1 Granary Magazine - Issue 3

Dazzling in an Age of Austerity

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Central Saint Martins MA Fashion graduate Joanna Wawrzyńczak on freakiness, criticism in the MA studios, and African folklore straight out of Poland.

It’s the Central Saint Martins MA graduate show at Brewer Street Car Park in London. Strobe lights blaring, tunes on loop, a house-full of industry insiders and stalwarts, when models clad in Joanna Wawrzyńczak’s collection march onto the runway in a stream of patterns. What a tumultuous journey it has been for the designer – from having to do a retrieval project to keep her place on the course to showing at London Fashion Week Autumn/Winter 2016-17. The Polish textile designer is level-headed, calm and maintains an even-tone when speaking, giving away only carefully measured smiles and exclamations. Dressed in an all-black uniform, she explains that the clothes she makes are not an obvious extension of her personal style. She prefers the non-descript way of life, choosing comfort and blending-in over spotlight and attention. After all, fashion is about creating a dream, an idea. “It comes down to the fact

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Central Saint Martins MA Fashion graduate Austin St. Maur Snyder talks about his collection of reimagined eveningwear with a subdued sensibility

Backpacks merged with gowns. Gowns inspired by backpacks. However the sentence is phrased, you are certain of one thing: it’s an unlikely pairing. In a world so obsessed with binaries, the grey area becomes increasingly alluring. And that’s what we have here: the meeting point between formal and casual in a collection of reimagined evening dresses. The story of this unexpected merging stems from the neo-nomadic life of Austin St. Maur Snyder, who has spent the past six years moving between his home of California and then Rhode Island, New York and London for education and work. As a diehard Californian residing in Finsbury Park, Snyder’s own personal binary is near and far. Constantly looking back to the places he has come from; constantly looking forward to the places he’s going – it’s a relentless process. Through all of it Snyder has had a black canvas backpack on his shoulders;

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Sarah Mower may be best known as one of American Vogue’s sharpest wordsmiths, but it is her considerable hand the careers of countless British designers and fashion students that she will always be loved for.

This article originally appeared in 1 Granary Issue 3 Whether she likes it or not, Sarah Mower is someone that has become intertwined in the history of British fashion. As a critic, mentor, fundraiser and advocate of arts and design education, it’s unclear why she hasn’t moved into Downing Street yet. If Sarah believes in something, it soars; when she speaks, people listen; and if she sees a problem, chances are it’s already on its way to being fixed. Long before fashion blogs and e-commerce became the raison d’etre of online fashion content, there were Sarah’s sagely penned reviews for Style.com, then the digital home of American Vogue. Prior to a plethora of international fashion prizes, there was NewGen and London SHOWrooms, her brainchild that set the bar for other fashion economies to do the same. When London Fashion Week became a sparkling cocktail of international brands, emerging designers and

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One of the world’s leading fashion critics, Robin Givhan from the Washington Post, shares tricks of the trade in an essential long-read interview

American critic Robin Givhan is a seasoned fashion insider, but not one who caters to fashion devotees. Nor does she shy away from providing tough love or outright criticism when the fashion industry lacks perspective. Landing her first newspaper job with the Detroit Free Press after her studies at Princeton and University of Michigan, she started as a general assignment reporter before shifting to the fashion beat when a vacancy presented itself. Givhan relocated to The Washington Post in 1995, where she has since been a staple of the newspaper (barring a six-month stint as an editor at Vogue in 2000). She won a Pulitzer in 2006 for Criticism—the first fashion-focused writer to do so—which, she felt, was not only a win for her, but an industry-wide validation of a sector that is still today often dismissed as frivolous. Givhan confronts industry issues, examining fashion’s impact on society at large, whether it’s problematic depictions of

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Central Saint Martins MA Fashion graduate Lynne Searl on the essence of contrasting concepts, fabrics and techniques in her collection

“I haven’t had time to cut my hair since last summer. Priorities. Fuck it.” Before I can even ask a question, Lynne Searl is talking away. Regular swearing and laughter accompany her complex ideas on art and fashion as she guides me through her lookbook. The first picture she shows me sets an alienating scene. It displays two sleeveless long dresses – one khaki-brown, the other stone white. There is no model, yet the dresses stand up straight, like ghostly sculptures, in front of black and white pictures of a prairie. On the floor lies a third dress, a black lace piece reworked with vinyl circles, like a distorted body. It feels logical that pictures of her work are followed by images of Man Ray, Barbara Hepworth and Anish Kapoor. The 25-year old Scottish textiles designer usually looks to artists for inspiration: “I always get hassled for not having enough

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Eclectic references and a smart mix of fabric manipulations take the knitwear of Central Saint Martins MA Fashion graduate Harry Evans to a couture level

“Menswear hasn’t changed much at all.” Designer Harry Evans is throwing a spanner in the works of fashion. The 24 year old Knitwear graduate from Central Saint Martins is already pushing the boundaries of stagnant styles. In a game of tailoring versus streetwear, Evans is playing beyond any defined genre. His eclectic mix of jersey layers with deeply intricate knitwear completely contrast with the typical menswear of the past century. Evans stands out in the MA studio, but not because he is attention-seeking or loud. His unique sense of style speaks volumes – more than his modest personality. He wears on his slim frame a red and white striped t-shirt and black leggings, layered with a dark green kilt. Cherub-like, curly brown hairs frame his face and dark eyes, which are painted with eighties-turquoise eyeshadow. Two gilt gold, drop-earrings hang from each lobe. He is elegant and scruffy all at

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Central Saint Martins MA Fashion graduate Henriëtte Tilanus on why creating your own textiles will give you a greater freedom to design a collection

You couldn’t have missed them: golden polkadots and pink Matisse-like cut-outs embroidered on bell-sleeve tunics and flared trousers. The big and brightly coloured silhouettes Henriëtte Tilanus and her team sent down the catwalk at Central Saint Martins’ MA show grasped everyone’s attention. It is a surprise then to meet the girl behind this explosion of colour. The polkadots are still there, but they’re all black this time. There is only one pop of colour in her outfit, the matte red lips she nervously bites as she shies away from the microphone I impolitely push in her face. But it didn’t take long to find that extravagant side we all saw in Brewer Street. After doing a BA in Fashion at ArtEZ, the Academy of Art in Arnhem (The Netherlands), Henriëtte knew she wanted to continue in textiles: “For my final collection, I instinctively made all the fabrics myself and the

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Courtesy of our friends at King Kong Magazine, we bring you an exclusive excerpt of their feature with Royal Academician Allen Jones.

One of Allen Jones’s candid sayings, is that he wanted to kick over the traces of what was considered acceptable in art — a mindset many art students and graduates share, as they try to break new grounds. The Royal Academician, one of Andy Warhol’s contemporaries who is most well known for his provocative ready-mades, did not make it in the Pop Art scene simply by following the rules. He was expelled from the Royal College of Art in 1960, at the end of only his first year, and rebelliously changed a commissioned poster to his own desire after having received his cheque for the project, and the paint still being wet. Our friends at the newly founded magazine King Kong spoke with the art legend about one of his 70’s film projects, Maitresse, which you can discover at the Michael Werner gallery in Mayfair until the 6th of May.

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