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BY THE STUDENTS OF CENTRAL SAINT MARTINS

  • EDWIN MOHNEY- He’s the shit. So take a wiff.

    Apr 2, 2014 • Fashion, Inside CSM, Interviews, StudentsComments (0)

    Our ‘as nuts as a Snickers’-writer Harriet Verney is back with more inside chitchat from Granary Square. Last time, Harriet spoke about Korean fashion and drinking six cups of tea per day with second-year BA Print student Goom Heo (who allegedly was one year old at the moment she was born), this week Harriet interviewed New York native Edwin Mohney.

    Who is he?  A 22-year-old womenswear student in his Second Year.  From: Buffalo, New York. Loves: Tie Dye and rubber. Hates: Cheesy Milk.

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    Harriet: How much money do you have in your bank account?

    Edwin: (Long Pause)….Like…enough!

    Have you done any internships yet?

    A short one in NY. And I just finished a 6 month one with Craig Green. Craig was really good. It was just after the previous show with all the tie-dye. I went to the interview and they were like: “So, basically you’re just going to be tie-dying a lot.” We did 350 meters of tie-dye! Good tunes, nice people- we kind of beat the crap out of some fabric.

    How was the other internship?

    Shit.

    Why?

    It was a small start-up company in New York.  She made everything out of rubber.  It was all fetish, I mean, that’s what she did on the side, to pay for things. Then she did a collection that was more… ‘wearable.’ It was all in the back of her studio apartment, and everything was, like, super dodgy!

    Okay… So did you have to try them on and test them out or….?

    No! It was weird. We had doctors and lawyers come over, and she also had these fetish parties, where they’d strip butt-ass naked in the studio…

    …and you’d just be there sewing….

    Yer and gluing… She left a lot of ball gags and things around. Lots of weird sex toys.

    Erg. Did you have to clean them?

    Oh no, she had a slave! Like a submissive partner once in a while. I’d hear stories… “so and so is coming over and they just LOVE cleaning my bathroom!”

    Gosh!  It would be quite nice just to have a slave to clean your loo…

    Yeah, just to wipe your ass…

    What are you going to do after Central Saint Martins?

    My goal has always been to work for myself, to start my own company. It’s such a broad and cheesy cliché thing to say…

    Do you think that it will happen?

    Yer. I’m determined it will happen sometime in my life. Whether it will happen straight away or not, I don’t know.

    Where are you going for placement year?

    Don’t know. Placing my bids wherever… I want to go somewhere really… nice?!  Trying to find the balance between good experience and a good name. Balenciaga, Louis Vuitton…

    Drugs and fashion: how do they mix?

    Oh god, I’m such an uptight person! If I have a spliff, or a line or anything my body goes into (imitates a sicky burp heart attack). It all gets sloppy!

    What are you afraid of?

    Two things.  One’s a deep meaningful life-thing; the other is just plain weird.

    Okay the weird thing first…

    I’m petrified of Cheesy Milk(silence)

    And the other?

    I don’t want to be forgotten.

    Gotten curious about Edwin’s tie-dye experience? Have a look at Craig Green’s SS14 collection here or have a look at the straight-outta-MA interview we did with him in 2012.

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  • Art School Didn’t Really Steal Clayton’s Virginity

    Apr 2, 2014 • Art & Design, Exhibition, ExhibitionsComments (0)

    Last night it was showtime for Central Saint Martins’ Fine Art student Clayton Pettet. The hype around his performance Art School Stole My Virginity, which sparked a debate around the world, made us quite unsure what to expect. Though we understood it’s more a philosophical question about youth and sexuality, we had an undying curiosity to see if any of the rumours in the past month would take place. Alas, Jorinde saw it all and kept a journal. 

    15:00 It’s April Fool’s Day and I’ve already been pranked. Which, considering tonight’s show, makes me wonder whether Clayton and his partner will have paint on their bodies and have sex on an unstretched piece of canvas, resort to a Marina Abramovic approach or just doesn’t show up and leave a note with “ha ha, gotcha.” 

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    19:00 We queue and have to hand in our telephones. We put them in a sealed plastic bag with our names on it, and I feel a chill run down my spine when I fastforward time in my mind, and see hordes of wild attendees trying to be the first to get their phone. It’s our ‘life’, after all.

    19:20 Inside Theatre Delicatessen on Marylebone High Street, we sit in a big industrial room with concrete floors, neon lights (they also come from the tile-ventilators and make me feel like I’m in a 2007 music video) and rows of chairs. There’s a screen in the background with bananas on it. On the floor in between the screen and the chairs is a big steel bowl, a broom head, a paint brush and a pair of scissors.

    19:30 People sit down, chat a bit. Two more people walk in, put down their bags and two bottles of tequila roll out on the concrete floor. Yeah, that kind of a party. Sexy music starts. People are quiet. Then start to laugh. I hear someone joke in the distance “lick my pussy, lick my crack”. We realize nothing’s happening. People continue to talk. I sip my red wine and notice how out of place the cheap Ikea chandeliers are.

    19:42 Bam. Suddenly Clayton walks into the room with three followers behind him, who are naked except for black underwear and a white veil covering their faces. Mystique, or something. Clayton is wearing black boxershorts. His hair is curly, his body is clad with black paint. The words painted on his body are: NSFW 19, Teen Whore’ Oh, and ‘anus’ is delicately painted on his face.

    19:43 He gets down on his knees and washes himself with a red brush. He looks intense. He rubs his private parts. He washes off paint. The water is red and it looks like blood. He gets a hard-on.

    The three followers carry red cardboard with black letters: ‘anal virgin, your virgin, live fuck butt virgin sex show.’ After a while they drop them and turn to Clayton. One grabs the scissors and cuts Clayton’s hair, the other paints his face and the third continues to wash him.

    19:46 Clayton disappears downstairs. The followers are still in the room. One speaks up, in a very earnest voice: “When I point to you, I want you to stand at this pillar.” He points and counts. There are fifteen people. They go downstairs. The audience is exhilirated and the tension rises.

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    19:48 In the background, the video plays on the projector. Clayton sits at a table surrounded by bananas.

    19:55 The second white veil guy does the same job. People now feel uncomfortable, you can feel it. There is a certain sense of power and enjoyment in the voice of the guy who chooses. It is an ongoing process. There are at least 100 people in the room. Clayton licks the bananas in the background video. People sip their beer.

    20:00 It’s like queueing for a roller coaster ride in the dark. You don’t know what’s going to happen, but it’s bound to be exciting and you can feel common tension rising among all with the same fate.

    20:03 I wonder if the white-veiled guy is cold. He stands barefoot, like a statue, on the concrete floor. A recording starts to play. Just sound, no visuals. It’s an arty discussion about virginity.

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    20:10 Suddenly, Rozalina, who disappeared earlier, returns from behind us, picking up her bag. When I try to cross-question her, she says “I can’t talk now,” grabs her stuff and leaves. More people return to pick up their stuff but aren’t allowed to talk. One girl dares and gets put off angrily.

    20:15 The same routine goes on. I am losing my sense of time. I am getting bored. I start to chat. Someone suggests lighting up a fag and I pray hallelujah. Then, I am number fifteen. I get up and walk to the queue, look around and see disorentation. We are brought down into a small pastel green room with walls full of words and gore phrases written in black felt pen. “When you fucked me in the mouth, did you feel anything?” Everyone stands stony-faced, like being in a museum where you aren’t permitted to make any sound. There’s glitter on the floor.

    20:20 One of the white-veiled guys (really, it’s a bit Gareth Pugh-ish) picks people up one by one. He chooses me after a while and leads me to a small room in which is a small cabin. You have to kneel to get in. The booth is red and there are bananas everywhere. Clayton sits in the middle, with a serious face and a body painted with words.

    “I am your anal virgin,” he says “You are my partner. You are going to penetrate me in the mouth six times with a banana.” It feels awkward. “Pick a banana.” I pick one and understand what is expected of me. I put the banana in his mouth and penetrate him six times, whilst keeping eye contact. When I’m done, I hand him the banana and he squeezes it in front of me. “Leave the booth,” he says.

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    20:22 Part two is the exhibition. He had made quite a look of art works, which you can only see on the 2nd of April from 10 to 10. It reminds me a bit of Keith Haring and Beth Postle. They are explicit and colorful. One says “Americas Little Virgin,” another “David Cumron”.

    21:35 We all wait with much anticipation for the last group to come down. It’s nearly 10 o’ clock by then. There is a bar. After the last group, Clayton returns and stands in the corner of the room with his back facing the audience. His three followers surround him. One stands in front of him. I thought she was giving him a handjob, but she was cutting of his boxershorts. She covers him with veil. He and his followers storm out of the room. End of performance.

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    image by Josh Redman

    Read his October interview with VICE here, “I can tell you I will be having sex in front of an audience in a large space. It will be aesthetically pleasing and not presented like a peep show or something dark and seedy.”

    Images by Willow Garms

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  • THE APRIL PLAYLIST

    Apr 1, 2014 • MixtapesComments (0)

    You’ve made it through the term. You’ve made it through all the crits. You’ve made it through winter. But, fuel up, because the toughest term is yet to come. Here are some tunes to keep you going, whether you’re currently partying your brains out or knitting your fingers into non-existence during much anticipated internships in the furthest outskirts of the world (read:Hackney).

    For more mixtapes, have look on our Mixcloud for the We Love Patterncutting series.

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  • Keep your head up and not in your iPhone or Blackberry – a Vogue fashion masterclass

    Apr 1, 2014 • Fashion, Louise Wilson, MA, TalksComments (0)

    Last weekend, we headed to the Vogue Festival panel discussion chaired by Vogue‘s deputy editor Emily Sheffield, who discussed careers with CSM’s Louise Wilson, The Telegraph’s Fashion Editor Lisa Armstrong, McQueen’s Sarah Burton, Daniel Marks - director of The Communications Store and British Vogue Editor-in-Chief Alexandra Shulman. If you didn’t get the chance to head down, fear not! We have made a selection of their wise words and epic errors to help you out (our fave: drink wine to relax and never refer to PR as ‘Pubic Relations’.)

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    Let’s start off with Louise Wilson’s three-word philosophy for applicants: LOTS OF WORK. Your portfolio should show both individualism and skill, which could be anything from color to 3D or drawing. “When we say four projects, that means four projects. Not two, not one!” Though, she doesn’t call being a fashion design student ‘hard work’ as it is mostly ‘holding a pencil.’

    It’s also refreshing to hear that even the big bosses make mistakes. Louise says it’s an essential part of the MA course, whilst Daniel Marks recalls a proofreading error when he had sent out invitations under the name ‘Aurelia Pubic Relations‘.

    In a similar vein, Alexandra Shulman sent an ‘I am not going to hear one more word from these egocentric tyrants,’ back to the designers of a fashion house, instead of her colleague. To beat anxiety, she swears by a glass of wine.

    Hello Tumblr-generation, how would you like your research today?! According to Sarah Burton, it can be anything, from a painting to a piece of music or a glass of water. But ignore the snobbery around it, as it doesn’t have to be an intellectual piece of research (relief), but just about feeling what’s around you.

    Louise advises to research MA courses carefully, otherwise ‘it’s like researching a holiday to go skiing: you check out a resort, you wouldn’t arrive with a bikini.’

    Another good advice she gives, is to care a little more about the honesty in your CV than the weight of your degree. Work experience, according to Daniel Marks, often counts more than the degree, too. Better get those fingers typing out job- and internship applications…

    Developing contacts when interning, and maintaining them is something that doesn’t always have a ready-made manual. The most important thing, Daniel says, is to keep your head up and not in your iPhone or Blackberry.

    Go forth and prosper!

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  • The Fashion Architect: Second year womenswear student Ernesto Naranjo shows at Madrid Fashion Week

    Mar 31, 2014 • Fashion, Fashion Show, Students, The White SeriesComments (0)

    “Originally, I was going to study architecture instead of fashion, I think it still influences me in some ways.” Ernesto Naranjo, a second year womenswear student, proves that you don’t have to wait ‘til you are in final year to make your first collection.

    Ernesto’s classmate, Derek, sat down with the young designer whose achievements quite stand out from the young Central Saint Martins crowd. Back in the first year, Ernesto’s garment opened the White Show; this year, he showcased his first collection at Mercedes Benz Fashion Week Madrid through Samsung EGO, the platform for young fashion talents. The clean and modern collection filled with unexpected silhouettes and architectural shapes was a continuation of his white project. It won him the Mercedes Benz Fashion Talent Award and an opportunity to show the collection at Prague Fashion Week in April. 

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    When did you first have a relationship with fashion?
    It was when I went to buy a wedding dress with one of my cousins at the age of 16. I was helping her to pick the right dress. Interestingly, my mum told me that when I was little, back at home in Spain, I would throw fabrics into the air to see how they fall. My mum said that maybe that’s my first association with fashion.

    Did you have any previous experience before coming to CSM?
    For one and a half years, I studied fashion in Madrid. The reason I quit, is because they were really commercial and that wasn’t the direction I wanted to take. Additionally, I worked for several designers in Spain, who taught me a lot through making garments for real women. In Spain, a lot of boutiques take a tailor-made approach to sell their clothes, and they have a loyal clientele. After Madrid, I came to CSM to study Fashion Folio. After that, I did a short placement with Balmain.

    Do you think it’s necessary for anyone to have some experience before coming to CSM?
    I think it’s important because we don’t really have a lot of pattern cutting or sewing lessons here. CSM is all about the concept and imagery. However, I think in the second year, we focused much more on the garments. The teachers didn’t even look at the sketchbooks.

    Is Central Saint Martins focusing too much on sketchbooks, layout and drawing?
    I learnt a lot about making sketchbooks and developing ideas in fashion folio; I am not really against that, because it’s where you show your concepts and inspirations. But in the end, most people will only judge you based on your garment.
    I actually enjoy doing sketchbooks a lot; sometimes I enjoy doing sketchbooks more than actually making the garments. So it’s not really an issue for me.

    Isn’t that a little bit detached from the real industry?
    It could be one of the problems, but I think we are here to be creative, and do things that you enjoy. After that, you’ve still got time to learn about how real business works, like pattern cutting- these are things that you almost only can learn through real work experiences.

    What is Spanish fashion like?
    It’s very traditional, for me, it’s a little bit boring. The focus a lot on sales. I remember seeing images of what people were wearing in the 80′s in Spain, and they were much more interesting than how the people dress now. I think it’s also strange that the industry doesn’t support small labels. Also, fashion houses such as Zara and Mango don’t support local talents and young designers.

    Tell us something about your experience with Samsung EGO at Mercedes Benz Fashion Week Madrid.
    EGO is a platform for emerging talents in Madrid sponsored by Samsung. I was sharing the same make-up artists and backstage crew with the big brands, which was great. Even though Madrid is not a big fashion capital, it’s really nice to show your work in your own country and to the press, with that much complimentary support.

    Tell us about your collection.
    It is very different from what you would see in Madrid fashion week. I took my white project, expanded it and developed it further. The collection is called ‘Limit’, because it’s about limiting lines. I was exploring the contrast between the stillness of the sky with the chaos of the city, mixing them together.

    How did you manage your time between this and school?
    It was pretty crazy, but I didn’t want to lose it because it’s a big opportunity, and we had quite a long break. In CSM, every month we have a different project, and I think the projects are quite long; therefore I can make time for my personal work.

    Did you sleep at all?
    YES I did, I really did, and I never lose sleep. I always sleep more than 6 hours a day. I think that if you can manage your time very well, it’s possible. I think that’s quite important for a CSM student, actually.

    Did you get any feedback or requests from buyers?
    I did, but I don’t want to sell my first collection, I want to keep it private. I wanted to make it crazy and didn’t want to focus too much on selling them. Maybe later I will think more about that. Some buyers did want to buy some of the more commercial pieces, but I think for now, I should focus more on exploring myself at school.

    Do you have any advice for young designers who want to apply for EGO or other similar platforms?
    I think you have to be clear about what you want, maybe a platform like this is not your way of improving or exploring yourself. But for me, I think it was a great chance to do more work for my portfolio.
    For the application part, I basically just showed my two sketchbooks and some 3D work to them.

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    Where do you want to go for your placement year after summer?
    I don’t really have an absolute favourite brand, I look at each brand season by season. I think I will probably  go for a small brand, so that I can learn more from it rather than being lost in a big brand. In Balmain, although it’s a big brand, the whole creative team included all of the interns’ work together and it was really nice. I want something like that. I like Lanvin, Comme des Garçons but I can’t speak Japanese, Margiela, Haider Ackermann, I liked Balenciaga before but now, I am not sure…

    I also want to go from Paris to New York and then maybe somewhere else, but we will see.

    Do you feel like the fashion world is becoming more and more commercial?
    I saw the Viktor and Rolf RTW fashion show in Paris and it was a huge disappointment. Maybe they are focusing more on sales now and that’s why. I think when you are in the real world, you really have to think about who your customer is. But for example Gareth Pugh is doing something really cool and unexpected; it’s not so much about the trend.

    Are you worried when you know that so many fashion graduates struggle so much to get a job?
    Yes. There are certain requirements such as drawing in computer and technical drawings that we have to learn by ourselves. The freedom we have in CSM is unique – and that’s what makes CSM special – it can’t be changed. You have to be independent and maybe take courses outside.
    Any survival tips for people who want to study at CSM?
    Just be yourself, and go see fashion and look at things that you love. For me, my life is fashion. And don’t be too nervous about the tutors’ critics. I think CSM tutors are very honest, if they don’t like the work they will tell you, and I prefer to listen to that honest feedback at school.

    Dig into the White Series archive where we featured Ernesto in 2012, and for take a peek at his Instagram for naked blue sculptured men and snaps of his equally-colored garments.

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  • leaving a dark carbon footprint: 2nd year BA Jewellery puts on a sustainable show

    Mar 24, 2014 • Fashion, Inside CSM, Jewellery, White ShowComments (0)

    The result of month-long pondering about the concept of ‘bodily adornment’ (Cultural Studies essay writers, we feel you) isn’t really what outside-of-art pals expect when one tells them they study Jewellery design. “So, err, what kind of rings and necklaces do you make?” Stop imagining Breakfast at Tiffany’s and start imagining ice-cuby snuggies for your head, re-interpretations of newspaper-wrapped Corpse Brides and breadcrumb necklaces.

     

    Every year, the second year BA Jewellery design students do a sustainability project; their brief gives a load of freedom for personal interpretation of the concept. For last night’s show, they collaborated with the fashion design students who did the White Show last year. Altogether, it’s serenity meets insanity.

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    In case you’re wondering who ate the bread… It wasn’t us, we swear! But, if you get hungry for more Jewellery articles, you can have a bite here.

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