The father-and-son duo just opened a pop-up store selling The Joy of Painting-themed clothes and artworks, and talk with us about the beauty of not conforming and creating work outside of the rigorous fashion and art system.

When Luke Brooks started posting videos in which he was cutting off his grandmother’s tongue with scissors, or frying omelettes with body parts, it soon became evident that he was working on a new project.  And, when Bob Ross from The Joy of Painting made a guest appearance as paintbrush, smudging colours onto shirts, the picture became even more clear: together with his dad, Luke Brooks has been creating t-shirts in the style of the aforementioned famous television show, which are being sold alongside Steve Brooks’ artworks in The Hackney Shop. We caught up with the father-and-son duo and learnt about the beauty of not conforming to what society expects of you, especially within the rigorous fashion industry. Related back to the drawing room: looking back on Luke Brooks/Beth Postle double-tee collaboration I Where A Dress in detail… Luke Brooks Epitaphs and energies: Designer Luke Brooks in conversation “They almost threw

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The creative turning point for 26-year old Jim was when he lost his laptop and all of his graphic design work that was on it – ultimately leading him to snatch the 1st prize at the Central Saint Martins BA Fashion degree show.

It came as a surprise for the Central Saint Martins BA Fashion graduate Jim Chen-Hsiang Hu when it was announced, at some point during the final runway show, that he was the 1st prize winner of his year. Originally from Taiwan, Jim approaches his practice with a particular dedication and humbleness, while pushing the boundaries for technological innovation with his breathtaking laser-cut dresses and multi-dimensional garment – always with an attention to elegance and grace.

Growing up in Kaoshiung, Jim took an interest in art and design from an early age, leading him to study Fine Art in his home country. He was unsatisfied with the course, however, and worked full-time as a graphic designer for a year. Central Saint Martins’s foundation course appeared on the horizon mostly in the attempt to escape Taiwan: “I felt suffocated,” he tells us over the phone in a reflected and concise manner – “I had to go.” The decisive moment that made him embark on a BA in Fashion was when he, on one unlucky day, lost his laptop with all his graphic work. “It was a big turn of my life,” he says.

As his final collection shows, Jim’s approach to colour and textile, and design as a whole, is strongly conceptual. He chose a bloody red to run through his collection, a colour he considers as ”a basis of fashion.” While casting an interesting shadow, the uniform colour-choice most of all makes space for a deeper textual investigation beyond colour – the materiality of textiles. The collection was a development of his Turning Point project at the end of his first year, in which he created a stunning sculptural piece out of thin red thread. The project led to a longer research on sculptural structures, resulting in his final presentation of light garments from another dimension.

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“I don’t want to be pretentious. I’m just presenting everything within my very real limitations.” There’s an unbridled sincerity that comes across in Anne Karine Thorbjørnsen’s manner as we perch conversing shoulder to shoulder on the low brick wall separating her house — the exhibition’s venue —  from the pavement. You’d be forgiven for walking straight past it, though with friends and attendees whirling in and then out it’s hard to miss. Ascending the stairs, you’re met with reconstituted pinstripe football jerseys hung with noticeable deliberation to the left, which continues to the right on to the landing and through to a completely unfurnished room, with look book photos in another. A video on a macbook plays in the corner showing various shirts, taped to a wall, slowly falling to the ground. And another. And another. Anne talks of her creative process and invites us to the idea of “the

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What can you see when your cornea is lifted off your eyes? Ree Liu found out, and based her Graduate Diploma in Fashion on this rather unique experience.

There are several advantage for people who do not have perfect vision: they can experience and see a world in which blemishes are blurred away; where harsh streetlights become soft and atmospheric, and where the physical awareness of one’s surroundings is enforced. This goes for those wearing either glasses or contact lenses; those who have the choice to switch off from ‘reality’ when they please. But, imagine what would it be like to have the actual cornea of your eye lifted off? It may sound like a Jessica Alba in The Eye moment that borders on the extreme, however, Graduate Diploma in Fashion student Ree Liu experienced it and based her final collection on what she see (or didn’t see).  Can you point out one good and one bad memory of this year spent at CSM? The best thing is that I have been able to work with and learn from many

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5 things we have learned about Metamodernism, and why it is important for art, fashion and cinema.

The term metamodernism started surfacing at some point in 2009, and has steadily gained popularity as a term to describe contemporary practices that stand paradoxical between the old and the new. It is not an artistic movement –  rather, metamodernism is a form of cultural analysis or a way of understanding culture, be it music, cinema, art or fashion. The term was invented by the two Dutch researchers Timotheus Vermeulen and Robin van den Akker, who have since founded and edited Metamodernism.com, a research platform that attempts to map these changes in culture, with contributions from scholars, professors, artists, designers, students and professionals. The object of study is cultural production post-2000 and contemporary working artists “under the age of 30” (super-curator Hans Ulrich Obrist of the Serpentine Gallery similarly attempted to grasp this ‘generation with his 89+ project a few years back) – and culture that “re-interprets traditional narratives and techniques

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For some MA Fashion graduate collections, money really does talk -- for Hayley Grundmann, this meant adapting a poundland-couture philosophy.

Taking us to the sequel of her BA laundry bag designs, MA graduate Hayley Grundmann leads us into the bag itself where her recent collection takes focus on old towelling and dressing gowns. Sourcing her materials with her student eye for a bargain, from foam to bin liners — the collection shows the DIY potential of the familiar and the bog standard. Rich in texture, she takes boyish shapes and low crotches, and intertwines them with the feminine palette of the chenille dressing gowns themselves. While Hayley compares her neutral coloured forms with the shrimps and milk bottles of a Pick ‘n’ Mix, we get the chance to experience the vivacious words of the maker herself. Knowing upon graduation that you had the place for MA Fashion, how was the journey progressing into higher education? I was put forward to do the MA interview before other people, as the tutors can

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Wolfgang Tillmans tells the story behind his oeuvre; explains how photography depicts the truth, and elaborates on his fascination for car headlights.

The 46-year old Turner Prize winning photographer Wolfgang Tillmans began shooting in the ’90s for i-D magazine, where he quickly became renowned for his honest, playful and sensible photographic style. The young Tillmans would shoot anything, from fashion models to cars, old friends and domestic objects – with a signature sensitivity and emotional approach to his subjects. “It’s about finding poetic potential in things and phenomena,” he reflected in front of a full lecture hall at London College of Communication, as he walked an anticipated audience through two decades of his work. ON PROJECTS AND SERIALITY Contrary to much photography, Tillmans insists that his work is not serial. He considers themes in his work more as “things accumulating over time” – like shooting cars, buildings, abstract colours, or people in lots of different places over a long period of time. “To some, an image is only validated through its seriality,”

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An interview with the once so secluded designer, who explains how difficult it was for the second generation of Belgian designers to realise the dream of becoming the next Antwerp Six, the point of being rebellious in fashion design, and how 9/11 killed his brand - which is a bizarre story

He had his own universe. A universe where catwalks were irrelevant and Belgian fashion legends Inge Grognard and Ronald Stoops shot all the outfits from his collections. It was dark, something ethereal. Anyone familiar with the work of Belgium’s most famous photographer/make-up artist duo knows that Grognard and Stoops capture youthfulness in all their work. Yet, with designer Jurgi Persoons, they made their bleakest shots: models on the verge of an existential breakdown. After all these years they worked their magic again, creating posters for the KABK 2015 SHOW. I spoke to Jurgi about his views on young designers: “they should not be decorators”, and the academy: “we offer the classical preparation you need along with a socio-cultural context”. I guess journalistic credibility urges me to be honest here: I am madly in love with the clothing Jurgi Persoons made. I can’t really name a lot of labels that ever spoke

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