and it’s quite specifically in Milan they sort of jump onto little things, but it’s weeding out the people that you actually want to listen to from the mass of people shouting.

“I think what’s really interesting now is the idea that established people are giving the Internet power and are allowing for the importance of the Internet. I’m really interested to see how people are going to develop and refine online content. I think it’s started but there’s a long way to go. I also think people are going to start looking at speed and I’m actually interested in how much faster it can get. On American Vogue.com this season they actually previewed the London designers collections before they showed them, they had like stuff from Mary Katrantzou, Michael Van Der Ham, Meadham Kirchhoff and Christopher Kane before London Fashion Week. They’d been to their studio and photographed a few pieces and their mood boards and Sarah Mower had written a piece about what the collection was about. Which for me was amazing because I could go and didn’t have to decipher what Christopher Kane was about, these are his references and I could actually write them down before I went to the show and I think maybe that’s the way it’s going to go and certainly in Milan it’s weird. Milan has a two show system, the first show for buyers and then a show for press. When I was on my way to Gucci I was looking at Twitter and seeing pictures of the show that I was about to see and at Dolce and Gabbana they have big screens up where they were showing backstage at the show. Is it going to be that we’re going to see the whole collection before the show and then are they going to push the show into something totally different because it’s not really about showing you the clothes anymore? But then on the flip side of that there’s Tom Ford and it might be that everyone’s going to pull away from broadcasting everything and giving it a bit of mystic again.”

. . . Time

“I think it’s always relative to you and your life; it’s always relative to everything else that’s going on. Something that I find interesting is that our attention spans are shorter and that we are demanding things quicker. I think that’s especially evident in fashion. One of the films that we did recently, that was really successful, was an interactive film where, rather than it being one long film it was 26 film clips and you mixed them together yourself. The guy that made it said it was because he had looked at viewing figures and that if you do a three-minute film people watch 30 seconds and then skip to the end and watch the end. The idea was to keep you involved as you had to press buttons to view everything. It’s weird because it’s like okay that’s because our attention spans are shorter because we’re so much more sophisticated, but at the same time he actually based it on Fisherprice keyboards where you hit it so it makes a noise to keep a baby interested.

“Other things that I think are interesting in terms of time is the idea that everything is sort of collapsing together. Before you would see the collections and you would expect to buy it sixth months on, now people see the collections and they want to buy it straight away and it’s putting pressure on designers to deliver. I’m not sure if I think it’s a good thing, I think sometimes it can be, but when you look at companies who design collections to be sold straight away rather than actually thinking about what you would want next spring, it’s a bit sort of seasonless. Big companies can do that because they pre-manufacture things to have them ready for the show to be able to sell straight after but it’s going to choke out smaller designers. There are so many designers who just couldn’t possibly do that. But if it becomes standard are we going to have to change or does that just mean that they are going to be forced out of the market? Everyone is expecting everyone to do a pre-collection and that’s okay in the summer because if you work it out as a designer you have two months extra in summer but then you get round to winter, and then they are demanding that we want to have 12 drops, then 52, we want it to be like Topshop, we want to have something new from you every week, I’m just wondering when that’s going to end, this demand for it. You can’t be expected to churn out ideas, a lot the London designer probably could do that but there’s no manufacturing to back it up.”

Margaret Campbell: Textiles and Everything After
Text by Becky Seward

Margaret Campbell is a Print Technician at Chelsea College of Art.  Here, she recalls her time working for great designers such as Ossie Clark and tells us why teaching has been her most rewarding role in fashion:

“My life before teaching was crazy. I was a nanny for 10 years before becoming a student. My mum designs wedding dresses back in Ireland I used to help with that a lot, I suppose that’s why I got interested in fashion. My father’s a market trader – always out selling pots and pans – that must be where I get my loudness from.

I’m loud, I’m noisy and I might swear but at the end of the day I always get the job done to the best of my ability – you always have to be true to yourself, I hope I am and that people see that in my work.

I left home to become a student at CSM and from the moment I came for the interview my new family started. I embraced the whole world from the word go and I’ve been with UAL 21 years now going back to 1991 when I started out as a Fashion Print student.

I’ve been lucky enough to have some great times in my career. Whether that be working with Tristan Webber or my time at Ossie Clark we’ve had some laughs, some really funny times.

Working for Ossie was a monumental time. I went on board three years ago as a color specialist and dyer and it ran for three seasons. One of the only times I remember being worried was when I met Celia Birtwell and thinking, ‘I have to step into her shoes’. For me Ossie is massive and having the opportunity to work there was unbelievable. At times like that you always have to remember and respect what has gone before you.

I still believe that teaching is one of the most rewarding jobs in the world. We’re like a big family and every year it gets harder and harder to say goodbye. I always think: ‘No, I’m not doing this anymore, it’s too upsetting.’ But I don’t think I could ever stop. When you’re lucky enough to find something that you love doing and you have the opportunity to work with such talented young people you can’t just give that up.

Textiles is a great profession, it opens up a lot of doors and it covers a huge range of disciplines. Behind everything that’s ever been designed there’s a textile person.

My advice to anyone starting in the industry would be to bide your time. Learn as much as you can and never stop working. There might be one sentence that you miss which could change your life”.

For more information on textiles at Chelsea visit their course site.

Pants to Poverty: Great Things Come in Small Packages
Words by Grace Mbugua-Nwosu
Photography by Gseus Lopez

On Wednesday 9th February 2011 at Southampton Row, front of fashion was treated to a ‘Victoria’s Secret’ show courtesy of Pants to Poverty.

Walking for a cause, Pants to Poverty is a fashion brand that stamps ‘fashion without poverty can exist’. Working with farmers in Africa and India in the cotton trade they ensure all their farmers don’t use pesticides and pay the fair-trade premium allowing farmers to benefit from the profits. Their work is sold on over 25 countries, making sure we all have a little pair of ethical goodness for those of us who dread the morning mirror. Standing still amongst the brave models we managed to find the founder of Pants to Poverty, Ben Ramsden, for a little chat.

“The future of Pants to Poverty is to prove a new model for fashion that is profitable, social, environmental and financeable,2 says Ramsden. “To push into mainstream retailers and to attract interest, unfortunately you need celebrity endorsements. Before Christmas we also want to push into the Switzerland, Germany and Scandinavia market. Building ourselves as international underwear brand, we might prove that fashion without poverty is truly beautiful.”

If their ethos and products are not enough, you can get involved with Pants to Poverty through work experience, supporting marketing and sales or become a full time employee. They are also launching a competition for students to design regal pants fit for a prince and princess. The wining designs will be in production and will be sold on their website. Their products are also available at Asos, Adili, and Alls Fair.

Facts, Opinions or Rumours? Or is it all just words?
Text by Eshe Nelson
Fashion Journalism, London College of Fashion

Greenwich has an above average level of depression. Not a life-changing fact but just something I found fairly surprising. It’s something to do with feeling of overcrowding and the way the area is architecturally designed. This is just one of the many things I learnt at the Institute of Ideas’ Battle of Ideas Festival, held at the Royal College of Art last weekend.

The festival that encourages freedom of speech hosted a huge number of guest speakers who were experts on everything from architecture and politics to international law and street art. Everyone certainly wasn’t afraid to share their well-informed opinions and where debate followed; arguments weren’t far behind.

Here is a range of thoughts, ideas and facts that I took from the weekend. Make of them what you will.

* Architects will design spaces that can manipulate your feelings and behaviour.
* There’s a town in Germany where they designed busy neighbourhoods without parking and garages to force people out of their cars.
* The Coalition’s National Citizen Services programme for sixteen year olds, which is essentially the same thing as the Duke of Edinburgh Award.
* Thanks to David Cameron we can all have lunch with our neighbours.
* No one actually knows what the ‘Big Society’ really is.
* Apart from an excuse for the government to dissolve themselves of all responsibility when the Comprehensive Spending Review screws us all over.
* Rupert Murdoch’s not-so-secret plan to take over the world is probably going to work.
* Politicians don’t have to be like us to represent us. They are supposed to be leader. Would you trust the guy that makes your coffee in Starbucks to plan the country’s health care?
* According to the debate ‘What are universities for?’ most lecturers don’t even know.
* You need a history degree to do an admin job.
* “We’re all in this together.” No, Cameron, you are not in this at all.
* Footballers don’t feel threatened by every other guy kicking a ball about on every empty patch of grass. Why should journalists feel threatened by blogs?
* International law tribunals are a chaotic mess with cases that last decades.
* We are all suffering from ethical fashion fatigue.
* One sixth of the world’s population works in the fashion industry.
* People who live in Greenwich should cheer up.

For more information, check out Battle of Ideas.

I DON’T WANT FLOWERS. I WANT LANVIN.

Drawing Fashion, at the Design Museum | We Heart: Essential Lifestyle Guide

We are still recruiting some final positions for the 2010-11 LCMS team. Details of available position are below.

If you are interested please email e.nelson5@fashion.arts.ac.uk with your name, college, course and what position you are interested in.

Web Designer
• Redesign the LCMS website to make it more efficient and inspiring
• Work directly with the Web Coordinator
• Knowledge of WordPress required
• Knowledge of other web creation software preferred

Marketing Team
•       Come up with exciting fundraising ideas
•       Organise and run a wide variety of ‘LCMS events’
•       Support the Fundraising Coordinator in acquiring sponsorship
•       Promote LCMS to students across the entire university
•       Act on advertising initiatives
•       Ensure the magazine is well distributed

Thanks x

We caught up with socialite, “It boy” and all round Fashionisto Emmanuel Ray (www.socialite-evenings.com) to find out what he makes of the current state of the sector, and how those aspiring to a creative career can make a splash.

1 – What are your top tips for anyone thinking about going into the creative industries?

Unless your work takes off almost immediately or you come from a privileged background, the chances that you might struggle to make ends meet are highly likely! So don’t quit your day job. Or do something part time to get a regular income. The first step is the most difficult one to take.. as you might have to do a lot of things for free, to build up your portfolio. Networking is very important. Whether you’re an aspiring fashion designer, tortured artist, eccentric writer or fabulous presenter, you MUST network. It is definitely the way forward in this competitive business. Soon you’ll realise that Who you Know is as equally important as What You Know! Look at everything from a business angle and learn how to spot opportunities. If opportunities don’t come soon, create them and cash in! Cut costs by swapping favours. Get a team of young proactive people together. Never start seeking sponsorship or partners without a proper proposal that lists out everything you offer first. What you seek should be mentioned last, briefly.

2 – Is it important to take a degree in a creative subject still?

A degree does make potential employers take you seriously. But I don’t have one, nor do I have any formal training in tv, media, film etc. Look how far I’ve come, in a short time! My personal opinion is that one needs no degree in a creative subject. But there are many young people who would like to have a formal education whether it is fine art, design or journalism. They do teach you everything step by step and that can give you re assurance, stability and security – that you’re learning from the experts. It’s a personal choice. Degree or no degree, true talent always shines through. I am talking from my personal experience of course!

3 – How big a problem is unpaid work and low pay in your experience?

It’s a very BIG problem. Many young people are being taken advantage of in the creative businesses. They are asked to work for free and are being promised exposure. Many tell me they are not given travel money or food! Then to add insult to injury, when the project is publicised or complete, they have to chase those who hired them, to get pictures, copies and so on for their portfolios. I’ve personally got involved in other peoples problems because I hate watching anyone being used or abused. Perhaps that is why Hello Magazine’s Emily Johnston named me the God father of the fashion industry! That was funny… but speaking seriously, there should be a government legislation that prevents the abuse of creative people. Some universtities say they will only release their students to work on projects if they are paid minimum wage. But outside the universities, these guys and girls network and end up working for nothing. I’ve been asked to Present, Host events and Commentate for free, in return for exposure. They keep saying “you’ll get exposure!” And I say “I don’t need exposure! I need money. Will you work for a few hours for free?” Then they shut up and go elsewhere to find some other young person to trick into working for nothing, in return for nothing! The ugly truth is that in this business, there are many young talented people, desperate to get that 15 minutes in the lime light. They will gladly work for free, just to build their portfolios. But if they are given at least some money, it would make them feel their time is worth something. If you cannot pay them, at least offer something substantial in return.. copies of the work, publicity in press releases, products from the event, networking opportunities etc. Whether they are an intern or not, I do my best to pay them through the budget, when I hire them for events. I re imburse travel, offer them food and drink, give them publicity and exposure and also give them honorary membership at my business networkiing society. I would also urge those in the creative industries to be alert and not fall into traps. If you allow yourself to be taken advantange of, then that’s your stupidity!

4 – Is being successful in the creative industries a case of “who you know” not “what you know”?

It is both. Who you know can work for awhile. It worked for me when I started off as a Model at 15. But I soon realised that good looks and who you know can only work for some time. There’s a lot of hard work you need to put in, learn new things, carve a niche, be different, stand out etc. You also have to make some really tough choices. Once I had to choose between a a really good job, and a friendship. I chose the job. Once I ahd to do something I was not at all happy with, in order to get ahead. I did it! What you know is very improtant too. As a Fashion Commentator, I started in March 2009. I waqs unprofessional, turned up drunk at shoots, never practised my script etc. My then agent Simon Wilson from Express Broadcast told me to grow up and take charge of my career or it would be over soon. Whom I knew and who he knew helped my career a lot in the first 6 months. Then it was upto me to show them what I was capable of and withint he next 3-4 months I had to perfect my act and carve my niche. I did not want to fit it, I wanted to stand out… so with a lot of hard work and putting ideas together, I managed to merge my 3 careers: Fashion Commentator, Business Networker & Events Host – and become The Working Socialite. This covers a variety of other work too from art exhibitions to charity fund raisers. If I had not worked on my career and learned everything I know through trial and error, on the job, I would never have gotten this far. You wouldn’t know me so this interview wouldn’t be happening. My advice to everyone is network properly and use who you know to get ahead, but make sure you work at your craft as what you know is what keeps your career going in the long run. Who you know might also be able to help you learn what you would come to know later!

5 – Can creativity be a tool for breaking out of poverty or deprived areas?

Yes. It worked for me. In my case, I would put it down to luck, although I was passionate and very hard working. I started dance at the age of 6 and gave my first public performance. I continued as a Dancer and was spotted on the beach when I was 15, then became a model. I had never thought about modeling before then. Dance and Modeling continued and it certainly help tackle poverty. I was raised in a poor background without any luxuries, so when Modeling and Dance took me places, I also started working on fashion and beauty promotions, adding to my income. I also did some writing, presenting at shows etc. Creative people should see the business angle in their work and focus on making money. Commercial is the way to go. Once your settled and have some money coming in, then you can do things that feed your artistic interests. For me, it was very difficult at the beginning, to get paid work. Even now it is not easy and I am very selective about what projects I take on. Basically, if there is no money, I’m not interested. Mutually beneficial agreements, swapping favours and charity fund raising, social causes etc – all depend on what it brings. Will it be fruitful? What’s in it for me? Why would I do that? These are questions all creative professionals should ask themselves before saying YES to a job that does not bring in money. One needs to spot opportunities, or even create them in order to bring home the biryani!

6 – Is the UK still an international force to be reckoned with in creative terms?

Of course. You out of all people should know that! From my experience, the majority of creative people around the world; artists, entertainers, designers and so on – all want to come to the UK. We are living in this fabulous creative hub that is the UK, which is almost at the centre of the world, with connecting flights from many countries. This land is steeped in culture, history, art and heritage. It is also very multi cultural and welcoming. The UK is where my career took off. When I landed in Britain, the country embraced me with open toned arms! Various designers from the USA, East Europe, Africa, Asia and the Middle East are flocking to London to showcase their work. With some hard work put it, they can get a venue for free to host their fashion show or presentation. Runways are expensive to create. So designers in London are showcasing their collections on film. Scottish designer Henrietta Ludgate’s work was put on display on a film showing models dancing to ballet, with 60s music in the background. Turkish designer Omar Kashoura’s presentation of models dressed in clothing inspired by urban life, was presented to the audience at a bar/restaurant in the strand. Italian fashion designer Nico Didonna and Irish designer Orla Kiely do presentations and videos, creating a visual treat that prevents the audiences’ eyes from wandering. It is very focused and they have managed to master the art of the Visual Impact. Ginta Siceva jewllery and Nonya K scarves are other brands that are making the most of this creative platform we have in the UK. Many young designers from overseas who do not have the budget to fork out thousands of pounds, tell me that they find it is cheaper to do their shows and presentations in London. La Geneve North events host some great fashion shows for up & coming designers. I do the same for designers that approach me, if I have the time. The truth remains that great quality means money! No matter how much you collaborate or swap favours, money is what brings you the additional extras such as celebrity booking, a good film/video, and great people who would work for you. Students are great, but if you need someone experienced and professional, you’ve got to open that clutch purse! The UK was, is and will always be an international force that would both attract and influence creativity. From singers to designers, artists and painters, designers and performers – a lot of them approach us and ask us to help launch their careers in the UK.

7 – If you could give your younger self one piece of advice before you started on your journey what would it be?

Time does not wait for anyone, and nor should you! My father told me this and I did not listen. I only took it to hear properly after he passed away a year ago. We had a love/hate relationship and I was very nasty to my dad before I left Sri Lanka. I always thought there’d be tomorrow to apologise, kiss and make up. But it was too late. Whether it is a personal issue, a career step, an opportunity, partnership, a relationship or anything else – NEVER leave it for tomorrow and NEVER wait for anything that might hold you back. Time is precious, time is money. You only get one shot at this life so make the most of it, and move fast.. allowing yourself just about enough time to pause and enjoy the little pleasures of life like a bunch of roses, a baby’s smile or the swans in the lake. You can relax and do nothing once you’ve lived most of your life and want to do less and take a break. I wasted so many years of my life after the end of my modeling career, doing drugs, getting drunk, bed hopping and bar hopping. If I had taken my Dad’s advice, I would have achieved my goals earlier. But we all make mistakes. The best thing is to learn from them and never make those mistakes again. My friend Marcel Nagajek was another person who told me the same thing “Time will not wait for you so act, fast, sort your life out and work hard! You’re not getting any younger!” His encouragement made me think of what Daddy said and I took it to heart. Look at where I am now?

8 – How accurate is the portrayal of bitchy infighting in creative organisations and fashion shows by the media and films?

It is quite accurate. I have met people in the industry that resemble characters in these films and TV shows; the bitchy editor, the swollen headed designer, the drug addicted model, the nasty journalist, the overnight-sensation blogger who has his/her head stuck in the clouds, the back stabbers, the jealous crazy idiots who can’t stomach someone else’s success, the swindlers and con artists who ask for money but don’t deliver what they promise, the annoying nutters who want everything for free, the freeloaders and so on. Film, TV and the Media in general (also novels) reflect what goes on in real life. Yes, they are often exaggerated and sensationalised but isn’t that what happens anyway… in fashion, film and showbiz in general? It’s all good fun and I think those true to themselves and work with genuineness and passion… are much more at ease with themselves and don’t get their mini briefs into a twist over trivial nonsense! Also, in this business, one has to make very touch choices. And that is perfectly portrayed in movies such as The Devil Wears Prada and Confessions of a Shopaholic.

9 – How can UK creative graduates break into international markets?

People overseas have a certain awe and appreciation for graduates that are educated in London or Britain. Having a degree from a British University can get you a job in anywhere in the world.. although sometimes you need to compromise. When I was in Dubai, I saw hundreds of British graduates flocking to the Arabian Gulf for jobs that offered them better pay, perks, accommodation and food, and a tax free lifestyle. Of course, it is not all wine and roses. Most often, you are working for the rulers of the land and you don’t really have the freedom or rights you have in the UK, over there. Whether you’re a director, manager or a cleaner – you’re seen as an expat who’s there to earn a living and staff to the rulers. But this usually applies to careers that are more corporate. Creativity is seen as a form of expression and a unique talent in human beings. Artists from the west who have worked in the Middle East, Asia, Africa and the Americas, are often treated very well and gain appreciation. UK creative graduates should do their research and learn about world affairs and politics, as they influence lifestyles, trigger off changes in society and so on. Look, see and listen. Which world economies are growing at a rapid phase. Why are so many Indian investors entering the film scene in Britain and in the USA. Why are the Gulf Arabs buying large amounts of property in the UK? What is the next big thing in the Middle East? The silent revolution and changes in art and creativity in general, in East Asia. African brands slowly making their way into the corporate sector in the UK. All of these things are connected. For example, in Sri Lanka, I worked on a project that was supported by the Sri Lankan and Japanese goverments, strengthening ties between 2 nations. A lot of creative people got jobs and it worked well for most of us. Perhaps a UK creative graduate can spot an opportunity between the UK and another government overseas? Maybe it could become a project. Said graduate can ask for backing from both governments and also travel overseas. The project will be publicised on an international level by both governments, the media and so on. Cultural entrepreneur Pablo Ganguli made it work and hosts events world wide, helping and supporting various creative professionals. My advice would be is to come up with a unique idea. If you’re seeking employment in the creative sector overseas, then do some research. Get to know people in the UK that hail from the country you have your eyes set on. Learn something about their culture and ways of communication. Network and attend targeted events, get in touch with media professionals in those countries. Think about doing a project here focused on that country and involve people from both communities. Think outside the box. Creativity today is about The Here, The Now and The New. And finally, don’t be taken for a ride. Make sure you are absolutely sure you know what you’re getting yourself into and be aware of your rights. After all, you’re creative and that makes you special!

10 – What should the government be doing to help the UK creative sector flourish?

Not axing the UK film council would be a good start! I can’t believe they are event contemplating this. We see a lot of home grown talent such as Kat Deeley and Alexa Chung going to the USA. I recently met a British actress who now lives in LA and she keeps bad mouthing the UK scene all the time saying there is no work here and that everything is cheap and rubbish. Many film makers struggle to get funding for their films in the UK. Co productions between India, the USA and the UK are becoming more common, which is a good thing. Young up & coming British actresses like Lisa Lazarus and Amy Jackson have succeeded in getting work in India. This seems to be a sudden trend among British actresses. They all want to go to India as it is a tad easier than breaking into Hollywood. The Indian Film Festival at Riverside Studios was a great event but did not do much to bring together home grown talent with potential investors and backers from overseas. I personally think that there should be a government body that imposes strict guide lives for film, fashion and cultural events in the UK, so everyone involved would do their work properly and not slack. The government should also be able to set up a trust fund or something of that sort that draws a certain amount from tax and revenue, and also appeal to various artistocrats, celebrities and the rich and wealthy to contribute generously to this fund. The money should be used to support those in the creative sector that are struggling to make ends meet or have no means of showcasing their talent to the world. Applicants will be investigated and I think it is perfectly alright to hire a few experienced personnel to deal with this issue. Celebrate the multi culturalism in the creative sector in the UK and give support to both new and established creative professionals who need to take the first steps, get back on the ladder, or want that extra helping hand to achieve their goals and contribute to the creative industries in the UK. Find out those claiming benefits. If they’re are at least reasonably physically able and have at least some form of creative interest, get them to work on projects that benefit young people in the creative sectors. If they don’t have a creative interest, then let them work behind the scenes in admin. It is both irritating and infuriating to see benefit frauds, and those doing nothing (even when they have the ability to work) just sitting their wasting tax payers’ money, bragging about it in the press AND justifying their laziness with stupid excuses. Gather all of them up and make them work for the creative sectors. At least they’ll have a fun time rather than being stuck at home with their boring brood! I would like to set up an independent body that helps and supports those in the creative sectors. I’ve decided to take the first steps towards making this idea become a reality, once London Fashion Week is over and I’ve completed my projects for this year. The government should also involve people like me in a project like what I mentioned above. Those in the creative businesses who have had to struggle to get where we are now, have a better idea of what needs to be done and how we can tackle the lack of support, funding and facilities for young professionals in the creative sectors. An organisation that provides free catwalk spaces and facilities for up & coming talent in the fashion industry would be a great idea too. A central location in London, a generous amount of space and good lighting would be a dream come true for many an aspiring designer. We all wear clothes and shoes. Fashion is part of everyone’s life whether we like it or not. The British fashion industry is full of fabulous young talent. They the the passion, skills, creativity etc but what they need in order to succeed are resources, exposure and of course, money!

When he’s not occupying the pages and sofas of Fashion houses and chic bars, Emmanuel runs networking events via www.socialite-evenings.com. Watch this space for imminent coverage of their August event.

Picture 1: Emmanuel Ray wears Nico Didonna at the opening night gala of Indian Film Festival, Riverside Studios, London UK. Picture 2: Emmanuel Ray in Nico Didonna with designer & illustrator Rebecca Cumaraswamy. Indian Film Festival, Riverside Studios, London UK. Pictures 3 : Emmanuel Ray in Nico Didonna, at Oliver Dunsch exhibition at Fiumano Fine Art Gallery. Photo by Lai-Ha Mo @ Missy Mo Photography.

Fashion Presenter Emmanuel Ray is dressed by Nico Didonna. He is styled by Ejaz @ House of Christilano.

I’m currently working on a book about tattoos. While selecting images for the book, I had an epiphany. Nothing is more sustainable and urban than old school tattoos! Old school tattoos have been around for about 100 years, and even though in the last 30 years a new school has made its appearance, old school tattoos are still very popular and very much in fashion. In a city like London, where tattoos are a culture (and even a sub-culture) of its own, I thought they applied perfectly to our topic of “sustainable city style”.

Sailor Jerry (a.k.a. Norman Collins) is said to be the founding father or frontman of the old school tattooing style. His pin-ups and ships are famous worldwide and are the symbols of old school tattoos. Here are some examples. Admire the beauty! xx

More and more I realize that  avant-garde fashion comes often  from Netherlands. From both a design and technological point of view, I have to admit that I am very often mesmerized by the creativity of this country.

This is the case of Iris van Herpen who made the first 3D printed fashion collection ever. This collection called “Crystallization” is the fruit of a collaboration with Daniel Widrig, designer and architect clearly interested in the so called “generated design”.

It appears  normal to me the necessity of such a collaboration when  we use digital technology in fashion. 3D print means that we don’t talk about  a plane anymore but rather about a tridimensional object. Then this requires a design made in a 3D environment with computational skills.

These collaboration can be seen as a foretaste of what fashion design may be tomorrow: a kind of laboratory where textile and fashion designers work with architects , engineers and scientists.

I’m really looking forward!!!