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

31August2016
Graphic Design grad Giulia Mazzucconi on embracing guilt, getting rid of prejudice in order to drive creative work, and why we should stop capturing and sharing every minute of our lives on social media.

“In the night I see the real Concealed in the day’s bright lie Eyes stitched shut White teeth smile Sleep walks and talks And feet mark time of day” (From the movie The Invisible, 2007) Do you remember the name of that shy boy you met the first day of middle school, and have never spoken to again? Have you ever asked your grandma why she loves so much that story you’ve heard probably half a million times? I don’t, I haven’t, but these are certainly some of the questions that could inspire Giulia Mazzucconi, and to which she would ultimately find an answer with a keen documentary approach. There is something incredibly subtle in the routine, the commonplaces, and in the prejudices that we are perpetually subjected to: these filters of reality, which transform us into near-sighted machines that reason just through standardized associations and take for granted too

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30August2016
Central Saint Martins FCP student Lydia Chan on ditching styling and making jewellery and sets instead.

Going into her placement year, Central Saint Martins Fashion Communication and Promotion student Lydia Chan shows us that her journey at Central Saint Martins is about making the course work for you. Not finding FCP everything she had anticipated, she was determined to branch out of the course’s norms and found her skill in the varied mix of set design, hair, millinery and jewellery making. We talked with her about the collection of ‘monster’ jewellery she is working on, and how the time she spent feeling like an outcast fueled her obsession with the scary. What brought you to CSM to study FCP? I wanted to be a stylist, and felt that London was the right place. I’m from Canada, and there are not a lot of opportunities there. They do a lot of commercial styling for TV shows, commercials and adverts for things like cars or supermarkets. I wanted to

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26August2016
Central Saint Martins BA Graphic Design graduate Alice Caiado aptly illustrates the worries she and others have encountered at art school.

Sweetness, intensity, curiosity. BA Graphic Design graduate Alice Caiado seems to have made of these innate features of hers the very principles to which she sticks while designing, illustrating and filming. Her final project ‘The Book of Worries’ with which she left Central Saint Martins in 2016 surely encapsulates at best this powerful mixture of qualities, harmonized through creativity. Everything started with the question: “I wonder what people worry about all the time?” and ended up as a succession of bittersweet black truths on light pink pages. ‘The Book of Worries’ is an ode to genuineness; is it the place where people could anonymously and finally be spontaneous and honest. And we should thank Alice for this. Also inspired by animation movies, Kubrickian landscapes and poetry, Alice’s world gets under your skin through an accurate use of both abstraction and reflection. “It seems to me that no matter how convenient

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24August2016
The CSM BA Print graduate on learning vital dyeing skills in India, the Wabi Sabi philosophy that feeds into her work, and why her collection was born out of unexpected errors.

Applying a philosophy of embracing hazards and unexpected errors, Paula Canovas del Vas has come to master the technique of incorporating accidents and unforeseen blunders into her work. Rather than aiming for a specific outcome, she lets the result of her process shape the offspring of her ideas. After gaining learning experiences during her placement year at Ashish, Gucci and Margiela, she realised the true potential of good teamwork and the value of venturing your comfort zone. Developing a unique printing technique together with a construction worker at a Spanish factory she stumbled across in her hometown, and participating in printing courses whilst travelling in the north-west regions of India, these coincidental events literally transformed into practical elements that shaped the final outcome of her graduate collection. “Since I wanted to incorporate the concept of mistakes within the collection, there weren’t really that many things that could go wrong.” What

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23August2016
Hugh Devlin explains the importance of trademarks and patents and how he has helped designers get the infrastructure of their business in place, from money to manufacturing.

*This interview first appeared in the third issue of 1 Granary. Think of a fashion news story. Whether it’s conglomerates like LVMH or Kering investing in a young company, maybe it’s the hiring of new creative directors at brands like Calvin Klein and Dior, or the announcement of a collaboration between a luxury brand and a global fast fashion chain. Whatever the story, it’s likely there’s one man who’s brokering the deal: London-based Hugh Devlin has seen it all and combed through the paperwork to prove it. As the principal advisor for the luxury brands sector of Withersworldwide, a legal firm with a lineage spanning over a century, he’s the legal specialist that nurtures and protects a designer’s creation from conception to consumer. Having worked with the biggest fashion brands since 1995, Devlin has guided a multitude of brands including Peter Pilotto, Mary Katrantzou, Mulberry, Givenchy, Valentino, Vivienne Westwood, John Galliano, Hussein

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22August2016
If bags are a booming business, then obtaining an MA in making them seems a sensible decision. RCA graduate Taja Bobek opens up about designing the accessories that are always in conversation with garments.

Once upon a time, bags were not a prominent addition to looks presented on the runway. Fairly speaking, it looked a bit awkward — an accessory, slightly distracting from the clothes, perhaps. But imagine a show without it in 2016, and it may feel as though a vital item is missing. RCA’s Head of Fashion Zowie Broach once joked about the illogic of so many students wanting to become fashion designers, when clearly it’s the shoes and accessories designers who are the ones cashing in. As the global leather goods industry is set to generate approximately $91.2 billion revenue by 2018, it certainly seems a viable area to obtain an MA in. That’s, of course, beyond the love of craftsmanship and dedication to creating beautiful products. We spoke with one of the RCA’s recent Fashion Footwear, Accessories and Millinery (FAM) course graduates, Taja Bobek, to find out how her Brutalist inspirations translate into

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19August2016
Patrick Aramburu from Paris-based boutique L’Eclaireur shares tricks of the trade for young designers.

L’Eclaireur sure is a shop with a history and longevity in the Paris retail scene. Started by Armand Hadida 36 years ago, the boutique quickly became a destination for those seeking out emerging designers — something which the (now five!) shops still maintain as part of their core buying fundamentals. The stores are distinctly different from one another — you may not even find all of them; shrouded in a slight mystery with secret door openings, the whole lot — and are about more than ‘just fashion’ for garments’ sake. As Hadida once said in an interview with NOWFASHION: “Fashion is far from looking like a single note. What I mean is that it is only the basis of ‘sol-fa’, then you have to write the score, you have to compose this music. That’s what fashion is — it’s a set of personal expressions.” We sat down with chief buyer

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How does the domestic and working environment affect our clothes? This CSM grad enquires through womenswear tailoring.

Aiming to create long lasting, wearable and classical pieces, Imogen Wright’s graduate collection takes off in a personal exploration of women’s wardrobes. Feeling disillusioned about the relevance of fashion, she began to search for repetitive patterns in the every-day wear of women, and looked at how our different environments are affecting the clothes that we wear. Ranked by Business of Fashion as one of the top 6 Central Saint Martins BA Graduates of 2016, she expresses a wish of moving towards a more sustainable fashion production. “I think as a student it’s important to be aware of the issues facing the planet and how the fashion industry contributes to them. To make a conscious decision about whether your work should respond to this or not, is very important.” “The concept and visual narrative come hand in hand. They develop and change simultaneously.” What was the conceptual starting point of your

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