28June2015
An interview with the once so secluded designer, who explains how difficult it was for the second generation of Belgian designers to realise the dream of becoming the next Antwerp Six, the point of being rebellious in fashion design, and how 9/11 killed his brand - which is a bizarre story

He had his own universe. A universe where catwalks were irrelevant and Belgian fashion legends Inge Grognard and Ronald Stoops shot all the outfits from his collections. It was dark, something ethereal. Anyone familiar with the work of Belgium’s most famous photographer/make-up artist duo knows that Grognard and Stoops capture youthfulness in all their work. Yet, with designer Jurgi Persoons, they made their bleakest shots: models on the verge of an existential breakdown. After all these years they worked their magic again, creating posters for the KABK 2015 SHOW. I spoke to Jurgi about his views on young designers: “they should not be decorators”, and the academy: “we offer the classical preparation you need along with a socio-cultural context”. I guess journalistic credibility urges me to be honest here: I am madly in love with the clothing Jurgi Persoons made. I can’t really name a lot of labels that ever spoke

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23June2015
AN IN-DEPTH INTERVIEW WITH THE FOUNDER OF CREATIVE AGENGY SUBURBIA, WHO HAS FORMERLY BEEN THE CREATIVE DIRECTOR OF THE FACE, AND WHO HAS DEVELOPED POP AND LOVE MAGAZINE ALONGSIDE KATIE GRAND.

Trainers. Backpack. Baseball cap. Arriving at the studio on a stiflingly warm day, Lee Swillingham could certainly have fooled us about the 20+ year gap between now and his days as a Central Saint Martins student. His promptness, however, betrays a well-versed professionalism. Since CSM, Lee has gone on to define the visual identity of some of the world’s leading magazines, and now runs creative agency Suburbia in North West London. Surprisingly, a hatred of Shakira becomes a topic of conversation, following a recent job working with the Hips Don’t Lie singer on an album cover. “It was the worst experience of my life”, he says. Naturally inquisitive, the interview begins with Lee asking the questions. “What’s your favourite magazine? How is school going? What’s CSM like now?”. Luckily, the train that runs alongside the building provides timely three-minute distractions, an opportunity to reverse the questioning. Our turn! What

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21June2015
THE FASHION EDITOR OF ANOTHER MAN, WHO HAS PREVIOUSLY WORKED WITH KATY ENGLAND AND ALISTER MACKIE, EXPLAINS THAT STYLING IS A TRADE WHICH YOU HAVE TO LEARN BY ASSISTING PEOPLE. SHE TELLS US WHY IT IS IMPORTANT TO KEEP GOING EVEN WHEN YOU HEAR NO, AND WHY YOU SHOULD NOT RUSH ANYTHING WHEN STARTING A CAREER AS A STYLIST.

Ellie Grace Cumming is someone who has always rebelled. At school, this meant wearing a floor length skirt while the other girls hitched theirs over their knee. At university, it meant refusing to wear heels after being told that if she wanted to visit Vogue House, she’d have to ditch the flats. It is this air of rebellion that is not only apparent in the way she presents herself – with her intricate layers of gothic finery, thick smears of deep charcoal under her eyes, and hair dyed squid ink black – but is also apparent in the decadently dark and hopelessly romantic characters she creates. Despite growing up wanting to be an architect, it was in the fantastical world of fashion that the Cambridge-raised stylist found her calling. After apprenticeships under the inimitable Katy England and Alister Mackie, Ellie was made Fashion Editor of menswear style bible Another Man,

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19June2015
WE SPEAK TO THE WORLD`S LEADING TREND FORECASTER ABOUT THE DEATH AND REBIRTH OF FASHION

“The system needs to be completely revised.” Why is fashion, an industry that is supposedly about newness at its very core, so scared of change? There are multiple reasons I think, but the basic reason is greed. The need to make more and more and more money kills innovation in the industry, because it diminishes the idea of taking risks. So in fact the market should invent new shares, innovation shares, in which we take account of curves of success and research. You know, the ups and downs of this métier should be provided for in terms of finance. That’s the only way. And you would only attract and accept investors who would accept going up and down. How would that work?  The system needs to be completely revised. But this will happen because everything is tumbling, so at one point people will be forced to reinvent. If you look

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17June2015
A LOOK INTO THE HISTORY OF THE SHADOWING PROJECT: A COLLABORATION BETWEEN CENTRAL SAINT MARTINS MA FASHION AND MA FASHION JOURNALIST STUDENTS, WHICH HAS BEEN GOING STRONG SINCE THE 90S.

As part of the MA Fashion Communications course in UNIT 1, the three pathways – Fashion Journalism, Fashion Critical Studies and Fashion Communication and Promotion, came together this year for a collaborative project – the Shadowing Project where students essentially “shadow” MA Fashion Design students from the start of their collection until London Fashion Week, where some chosen designers get to showcase their final pieces. With the Central Saint Martins MA Fashion design alumni being arguably the most well known in the world, it sure has made for an interesting project to follow since its conception.

We sat down with Roger Tredre, course leader for MA Fashion Journalism to discuss this now legendary project, while showcasing the visual Shadowing project of Gilbert Braun, a student in the FCP pathway who photographed the final work of designer James Theseus Buck.

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16June2015
JULIEN LABAT, THE NEW CEO OF LVMH BRAND EDUN, IS RETHINKING THE MEANING OF SUSTAINABILITY IN FASHION - CHANGING THE GAME FROM THE INSIDE WITH THEIR NEW GROUNDBREAKING MODEL OF ENGAGING THE AFRICAN CONTINENT IN PRODUCTION

Sustainability is a paradoxical topic in fashion; at once a trendy marketing tool and the biggest economical and environmental elephant in the room, that is easiest to just ignore. It is not atypical to see brands dedicating collections to certain kinds of sustainability like global warming awareness or animal rights, advocating for green or no-fur policies while completely omitting other prevalent factors such as factory working conditions and problematic or exploitative distribution systems. Not the most sexy topics perhaps, which is why we are seeing a sort of pseudo-engagement with sustainable practice across the continents – in spite of the fact that it has never been more urgent to consider sustainability than now.

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15June2015
SENIOR CURATOR AT THE V&A MUSEUM, ORIOLE CULLEN DISCUSSES FASHION IN MOTION, AND WHY FASHION DOES NOT NEED TO BE ART TO BE FASCINATING.

Related Katie Roberts-Wood: 3D Printing & Technological Innovation – the Future of Fashion is here 3 Fashion Folio students forging into the future CHRISTOPHER SHANNON ON CENTRAL SAINT MARTINS BA FASHION 2012 for Dazed Digital + Guests of the show “Don’t become a slave to technology”: knitwear graduate Tracey Lewis talks about the gentlemen of the future Lunchbreak dip into the future, anyone? Art & Fashion: Hussein Chalayan at V&A as part of Britain Creates 2012: Fashion + Art Collusion

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10June2015
THE PERFORMANCE ART PIECE OF CENTRAL SAINT MARTINS MA FINE ART GRADUATE KATY HOWE EXPOSES THE SUFFERING THAT GENDER-SPECIFIC CLOTHES CAUSE.

Throughout the week of the first CSM degree show, MA Fine Art student Katy Howe has performed “Becoming Birdgirl” twenty-eight times. Isolated under a heavy and exuberant wig made with fake blonde hair that covers her face completely, Katy is unaware of her audience and confined in the immediacy of her body. She directs the attention of the spectator’s gaze highlighting some elements — nails, shoes — in white. For her, these are “body interventions” or “body sculptures”, understood as “exaggerations of things that are fetishized about women’s bodies; they define limits because they limit what can be done whilst wearing them”. The central prosthetic objects in her performance are a pair of quasi-surreal shoes with the foot en-point, which allude to animal hooves. A strong presence in her work is the idea of transparency, the act of revealing what happens with the material flesh under the gender-specific clothes and

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