1 Granary Magazine - Issue 3

Dazzling in an Age of Austerity

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1 Granary 3 is out, economically priced at 0.07% of a 1—year BA course to match tripled tuition fees — get a copy today, receive it quicker than a degree

In this exclusive interview to CSM students, Antonio Banderas opens up about studying at Central Saint Martins, and reveals his plans for a future career in fashion

After playing Zorro, Puss in Boots, enjoying a lifelong collaboration with Pedro Almodovar, acting in more than 90 movies and directing and producing his own, Spanish actor and Hollywood darling Antonio Banderas has now become…. a Central Saint Martins menswear student! Yes, the rumour we’ve all been hoping to be true was confirmed when last week Antonio posted a picture of himself in the studios of CSM. In this exclusive interview, CSM fashion students sit down with the man behind the mask in the menswear studios of Granary Square to talk about his new student life, the parallels between filmmaking and fashion design, and how his homework is going.

AB: So what do you wanna know guys? What the heck am I doing here, right?!

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Interview with Central Saint Martins BA Fashion graduate Nathan Moy, who considers gender neutrality boring and is already lending pieces to Vogue.

Nathan Moy is easily recognised for his incredibly fashionable exterior. He helped making an outfit for Beyonce while interning at Alexander Wang, and for his graduate collection, he presented a procession of industrialised sea-nymphs, seeking to bridge the gap between business and pleasure. We spoke to Nathan about life by the sea, luxury/hoarding dichotomies and white favoritism in the international fashion industry. Nathan was born in Chicago, but grew up in Hong Kong, only to return to the States for boarding school during high school years. From an early age, he was passionate about drawing and illustration, and when discovering fashion aged 16, he returned to Hong Kong to do a more suitable art program to work on his portfolio. He was finally admitted at Central Saint Martin’s foundation course, and later, Fashion Design with Marketing. Besides the sewn garment, Nathan particularly loves expressing himself through photography, “particularly with film

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Ronald Stoops photographed the designs of all generations of Belgian designers that made their mark in the fashion industry. We found out the inside story.

Ronald Stoops sits in the sunny backyard of his Antwerp house, talking in short, to-the-point phrases about his long career in photography, in which he has shot the work of all Antwerp Six designers, except Ann Demeulemeester. In tune with the sound of our conversation is a stream of water and fishes swimming in a pond next to us. Every once in a while, one of Ronald’s many cats appears, like a shadow on the plastic roof above us, and Inge Grognard — his partner in both work and life — pops in every once in a while, tending the garden or answering emails indoors. A bottle of sparkling water stands between us and is left empty after one-and-a-half hour of conversation, which is much needed due to its quick-fire nature. It’s not necessarily an intentionally chosen mode of interviewing, but Ronald doesn’t seem particularly keen on exhaustively dwelling on fashion or photography-related topics. So, when mentioning the brevity of his answers and asking if there are other topics that he prefers talking about, he mentions that he is much more interested in talking about ‘real feelings’: how you feel, what you feel, how you walk in the street, what your hopes are, what you want to do in life — and a cheeky one: do you have a lover, somebody who you love?

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Kaat Debo, director of Antwerp’s ModeMuseum and previously editor-in-chief of A Magazine, talks about adapting curatorial practise to the digital world, why it’s easier to maintain an 18th century costume than to obtain information from 90s CD-ROMs donated by designers, and how to beat the race against the clock of decaying materials, as found in Walter van Beirendonck’s full-on latex garments.

Kaat Debo is the head of MoMu, that being the deceptively simple shorthand for the Mode Museum in Antwerp. But there’s nothing simple about the city host to Belgium’s Royal Academy of Fine Arts, or its history– we’re talking home to original Avant-Gardes, The Antwerp Six. It was one of the movement’s founding members that was the subject of a recent MoMu retrospective, one described by The New York Times as ‘exceptional’ in both ‘power’ and scope. Dries van Noten: Inspirations, was a rare example of the collaborative capabilities afforded to designers and educational institutions. Needless to say, it was a hit, and one of the many projects in which Debo plays an instrumental part. She sits in her glass-fronted office on a warm Spring day, in eye and ear-shot of fellow staff (more evidence that Debo is emphatic of collaboration). When we meet, Debo has a slight cold, and

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Through the use of experimental drapery with rectangular pieces of fabric, Japanese fashion designer and Royal College of Art MA Fashion graduate Naoya Nakayama created a smooth, genderless collection.

A compliment Naoya Nakayama often receives is that his clothes look “effortlessly beautiful”. As he takes it in, politely and humbly as always, one may wonder how this busy young graduate of RCA in womenswear managed to breathe a feeling of grace and simplicity into such a complex combination of vastly different types of fabric and bamboo sticks, incorporating light in the mix. As we enter the studio where the video of his new “Purified Imperfect” collection is being shot – you can find a teaser here – the garments seem to come alive under the projection of Naoya’s intricate illustrations onto the models’ bodies. The team is international. The feel is professional, yet strangely festive. Did Naoya just create the ultimate party clothes? Models dance between each take to the original piece of electronic music made especially for the collection by a Japanese composer. Now picture colourful LED lights running

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How David Kappo, the renowned fashion tutor at Central Saint Martins and Royal College of Art makes students keep turning fashion on its head, over and over again.

David Kappo is perhaps the ultimate embodiment of the spirit of St. Martins. He has frequented the halls of the institution since before its merging with Central School of Art and Design, and remains one of the most prominent tutors in the institution as he directs CSM’s Graduate Diploma while lecturing at the Royal College of Art’s MA course. We invited Kappo, dressed extravagantly in floral tunic and bejewelled en masse, for breakfast at Dishoom, to hear how Louise Wilson once saved him from a tranny shop in SoHo and why it’s important to have the courage to wear what you design.

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How executive fashion producer Laura Holmes rose to the top of her game, while keeping it personal and always on point.

I find Laura Holmes deeply engaged in a phone call as I make my way through an enormous photo shoot in Three Mill Studios, a Hollywood-like warehouse complex in East London. They are shooting a new campaign for a major luxury house hold name, and we stroll past extraordinary set designs and tables with the lavish new shoe range before finding a quiet spot in the catering area, to speak about the company that is Laura Holmes Production.

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The Antwerp-based fashion designer has grafted a steady business for the past two decades without any support or interference from conglomerate groups. He tells the young generation why they should take a radical approach in creating a business, and why it’s okay to have a mega empire like Paul Smith and sell wearable clothes.

Stephan Schneider is not your ordinary ‘Belgian’ designer. As one of the first foreign generations to graduate from the Antwerp Fashion Department in the 90s, the German-born designer is “for sure not Boheme, radical, dark or gothic,” he says as he compares himself with the Antwerp Six, and past graduates from the institution that have established a distinct ‘made in Belgium’ signature. His clothes, in contrast, are very ‘wearable’: something that may be considered very mature or even ‘commercial’ compared to the extravagancy seen at the students’ final year show of the Academy, where he acted as a jury member this year.

In a much accelerated industry, Stephan keeps his head cool and doesn’t go through as much change as perhaps other brands would. In fact, the leopard print carpet in his shop is exactly the same as it was when he first opened it 20 years ago. The age doesn’t show in the interior, and neither does it show in Stephan’s energy when he talks about his steady career. “I enjoy this old dusty house,” he says. “I wanted to make fashion that was solid and that I could live from.”

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