1 Granary Magazine - Issue 3

Dazzling in an Age of Austerity

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Meet the 3 artists who joined forces in the IT’S ALWAYS THE OTHERS WHO DIE exhibition to expose strange parts of human existence.

Louise Ashcroft and Nicholas Pankhurst (RCA) and Nicholas Abrahams (Exeter) are artists who channel and embrace the absurdities of human life. They spoke to us about their current group exhibition IT’S ALWAYS THE OTHERS WHO DIE at The Koppel Project, and the individual ways in which they question their own artistic worlds. The exhibition’s title is borrowed from Marcel Duchamp’s gravestone; it is a video by this influential figure which is rediscovered and transformed to become the inspiration around which the whole show is based. It ranges from a haunting collection of 1920’s photographs with a re-occurring polar bear, to a metallic forest reminiscent of early cinema sets. There is also the audio of Ashcroft’s mother crossing the Israeli border played through the echo of an old paint can and a sleeping fox in a vault. All these pieces are unified by a refusal to make anything easy for the viewer. Over

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Royal College of Art MA Fashion Knitwear graduate Hyun Oh on pushing the emotional value of garments.

Somewhere in between light pastel and bright neon yellow, Hyun Oh engages us in past conversations that have led to her graduate collection, and shares the challenges she faced along the way. As Hyun began to develop a relationship with each of her garments throughout the year, she focused not only on design principles, but also the quality of her collection. Considering the commercial and conceptual elements of branding, Hyun balances her work between artisan and wearable design, and firmly believes we should invest in the emotional value of a garment. Where did your primary inspiration for this collection come from? In a way my work is an extension of my own identity, but it is unconsciously found. The core of my final collection stems from a personal story, although it is something I believe everyone has in common and therefore can share with one another. The research started from

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Meet the RCA Menswear Fashion Design graduate who captures the shifting movements of day-to-day life

Shinhwan Kim talks with us about the necessity of communication through fashion, as he believes that interaction between designer and wearer becomes essential in understanding the underlying message of individual garments. Capturing the fleeting moments of everyday life, his graduate collection ‘Shifting Movement’ conveys the mundane through unexpected materials and techniques. This seemingly odd yet necessary pairing of style and theme is what keeps his collection intriguing — not only to wear, but also to look at. Drastically reducing his colour palette to black and white, the contrast between similarity and difference of his experiences are clearly represented through his collection. “It is about my thought sequence in momentary observation of daily life, with numerous repetitions and recognition of differences.” Is your collection inherently personal? My work is an extension of my identity, whether conscious or not. Sometimes I don’t know how I end up with what I have, but

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Meet Royal College of Art Fashion Womenswear graduate Lauren Jin, who worked from 30-second nude sketches to create her yearlong collection.

Lauren Jin’s graduate collection is so close to the skin, some may even think it represents the surfaces underneath. Using muted nude tones and occasional hints of bright red and yellow, the series of garments celebrate the human flesh and its simplicity through a familiar yet untried approach. The conversation — or, rather: the tension — between confidence and insecurities within, can be found through the revealing and concealing of certain anatomical features. Initially working from sketches of her own unveiled body, we get an insight into Lauren’s past experiences influenced by media-fed images of beauty, and her ability to disregard the idea of imperfection. Creating subtle yet intricate pieces that not only encourage self-love and acceptance — but also embrace femininity in its purest form — the collection encompasses womanhood, from drawing the body to dressing it. Do you consider your work as an extension of your own identity?

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We like awesome people. Join us now.

THE INTERNSHIP ROLE We look for people who are happy to help us to manage the Graduate Showroom. The work will be diverse, from everyday activities in the showroom, which includes physically managing garments and looks, involves a great deal of emailing, calling, scheduling, paperwork, as well as directly communicating with the designers and stylists and assisting the creative team with the production of shoots. It is an amazing opportunity for someone who would like to experience how a PR company works from the inside, make essential industry contacts and grow your professional network, meet many exciting emerging designers, who can get you invaluable information about the realities of starting your own business, and give you skills for setting up a label.   THE CANDIDATES We manage collections with one-off pieces that can be considered art, and this requires a huge deal of maturity and accuracy.We look for current students and graduates

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“If we think it is necessary, we might do a collection of 8 jackets or 6 chairs.” Eva Maria Suviste and Zoe Waters, the RCA graduates behind FLOOR SIX, explain their brand ethos.

“Months after gradution were filled with postpartum depression,” says Eva Maria Suviste, partner in business (and crime) of Zoe Waters. Other than getting drunk, as they want us to believe, these two girls were brave enough to co-found their own brand just after graduating from the Royal College of Art Fashion Design Womenswear last year. “We just had a drunken promise to each other to do something together — having no idea what it would look like or how we would do it.” Floor Six was born.  What did you do before studying at the RCA?  Zoe: I did my BA at Westminster, which was amazing. My family isn’t particularly artistic, my granny used to paint but only as a hobby. From a fairly early age, I’ve had an interest in clothing and fashion. I was a particularly stubborn toddler and refused to let my mum dress me, which resulted in

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We speak with Helen Kirkum, who recently graduated from Footwear at the Royal College of Art, about her practice, plans and the inbetween space of art and design.

Collaging her efforts and experiments as a designer, Royal College of Art MA Footwear graduate Helen Kirkum creates re-mastered sneakers that are embedded with memory and experience. From a purely visual perspective, the forms are a structured, colourful splendour — but read on to discover how shoe design can be used to partake in a social and environmental dialogue around the very industry in which it operates. “The collection reflects ghosts of efforts, discarded and remastered.” What drives your practice? My work is a spontaneous reaction to what’s happening around me; conceptualising our connections with commerce and materiality. My final collection, ‘Our Public Youth’, is a personal reflection of our society; investigating how we seek to identify ourselves in the current climate of hyper commerciality. By looking at thrown out sneakers, I began to develop a story of confusion: one about coming of age in our oversaturated paradigm, hacking and

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5 things you need to know about Antwerp Fashion Department BA graduate Eduard Both.

1. The most talked about piece from his BA collection was a leather recreation of a plastic Chinese supermarket bag, which epitomised his “making the ordinary extraordinary” design philosophy. “The bag works well in a graphic sense: the typography and the colours are great. It’s also a good supermarket, I enjoy going there. It’s in the Chinese district in Antwerp. There isn’t a story behind it, I just go there to shop for my groceries. I like the shape of the bag as well — I did mine in leather and embroidery. I asked the owners of the store and they were fine with it as long as it wasn’t putting the store in a bad light. I changed a few letters of the markings, but it means the same thing. I like the idea of referencing something ordinary, and making it more luxurious. I also used a material that

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