1 Granary Magazine - Issue 3

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10February2016
Cross-pathway collaborations, courtesy of BA Fine Art

Producing a piece of work in under two weeks that successfully occupies the vast space of CSM’s Street is a daunting set of conditions for any artist. Striving towards this goal as cross-pathway, collaborative collectives, while responding to specific themes set out by the course’s Critical Studies seminars (as Stage Two BA Fine Art students have been doing for the last few weeks) adds another dimension that offers both opportunities and challenges of its own. While there were inevitable clashes of ideas and personalities throughout the process, the resulting show was testament to what can be achieved when many artists work towards a common outcome- something more conceptually and technically ambitious than any one artist could have achieved alone in the same time frame. Given Assemble’s Turner Prize win, and with Chisenhale Gallery, The Showroom and Studio Voltaire presenting their shared program of collaborative works and events, ‘How to Work

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09February2016
What is the relationship between a well known Goldsmith Master and a determined apprentice in 2016?

While there is no placement year at Central Saint Martins’ BA Jewellery Design, some of the students travel during their spare time to meet alternative mentors. Today, we learn the lessons that Philip Sajet taught Hau Wen. Taking advantage of the ‘off-duty month’ at CSM, Hau traveled to the south of France to work with the legendary master, of what people nowadays call “contemporary jewellery“. Resisting that term, Philip, however, simply tells us that he makes “Joyaux” — the old french word for jewels: the most precious and rare kind of jewellery.   We wondered if that sacred relationship between master and apprentice, which has existed for a millennia, can still be modern and beneficial, taking into account all the evolutions of the ways of creating art. It’s specifically an interesting conversation to have in the jewellery field, where ancient techniques are meant to be passed on. Is it time

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08February2016
Re-imagining the traditional practise of tailoring in the Central Saint Martins fashion studios

During a four-week long period, the second year BA Womenswear students had to answer the question, “What is the contemporary definition of tailoring?” by designing and creating a fully styled outfit. Through exploring alternative construction and different draping methods, the aim was to incorporate a creative, visual concept with traditional tailoring techniques. As the crit went on, the students shared their projects, which explored everything from Cambridge freshers rituals, to packaging designs and distorted Instagram selfies. We were there to see (and capture), why the sowing machines in the cramped fashion studios had been getting so hot for the last month.  Words and photography by Matilda Söderberg Featured image: Joel Quadri and Maarten Convens Related Who Will Make The Cut? Exploring a CSM Womenswear project. Inside the Central Saint Martins Fashion Textiles Studios Making a ‘Small Change’ during Foundation year The Central Saint Martins White Show 2015 Mission: research an entire fashion design

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Every year, Central Saint Martins students raise awareness about sustainability and sell their designs, made from repurposed materials, to a large audience.

Constantly living and working within an artistic environment can sometimes isolate one from reality. Last week, 3D Design Foundation students organised the “Small Change Fair”, to expose young designers’ work to a variety of buyers, who may not necessarily be active in the arts industry. Lou-Elena, one of the fair’s organisers stated that: “The feedback we got from the public was incredibly enriching. Students are so used to being surrounded by artists at CSM, that having your work reviewed by someone who isn’t exposed too much to art, is almost frightening! What if they find it absurd, or just really not compatible to real life situations? The emphasis on conceptuality and creativity at CSM on foundation level, can often make us forget that we’ll ultimately have to apply all of this to real-life situations. Being confronted with the ‘actual world’ was an amazing reminder that we always have to link

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Less focus on the feminine, more on Japanese school uniforms, three piece suits and classic working class looks.

Genderless: fashion’s new buzzword. From Alessandro Michele’s pussybow anointed debut at Gucci, to boundary pushing unisex brands Hood by Air and Yeezy, and Selfridges’ recent Agender pop-up shop, traditional binaries that were once so clear cut in the industry have been thoroughly blurred. In 2016, to identify with just one camp seems a little uncool. This is a zeitgeist that menswear designer Chin has thrived in. His debut collection, all florals, oversized sleeves and draping silhouettes, unabashedly cited womenswear, owing to his BA in the subject from Taiwan. The brand’s SS16 follow-up pushed this further, where sheer materials, exposed skin and brilliant placement of buckles evoked what’s been called, “a subtle kind of fetishism.” What did we expect from the Central Saint Martins graduate’s Fall offering? Well, much of the same. His formula seemed to be working. Yet with the collection in front, it’s difficult to not look quite hard

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03February2016
Central Saint Martins Fashion Design students share their opinions on the problems within the industry.

While there is lots of talk from inside the industry about how fashion is crashing, what do fashion design students — those who are about to enter the professional work environment — think are the biggest problems? In the second episode of our video series, three students give their thoughts and search for viable solutions. *Please select 1080p/HD for the best viewing quality By Misha Evan Skelly and Giovanni Corabi Related Rumoured: CSM students don’t want to work for big luxury houses anymore. Inside the minds of Fashion and Textiles Foundation students at Central Saint Martins

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03February2016
Bringing together the strongest tribe of emerging fashion talent.

In most occasions, calling any trio of creatives ‘three musketeers’ becomes banal, yet Jenné Lombardo, Keith Baptista and Mazdack Rassi can aptly be called so; having slashed their way through a rather stagnant and unsupportive fashion landscape in New York. The founders of MADE pioneered through hosting free presentations and fashion shows for young designers in Milk Studios, ever since 2009. It felt like there was a good opportunity to do something new, they say, as the industry became too calculated. “If you want different results, you have to do things differently, that’s just the fundamentals of life,” Jenne reflects. In the beginning, their radically different approach to show the work of several designers at the same time roused critical feedback from many industry figures, who argued that it was “against the rules.” MADE soon became a breeding ground for talents like Joseph Altuzarra, Suno and Public School, many of

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29January2016
“Sometimes, the most challenging part gets overlooked.”

With a BFA degree in Fashion Design from Shih Chien University in Taiwan and a MFA degree in Fashion Design and Society from Parsons, Shihhsun Lee combines transnational training with couture technique. This, along with his deep appreciation for bespoke tailoring, has given him a unique style and vision. Striving to revive bespoke tailoring, the recent Parsons MFA graduate is adept at creating handmade custom suits with a sophisticated use of fabrics and has translated this into his graduate collection. He sat down with us to discuss how his passion for bespoke tailoring developed, his obsession to create perfectly fitted customized clothing, and why he doesn’t really care about commercial success. What words would you use to describe your design vision? Understated, clean, accuracy. Does this particular vision stem from your passion for bespoke tailoring? Yes, those words also represent the aesthetic of my graduate collection. A bespoke suit is

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