1 Granary had the pleasure of popping down to Late at Tate: Chronology, organised in partnership between the Tate Collective and some of our very own chaps from UAL! Amidst the newly hung collection, exhibitions by Patrick Caulfield and Gary Hume, sound installations by Mark Peter Wright, a fashion show, artists in discussion as well as music provided by some of fabric’s finest, we had a cracking time and think the gang at Tate pulled off a mad evening! 

It all started with a great big rehang…

“In between the chronological promenade and the more time-specific focus displays we aim to introduce a new kind of exhibition, in which we take a trans-historical perspective to the collection, looking across time at how artists from different periods respond to similar concerns. These new projects bring together the different period expertises of our curators, joining the dots across the years.” Introduction to the Millbank project by Penelope Curtis, Director of Tate Britain

This evening allowed the public to get to grips with the new chronological curation of work at Tate Britain. For a whopping great big institution such as this, it is pretty mouth eye watering stuff! Dates now orientate the visitors within periods of art history. There are also no longer any explanatory bits of text accompanying the work… Say what? The gallery experience becomes completely visual and has been received well by critics and papers such as the the Guardian, Daily Telegraph and Independent who have all backed the organisational marathon. Thus the atmosphere for Late at Tate: Chronology was extremely buzzy!

“You don’t have to be at art school, you don’t have to live in London; Tate Collectives believes in Art for All.” Tate Collective

Dotted around the gallery, orange T-shirted members of the Tate Collective were around to help out and direct the masses. We caught up in with a few members in room 1840, where preparations were underway for sets by Alexander Nut B2B Josey Rebelle, Lee Gamble and Craig Richards. It’s a rare opportunity to be able to chill with fabric next to Millais’ “Ophelia”, wouldn’t you agree? Tate Collectives are groups set up for each of the respective Tate galleries and are a place for young creatives to talk about and share their art. The group is made up of 15 – 25 year olds and gives them the opportunity to organise events such as Late at Tate.

Some of the events in the gallery included real time projections by Jae Huh at Clay, responding to the new curation and imagery in the collection, as well as Nailwraps:Influences run by artist Phoebe Davies. The queue to have nails done was pretty long and subsequently we spotted many a fine fingered visitor roaming the gallery. Moreover, artist Mark Peter Wright exhibited two sound installations in response to both Susan Hiller’s: Dedicated to the Unknown Artists (1972-76) and Damien Hirst’s: The Acquired Inability to Escape (1991). The resultant creations were titled 305 Seconds at Sea and A Faint Glimmer. The first piece presented a fantastic collage of coastlines accompanied by snippets of sea sounds which jar and trip in a scatter of one second clips. The other piece featured an ominous glass box in which an empty chair and pack of cigarettes are left for us to watch, set to the ominous collage of air ventilation shafts.

Time and Influence Fashion Show

At the Time and Influence Fashion Show, we saw a glorious collaboration between the budding creatives at Tate Collective and the University of the Arts London. The production was inspired not only by the wide range of artworks present in the Tate collection, but also the recent rehang of 500 pieces in chronological order, which as we say has earned rave reviews from critics. Walking through the galleries at Tate Britain that night, we were completely blown away by the powerful curation of British art right from the 16^th century to the present day.

Representation in Art

Towards the back of the gallery, curator Paul Goodwin was hosting Round Table: Representation in Art, a fascinating series of discussions which brought together artists Megan Pickering, Tracey Moberly, Sara Shamsavari, Kimathi Donkor and Dusty O. The discussions had a wonderful ebb and flow as people joined and sat down casually amidst marble pillars and paintings on display. It was remarkably relaxed and easy to forget about being in such a grand institution. In particular, we were really interested in performance artist Dusty O’s tale of escape from life in the Midlands to the vibrant heart of London and Soho where she has subsequently worked in residencies at The Astoria, Camp Attack, Heaven and Madame Jojo’s. Referencing a portrait of Elizabeth I in the Tate collection, Dusty shares a strong affinity to Elizabeth who faced adversity and struggles; an illegitimate Protestant woman in a man’s world. Controlling exactly the way in which people saw her through make up and portraiture, Dusty appreciates that there is just a little lady beneath the mask. It’s interesting how Dusty links this self presentation to her own practice and the different ways in which drag are used by some for commercial means and by others as part of day to day life. One member at the table asked if Dusty was trying to influence social change, to which Dusty replies that it is important that she is seen in drag. “Otherwise, people never touch your humanity.” It made her parents have to change for the better, she says.

SWISHING!

Back down in the foyer, a line began to form of people anxious to swish. CSM tutor Mo Tamoney organised Late at Tate’s Superswish which saw clothes taken in and styled before being hastily swapped by an onslaught of excitable art goers. Surplus gear was passed straight to the clothing charity TRAID, an organisation which takes the publics unwanted clothes for reuse and resale in their charity shops. Mo’s main areas of work involves issues of fair trade and workplace ethics, ethical and environmental sourcing, creative product strategy and trend direction for fashion and textiles. We spotted our very own fashion figurehead Willie Walters accompanied by some enlisted first year fashion troops, Edwin Mohney and Imogen Wright.

Thank you all and love from 1 Granary!

For more information about the Tate Collective http://collectives.tate.org.uk

Join in:
@TateCollectives @UALartseen #LateAtTate
Facebook.com/collectives.tate

For future events at Tate Britain http://www.tate.org.uk/whats-on

For the charity TRAID http://www.traid.org.uk

The post Late at Tate: Chronology appeared first on 1 Granary.

We all know Howard Tangye as the renowned head of Womenswear. Just think of a big name in fashion, and you will probably find that he or she was taught by Howard. What a lot of people don’t know, however, is that Howard’s true passion is drawing.

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When Stina Gromark and Louise Nauton Morgan, also known as the designer duo Stinsensqueeze, came across Howard’s drawings while both still on the BA Graphic Design, they knew they’d found a special gem.

They approached Howard and, three years on, they’ve put together the first-ever book dedicated to his incredible artwork, entitled Within. Apart from beautiful prints of a selection of drawings Howard’s done in the last 40 years – that have been perfected so that the colours are exactly the same as in the originals –  the book also includes fascinating glimpses into his studio and comments from some of the many former CSM students that he’s drawn: Richard Nicoll, Zac Posen and Julie Verhoeven.

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Gromark and Morgan are now looking for funding to realise this project and publish Within. Self-publishing is an amazing thing, as it gives you the freedom to create a book of an exceptionally high quality without having to compromise, but there is a downside: it’s expensive. This is why Stinsensqueeze have begun a Kickstarter to raise money to finance the publication.

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You can find all the information about this project, see a sneak preview of this beautiful book and donate money to the Kickstarter until 5 July. In return, there is a great selection of thank-you gifts, ranging from posters of Howard Tangye’s work to the actual book for a lower price, to an original Howard Tangye drawing. So now, check out the video and get donating!

The post Within: enter the world of Howard Tangye appeared first on 1 Granary.

The last time we saw him talking was 2 years ago, it’s been a long wait. Starting with a banging Annie-Leibowitz-portrait (he’s going all Ariel/Part of your World in this one)
Vanity Fair has released a preview of the first big John-Interview since him being fired.
He talks about hearing voices, being in denial, Linda Evangilsta being his first visitor in rehab, Kate Moss, he and Ingrid Sischy really get down to it.
Read the preview here:
http://www.vanityfair.com/online/daily/2013/06/john-galliano-interview-exclusive

The post Keeping up with Galliano. – E10 appeared first on 1 Granary.

Hey guys, for those of you who didn’t get their hands of 1 of our 1000 printed magazines, here is our cover shoot. It is meant to be a gorgeous mix of the best CSM creations there are – from 1st year pieces, through BA and MA collections

We are being all metaphoric there, having happy baby Daniel and all that but what we simply want to say is that CSM feels like a creativity birth place, always has, always will.

Special thanks to gorgeous Nadya for being such a pleasure for the eye and an angel to work with.

Hope you like it.

Any resemblance to religious symbolism or imagery is purely coincidental.Dress Ting Kelly Yan 

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Dress Talia Chetrit

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Dress Talia Chetrit;
Dress Anita Hirlekar

Sweater Stephanie Imma Cristofaro

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Coat Minki Cheng

Photography – Nikolay Biryukov & Kirill Kuletski
Style – Olya Kuryshchuk
Beauty – Marina Keri
Models – Nadia Araújo @ Select & Daniel Boytsov

The post Oh, baby, baby! appeared first on 1 Granary.

One day before work, the marvellous writer, editor and consultant Dal Chodha set up the blog fuckyeahcharingcrossroad. This glorious photographic archive documents the past artistic life that once flowed through the doors of 107 to 109 and presents a very personal view of a loved and loathed building. We talked about the state of fashion, extortionate flapjacks and phallic graffiti.

“Ironically, I’m blogging about the building but it was never about the building. You realise that when the building is no longer there.”

Despite the fact that the spangly fountains, open planning and state of the art studios are housed within the environs of a historic granary building (perhaps betraying a false sense of physical history), CSM has only been at Kings Cross for two years. It’s very easy to gloss over the fact that it previously operated elsewhere. Having housed the fashion and fine art faculties, Charing Cross Road was one of these sites. There’s probably no point picking out the infamous artists and designers that studied at CXR from 1939 – 2011… A fair few, no?

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“It was almost so rubbish, so desolate… it didn’t work at all.”

Having been based at CSM’s Back Hill site this year, I’ve now learnt that the building is similarly closing its’ doors with future students being funnelled into KX and Archway. Back Hill is a space where you could slap paint everywhere (in fine art at least) and it didn’t matter particularly matter because the buttercup yellow tiles were always a bit crumbly anyway. I often found myself wandering about the departments – popping into stitch for a small stint – and I couldn’t help but feel a kind of affinity (probably overly optimistic and tenuous) to the vibe at Charing Cross Road. Dal makes it clear that his blog isn’t in any way part of a crusade against the college’s move. Soho has a distinct and different flavour compared to Kings Cross. “Soho, Charing Cross Road and St. Martins; you couldn’t separate any of them and to some degree you still can’t.” He points to iconic characters such as the glorious lady that to this day walks around Soho in bangles and dreads, now assisted by a zimmerframe. He also focuses on the Punk movement: “Punk is never going to happen ever again because we live in a different time. But certainly if it were to happen again, it wouldn’t happen in a building like KX.” He continued to wonder aloud where the fashion students now hang out… “Where do you go?” I pause and mention the polite local down the road, “The Coach & Horses”. Admittedly, it’s not exactly an artistic epicentre.

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“It was incredible theatre.”

I wanted to ask Dal about his time on the Fashion Communication and Promotion course at CSM which he calls “a fantastic growing place”. Having been assured in St. Martins style just to “walk up the road” after accidentally getting off at Charing Cross Station, he arrived at his interview (in his words) sweaty and annoyed. “I remember the building feeling like an art school,” he explains. “It had that smell of an art school. Musty.” He conjures for me images of a bygone era at CXR in which “faded… beautiful forgotten photocopies” of prestigious alumni decked the college walls. Someone would be found crying outside Louise’s office whilst someone else in “ridiculous stack heeled Vivienne Westwood wooden shoes” would be attempting to reach the toilet. “It felt exactly how an art school should be”.

“The loos were just loos… People weren’t so funny about old school gender stereotypes. Now in another building you have to observe those boring sterile rules.”

Dal highlights the need for “selfishness” on any degree; “You should just think about yourself and what you want to achieve and think about how you look at the world.” He goes on to mention how we live in a moral society in which one shouldn’t be selfish or think about looks (something the fashion industry is lampooned for). In truth, the communal design of KX forces you to think about colleagues a bit more whereas “you needed a lot of personality to survive in a building like CXR”. Space has and forever will be an issue; “Our one classroom for some reason wasn’t free so we had to do [presentations] on the staircase, on these creaky wooden staircases”.

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“It sounds like I’m such a dinosaur but in 10 years there is such a difference in the way that we take and respect images.”

Convinced that the keys had been handed in after Love Magazine’s infamous farewell party, Dal had come in to teach a group of 16-18 year olds at the college only to find his room covered in penises. “I saw Leni Bjerg … a brilliantly stern woman with her overalls on rollering over every penis she could… they didn’t really plan that too well”. With the empty building, Dal brought in photographer Kasia Bobula to capture the cinematic abandoned floors of CXR. It was decided that an exhibition or magazine would be too pretentious and temporal, so the images were stuck on the internet instead. The meme cache in “fuckyeah” was important to Dal rather than picking a title that sounded stuffy and pretentious for what is essentially “a wanky building at the end of the day”. Peers and friends were contacted for photos (alongside Dal’s excellent google searches) and the site grew from there! In saying this, it’s interesting to hear that the tumblr and pinterest generation drives Dal insane, but tumblr was the most democratic way to share the photos. “A lot of the pictures are so personal… and bad!” he explains. “That’s the point. I didn’t want it to be really slick.” Dal also finds them poignant, realising that he never took any photos at CXR. Nowadays we seem to document everything. “For me it explains my own relationship to photography and why I haven’t taken any pictures and why I don’t today.”

“It’s fucking tough. It’s still tough”

Dal isn’t a blogger. He’s no longer a Facebook either. A tweeter? Yes; “The best tweeters are good writers”. He argues that the internet makes us look at industries like fashion in the same way you might view racism, politics, science or a painting. CXR cut out these “moral codes” whereas now we are a generation conscious of employment and consequences. I think back to Louise Wilson’s Show Studio interview in which she stresses how students could “let life happen” without the “terrible need to succeed” that comes along with the whopping great big baggage of modern day student debt. And what of the building now? Foyles have set up shop and apparently Condé Nast College have made the old library their home… How convenient. The building is a world away from its’ past life but things move on!

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“Most people think, “My god get over it, you’re so bitter!” and I’m not at all.”

The criteria for photographs on the blog? They have to have been taken in the building. However tempting it might be to slip in a photo of Galliano as a wee student away from CXR, Dal keeps it strict. I ask if he has any favourite images (which is a bit of a nasty on the spot thing to do). Dal does eventually answer by pointing to the graffiti tags up on the walls, interesting for him as a writer to look at language and what’s being debated on walls; “It’s the cartoon strip of CXR… The only students you ever saw were fashion or art. We were often in opposition, there was a great tension everywhere.” He does however focus does in on one image with the tag “I love John Galliano the stupid bastard”, a bold gesture that he describes as summing up where we are all are rather than what Galliano had specifically done – a sad sentiment.

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“Someone somewhere has pressed pause.”

In terms of the future, Dal tells me he wants to go back deeper into CXR’s past in order to unearth photos from the 40s at the V&A as well as reaching out to bigger alumni for an image or two. In saying this, he’s convinced that “everyone’s a fucking celebrity these days” and that their images shouldn’t particularly be more interesting than anyone else’s. “Not many people look forward anymore because we’re so busy looking around,” he then laments. “There are enough clothes in the world… contribute a new idea!” In an age of technology where the past and present is a snappy google search away, Dal is concerned that people are just going to look the same. He points to Vanity Fair’s article You Say You Want A Devolution? by Kurt Anderson which explores the stylistic steps taken forward every 20 years. Adele, Downton Abbey, The Great Gatsby; now we just look back and pinch historical bits and bobs. Although the 90s is enjoying a lively cultural renaissance in fashion, in the decades to come “we’re just going to look the same.” I wonder aloud where we go now, to which Dal says that 60s architecture and dresses by Pierre Cardin still look more modern than what we make nowadays. “Fashion and art should make us question things” but with the rise of commercialisation creativity is suffering. “It’s sad designers have to be on twitter – I don’t want to know what they’re thinking, I want to see what they’re thinking.” Mystique has been replaced with a plethora of youtube videos and blogs which bring backstage centre stage. Is there any room left for dreaming? I asked what was the last thing that moved Dal in fashion, pointing to my own experiences watching Hussein Chalayan’s mesmerising transformative collection in S/S 2007. He highlights J W Anderson; “I don’t agree with his vision, at least it prompted a reaction … Ugly… He’s not stupid, there is something I have to engage with here”. In terms of editorials he wants pieces that are “troubling” to look at, mentioning Garage and Kilimanjaro magazines. “The job of a student at St. Martins is to change”.

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“The closing of the doors of Charing Cross Road marked the closing of a generation that consumed art and fashion in a different way.”

After an anecdote about CXR staff flogging £2 M&S flapjacks in the cafe for 50p a piece, I thought it would be interesting (if a bit tangental) to ask about a theme 1 Granary have been exploring recently; “Is fashion art?”. “I think its rubbish,” Dal concludes. “I need to get it on my body… Designers that forget about the body are bad designers”. Yes, embroidery may be artistic but even then it has more of an affinity to craft compared to fine art. Dal tells me he is a big campaigner about the use of language in fashion editorials; “Investment… think about what the word means… does a lime green python leather biker jacket need to exist beyond 6 months?” In terms of posting images rather than uploading written memoirs and anecdotes, he didn’t want the blog to become a smarmy pat on the back or to become filled with personal diary entries about Joe Bloggs losing his virginity in the fifth floor loos; “who cares?”

“Long gone are the days of meeting a drug addled transsexual.”

Having explored CSM’s various incarnations, Dal emphasises that he doesn’t “romanticise the past… I do understand that we have to move forward… Lot’s of people are going there and looking at it as if it’s the same place but it’s not anymore”. The whole atmosphere at CXR contributed to the work produced by its’ inhabitants. What then can we can expect next year from the first generation of pure KX degree students?

Whatever happens…

FUCK YEAH CHARING CROSS ROAD!

For fuckyeahcharingcrossroad: http://fuckyeahcharingcrossroad.tumblr.com

To contribute any photos to the site, please contact: mycharingcrossroadphoto@gmail.com

The post FUCKYEAHCHARINGCROSSROAD! appeared first on 1 Granary.

Quoting good old Bob Dylan there in the title, here is also some evidence to support the fact that chaos is a friend of final year students, too.

During final collections, the table that every student gets turns into their second home, guarded more than the black gates of Mordor.

Here is a sneaky bird’s eye of what’s happening there.

Grace Lim and Carrie-Ann Stein (Lnitwear)

Morgan Levy (Print)

Hana Nishioka (Knitwear)

Jolene Fung (Print)

Min Nan Hui (Print)

Matty Bovan (Knitwear)

Yang Yang (Womenswear)

Heidi Leung (Womenswear)

Vingi Wong (Print)

Vivien Chong (Print) 

The post Chaos is a Friend of Mine: Designer’s Work Space appeared first on 1 Granary.

Changes happen, but the spirit lives on. Since our move to the 1 Granary building, Central Saint Martins has been undergoing a lot of transformations. On 28^th May, we saw a new wave of fashion hopefuls showcasing their graduation collections right at the entrance of CSM’s new base. These students have experienced both the historical Charing Cross building and the current contemporary landmark in King’s Cross. From these collections, we saw a lot of promises, fresh ideas and of course blood and sweat (and maybe some tears). While we are moving towards becoming the new art school of the 21^st century, it’s clear that these students are still embracing the spirit and tradition of CSM: be rebellious, be different and be yourself!

The show is a typical CSM event— a celebration of creativity. 40 carefully selected fashion design students from 5 different pathways— womenswear, menswear, knitwear, fashion design with marketing and print— provide us with a wide range of exciting and for many, shocking concepts. The show was anything but boring; we saw new colours, new silhouettes, new techniques, new everything!

We all know that CSM is no shortage of big fashion stars, and so was the show. Creative director of Céline Phoebe Philo and designer Giles Deacon were the guests of honour, the former presented the prestigious L’Oréal Professional Award to womenswear designer Mao Usami at the end of the show. Apart from them, our beloved artist Grayson Perry was also spotted in the audience.

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As for the highlights of the show, we would like to present to you 13 outstanding collections, we hope you will enjoy the beautiful garments made by these talented kids with a bright future ahead of them!

Inspired by kitsch and the willfully ugly, Nathaniel Lyles’s collection was a kaleidoscope prism of enameled copper wires in crazy colours. This was layering to the nth degree, with a lot of transparent fabric strips and pieces piled up to create optical illusions on the model’s form. The patterns might be more reminiscent of “cheap acrylics tapestries from the carboot” than traditional high fashion prints, but this collection was about putting things that are horrible together to create something unexpectedly fabulous.

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Amid drooping hammers, a cart of puppets, scorched iron, suspended tables, a harp, precarious glasses, sparring cockerels, dry ice, a Virgin Mary, upturned swans and astronauts frozen in time, we were able to witness CSM Show One kicking off with its private view last Friday. The verdict? This exhibition is one to catch while you can as it ends wednesday 29th May! The breadth of talent and individuality at this year’s exhibition is very exciting and the show is already receiving glorious reviews. SO HOP TO IT! 

“For the second year running Central Saint Martins will host work by graduating students at the new King’s Cross site. Two shows incorporating Art and Design will run consecutively to accommodate the range of new courses on offer, and to highlight the vast possibilities for collaboration the building induces. Hoping to capture the vitality of its new home, the Art and Design shows at Central Saint Martins promise something special.” Jeremy Till, Pro Vice-Chancellor UAL & CSM Head

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Show One exhibits the work produced by CSM’s School of Art and offers a whopping variety of talent, ingenuity and imagination. Based on both the ground and third floors, the exhibition plays host to a staggering quantity of work, presented throughout the slick and labyrinthine depths of our colossal Granary Building.

A quick round up of the courses involved:

• BA Fine Art
• MA Art and Science
• MA Fine Art
• MA Photography
• MRes Art: Exhibition Studies
• MRes Art: Moving Image
• MRes Art: Theory and Philosophy

As well as this, a selection of work from the recent Foundation Diploma in Art & Design is also on window display!

Public opening times:

Saturday 25 – Monday 27 May, 12-6pm
Tuesday 28 May, 12-8pm
Wednesday 29 May, 12-6pm
Last entry 30 minutes prior to closing time

“This year’s crop of Central Saint Martins graduate shows have surpassed expectations and created a first rate exhibition not to be missed. It is unusual to see such strong contenders from the undergraduate body competing strongly with the MA programme. I was especially impressed with the oversized drawings by Carla Raffinetti and the mirrored plexi sculptures by Samantha Scholtz.” – ArtLyst

For CSM final year shows trailer: http://www.youtube.com/watch?feature=player_embedded&v=IW6JqTgVwgo

For more information about the CSM Fine Art 2013 exhibition: http://www.csmfineart2013.com

For ArtLyst’s review: http://www.artlyst.com/articles/central-saint-martins-graduates-create-first-rate-degree-shows

For information on how to buy work from the shows: http://www.csm.arts.ac.uk/about/degreeshows2013/buyingartworksattheshows/

The post SHOW ONE 2013 HAS LIFT OFF!! appeared first on 1 Granary.

Morning, London!

Some of them privileged fashion folk and fashion parents…and us will see a great show tonight – the BA Fashion Graduate Collections Show.

There is something of a prom atmosphere at 1Granary Square. It is all quite exciting, having in mind the previous graduates to bow at that catwalk. Im not gonna do that cocky-namedropping again but you know the story. Okay, just one – Celine’s very own Phoebe Philo is awarding the winner tonight. She herself graduated from Womenswear in 1997.

And since 1Granary fights for democracy and equal rights, we will keep you posted all day long with backstage bites like this one.

Thank you Tommaso Albertini for a great video from the internal show backstage!

It might be useful to follow us on Instagram @1Granary.

To everyone in the show: toi toi toi, break a leg, all the best, good luck! We cant wait to put your collections in the second issue!

Love,

1Granary Team

The post BA Central Saint Martins Internal Show: Sneak Peek appeared first on 1 Granary.

At 1 Granary we love men, we would organise a mister CSM contest if it wasn’t so damn mainstream. Thats why we are looking forward with excitement to the new season of London Collections: Men coming in the middle of June. Not only that we will be there drooling over models but we will also show you the latest stuff of great alumni like Christopher Kane, Alexander McQueen, Christopher Shannon, KTZ and so on.

Similarly to us, feeling the need to stare  endlessly at handsome males in cool clothes, lovely graphics student Florence Meunier made us some cool embroidery collages devoted to last season’s looks.Christopher Shannon A/W 2013

Shaun Samson S/S 2013

Givenchy S/S 2011

The post London collections, man! appeared first on 1 Granary.