1 Granary Magazine - Issue 3

Dazzling in an Age of Austerity

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“Just because I studied jewellery design, doesn’t mean that my focus needs to be so narrowed.” - Gabriella Garnham

After 3 years of studying BA Jewellery Design at Central Saint Martins — without a placement year — recent graduates often feel the need to work for others and gain industry experience, while continuing to develop their own aesthetic on the side. Having just left uni, Gabriella Garnham did so, and worked for both Felicia Swartling and Alexander McQueen. But, for a creative person it’s difficult to subdue the urge to start crafting projects of one’s own… Returning to the studio with her ‘partner in crime’, Gabriella is working on something that may defy any conventional ideas we have when thinking about a piece of jewellery. She spoke with us about her plans for the next few months and how pairing up with the one you believe in is necessary to make it in this big, sometimes daunting industry. “I want to make people re-evaluate our beliefs of the value of jewellery.” What

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Discover the works-in-progress from Central Saint Martins’ graduating Fine Art students.

It’s a bitterly cold Friday afternoon, we arrive at Central Saint Martins’ Fine Art studios at 5pm, an hour before they are opened to the public. There is a general buzz in the air as students busily swarm around; clearing the studios of unwanted clutter and hanging last-minute artworks. As we wander through the studios observing the minor chaos, it becomes apparent how diverse the work produced within these walls can be. Performances are presented throughout; abstract and realist paintings sit alongside one another; installations appear regularly, including bags of dried grass huddled together and a whole kitsch bedroom set-up; TV screens, PC monitors and film projections show a variety of four-dimensional footage; sculptures, most notably a cylindrical statue covered in undressed barbies and dolls’ heads; sound pieces, photographs and more. As the 2D and 4D pathways of BA Fine Art came together to host the Open Studio, an opportunity

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Searching for meaning in Silicon Valley rhetorics, trade shows and management strategies, artist Simon Denny unpacks mythologies of contemporary technocapitalism.

Why not exchange the artist studio for a co-working desk in New York? Simon Denny is over the romantic ideal of the artist-as-genius. He is clever, hard-working and well-versed in business jargon. If contemporary art points to not much else but art’s capacity to deal with whatever dictates the contemporary moment, then Simon Denny represents the most contemporary type of artist I can think of. In our conversation, I want to find out more about the Simon Denny business model. July 2014: I meet Denny for the first time at a bar in Frankfurt, where he is about to open ‘New Management’, an exhibition exploring the global rise of Samsung. Somewhat accidentally, I had just spent a weekend at a start-up conference in Berlin, and while my friends are only mildly impressed, Denny starts to fire questions at me: ‘What did you pitch?’, ‘Was it a lean start-up?’, ‘Were you

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After winning the LVMH Prize, the world looked to Thomas Tait to see what the youngest-ever graduate to leave Louise Wilson’s classroom would go on to do, which turned out to be: winning the Emerging Womenswear Designer category at the British Fashion Awards 2015 last Monday.

On Monday, the fashion industry celebrated the latest British Fashion Awards, which saw recent Central Saint Martins BA Fashion graduate Grace Wales Bonner win the Emerging Menswear award; Mary Katrantzou, who graduated from the MA Fashion in 2008, scooped the New Establishment Designer award; Stella McCartney, who left CSM exactly two decades ago, received the Brand award, and Thomas Tait, the winner of the first ever LVMH Prize was the lucky one in the Emerging Womenswear Designer category. We interviewed Thomas for our third issue, and to celebrate, we would like to share the full feature with you. Congratulations to all the winners of the BFA! “To some people €300,000 might seem like an enormous amount of money, to some people it could seem like something that could go overnight.” What do Raf Simons, Karl Lagerfeld, Phoebe Philo, Marc Jacobs, Riccardo Tisci and Nicolas Ghesquière have in common? Last year, they all agreed to

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Is it true? We investigated.

London is cold now, there is no doubt about it. You can see your breath when exhaling and Tesco is offering meal deals on mince pies. For students in their final year, the thought of the oncoming holiday doesn’t bring just cheer. Looming dissertation deadlines and the final collection are all formidable factors leading up to graduation. Life outside the concrete fortress that has sheltered us from the real world is now fast approaching. Four years have flown by, and now students are beginning to wonder what happens next? The placement year that most people unquestionably take, offers a taste of the so-called real world, but provides the safety net of University life to fall back on in just 12 short months. There is one question in particular that has been circulating around Central Saint Martins, and that is: are graduating students reluctant to work in big fashion houses? To

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Hear from 4 Fashion Folio Students at CSM on what inspires their portfolios, their thoughts on the future of the fashion world and more.

Fashion Folio is an intensive fashion programme at Central Saint Martins for students wishing to develop a portfolio of work in order to apply for undergraduate or postgraduate courses, or for personal development and employment. For some, it’s an entryway into one of the most prestigious art and design institutions in the world; for others, an injection skill and confidence in their practice. We asked Folio students Margaux Lavevre, Conner Ives, Davide Carrano and Irina Tsoy to share their portfolios as well as their thoughts on what inspires them, the future of fashion and the industry, and the best and worst things about living in London. “..for my portfolio, I really didn’t want to fake anything. I treat it just as work and my process, but maybe make it look a bit prettier.” – Conner Ives What brought you to London, where were you before? Margaux Lavevre: Before coming to

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Imminent BA Fashion Design with Marketing graduate Jiale An looks back at crafting a bag inspired by luxury house Céline.

Bag projects have kind of become a ‘thing’ at Central Saint Martins. We can guess that it is because in reality accessories have been booming in sales for the past few years. Like Zowie Broach, the Head of MA Fashion at the Royal College of Art, told us: “You know how accessories are a very powerful thing for money, and in the industry it’s the thing that we all know moves faster than a dress. I mean, how weird: we all want to be the dress designer when we know it’s the bag designer who makes way more money.” And while there is no accessory-focused BA course at CSM, there are in fact a number of industry-based accessory briefs for BA Fashion students. We spoke with Jiale An, who finished his Céline project last year, subsequently interned for half a year and travelled the world to gather inspiration for his graduate collection, which will be ready in a little more than 6 months.

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“Is there anything else to say about the cutting crit other than the fact that everybody was asleep?” - Courtney Mitchell, second year student at Central Saint Martins BA Fashion Design Womenswear course.

After three weeks of intense pattern making, draping and sewing, the Cutting Project came to an end and it was time for the crit. From researching 20th century designers, focusing on silhouettes and cutting techniques, the Womenswear students had to develop ten designs and more than a hundred drawings over the summer. The brief pronouncedly stated ”NO SURFACE DECORATIONS”, and the aim was clearly to have the students look at different ways of how to construct a garment. As the second years got back from their holidays, they were given a new mission: to create three different looks out of someone else’s summer project. The students were split up in three groups and were handed three sketches which varied widely in style, cut and shape. On the day of the crit, 120 fitted mannequins were cramped up in the Womenswear studios together with 40 pieces of dark-eyed, weary fashion students.

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