Narielwalla's New Dandies

I first encountered the work of Hormazd Narielwalla gracing the walls of "A Fairytale About Fashion", an exhibition which ran during the festive season 0f 2008 at the EXIT gallery. Narielwalla's Dead Man’s Patterns was a design story that excited my sartorial imagination and I have kept a close on his artistic development ever since. Just last week, the current LCF PhD student informed me of the various recent advancements that have helped propel his work to a wider audience. These include a new website, fresh illustrative undertakings, an exhibition and another book. Over the coming months I will no doubt fill you in on every one of these nuggets of news but for now, I'd just like to share another body of his work, Trams. As soon as I visited his new site my eye was drawn to this series of artworks. Through a combination of photography, his own sketches and digital composition collages, this series is yet another playful collection of artwork that truly excites. The driving concept for this body of work is to capture a new-age dandy stuck between the past and the present. All the while questioning how a man should dress. These characters have a dandy-esque approach to life, spotless, immaculate and seemingly effortlessly stylish...

As you should all know by now, the artists work originates from sets of bespoke patterns. These patterns have recorded a history of intimate dialogues of customer measurements and fittings over a lifetime but no longer have any practical use to the cutter and are often discarded. Narielwalla takes these fragile pieces of parchment out of their original context and breathes fresh life in to them. The creases and careful folds, finely traced pencil marks and measurements are reimagined. The patterns are reinterpreted and resurrected. In Trams, Narielwalla has once again foraged his way through tailoring archives and shaken a heady cocktail of visual methods to narrate untold stories. I'm left contemplating the modern dandy.

Into Africa via the Darkroom

Into Africa store event at the Darkroom

The Darkroom opened its doors on the characterful Lamb’s Conduit Street in Bloomsbury just late last year and since discovering it in early February I've popped in at every opportunity. The concept store comprises a curated mix of interior and fashion accessories alongside bi-monthly art and sculpture exhibitions. This summer, the Darkroom is going colourful with their latest in-store event, titled Into Africa. Kicking off in April, the showcase explores modernist interpretations of indigenous Africa textiles, jewellery and art. Designs include a limited edition range of laptop and pouch bags by Harris Elliott, a range of hats made from vibrant Africa cotton by Noel Stewart, limited edition prints from David David’s archive of bold geometric patterns, jewellery pieces by Florian, Corrie Williamson and Fred Butler using Brie Harrison prints, as well as a range of leather wallets in vibrant colours by menswear designer Kenneth MacKenzie of 6876.

As you all should know, the H by Harris line initially began with beautifully made laptop cases crafted in London from the softest leathers. The offering has since grown and developed in to a luxury luggage brand. For this season, he has teamed up with the store to create one off designs comprising laptop cases and pouch bags, each lined with bold African prints.

Butter wouldn't melt...

Fred Butler joined forces with Brie Harrison to develop a stunning and exclusive African print design for the Darkroom, masterfully crafted in to both neck and wrist accessories.

Fred Butler and Brie Harrison combine

Store owners Rhonda Drakeford and Lulu Roper-Calderbeck have handpicked a selection of designs and showpieces by various talented designers, which are displayed alongside pieces from Darkroom’s own collections. As I explored the store event temptation was staring blankly at me, from Lynn Cockburn's braided belts and key rings (more on that one day soon) to Anglo's weaved belts.

A bench that had me reaching for my wallet...

For the benefit of those of you who are unfamiliar with Anglo Leathercraft, it is a British brand and has found huge following in Japan, yet are little known in the UK. Their leather belts and bags are all made in England using the finest and most intricate leatherworking techniques. The ones seen here are ideal for the warmer months ahead.

A bowl of bow ties caught my eye

Just as I was leaving the event my eye caught sight of a bowl of colourful print bow ties and handkerchiefs. They reminded me of my temptation to give the styling of Casely-Hayford's SS10 presentation a try but before I cover my arms in eye catching hankersleeves I might just liven up the breast pocket of an old jacket with one of Darkroom's own brand printed pocket squares.

These would certainly liven up any jacket.

Thirty years of Ally Capellino

Raising a glass of Prosseco to the thirtieth anniversary of Ally Capellino

To mark the thirtieth anniversary of Ally Capellino's accessory and fashion label, the Wapping Project is home to an impressive retrospective exhibition of the designer's work. Last night I was fortunate enough to take my place at the opening and duly raised a glass of nicely chilled Prosseco to the label. The exhibition shows the evolution of the brand, from the clothing where it all started during the big hair and shoulders era of the 80's through to the modern 90s and then on to the accessory collection that we have all come to love and associate with the name Ally Capellino...

Ally Capellino's timeline is wonderful illustrated form on the leaflet I was handed upon entering the space. Notice the launch of menswear in 1986. I remember it well (I was two, ha).

This retrospective was borne from the fact that their faithful client base frequently boast about having owned this or that for twenty years or more and that they can't throw it away or, in some cases are even still wearing them! From the bin liners of designs and accessories donated they have managed to create a representative line up of that illustrates the narrative of the label perfectly.

A wall of portraits depicting people and their AC's. Portraits by Donald Christie and assisted by Tom Sloan.

Together with accessories from the archives, art director Rupert Blanchard has created a number of striking installations but I was particularly taken by Michelle Noel's impressive 'Wall of Bags' creation. The wall is a mix of vintage, new styles as well as a number of prototypes and ideas for the future. In addition to the obvious impact of seeing them all on one wall, it is important to stress that each bag has its own story. I personally love how the vintage bags have aged, the leathers and fabric get better as the years go by.

The Wall of Bags by Michelle Noel

Now, when I think of Ally Capellino my mind is full of covetable classics for men and women, satchels made from canvas and leather with names like Vanessa, Lionel and Jeremy which are all timeless and modern. However, the accessories line that I am most familiar with was not launched until 2000. The label has a past spanning twenty years that I had absolutely no idea about. So as I walked around the well curated space I followed the progression of the label, right from it's first womenswear collection in 1980, to the launch of Hearts of Oak in 1983 to designing Girl Guides and Brownie Uniforms in 1999. The area that obviously interests me most though is the launch of its menswear line in 1983...

I loved looking over the early menswear adverts and news pieces

"I'm very proud of the men's clothing that we did at Ally Capellino between 1985 and 1995. Our reputation for tailoring started by breaking rules blossomed under Juno's careful skills. Our fabrics were subtle in colour and cut and he always wore them well. We began with five button jackets and anchor sweaters and worked through linen shorts, suits and shirts. Our tailoring was done in Leeds at 'Sumrie' clothing which had been one of the big successful tailoring and outerwear manufacturers." Ally Capellino

One of the first menswear designs (please excuse my shadow!)

While admiring the suit pictured below I actually bumped in to the owner. The proud chap informed me that he had worn the suit at the Hong Kong handover ceremony in 1997. It was in remarkably good condition but he confessed that he had saved it for only special occasions. Simply tailored and it certainly would not look out of place in my wardrobe today. Having seen a few of the pieces up close a large part of me wishes that the label still produced menswear...

One of the early suits

Collaboration has been a key facet of the recent development of the label. In 2006, Ally created a collection of bags for Margaret Howell, Topshop and the bestselling artist’s set (pencil case, apron and satchel) for the Tate Modern Gallery. In 2008 the label created one of their most interesting collaborations with Apple. AO sees original Alley Capellino bags and sleeves tailor made for the variety of mac products, from leather sleeves for your Air to a despatch satchel for your pro. My particulat favourite is the below canvas sleeve. As part of the iconic AO range, it embodies quality and utilitarian design, neatly wrapping a notebook in quality canvas and leather...

My favourite piece from the AO range.

The exhibition concludes with a more familiar sight (to me atleast), the timeless, but never dull, range of bags that I'd happily sell an unnecessary body part in order to own. Each piece is made from beautiful durable leathers and fabrics that only improve with age and boy do I want to grow old with them. With their quiet branding they are meant to be worn, used and loved. “People should add something of themselves, so that the bags become theirs not mine,” comments Ally.

Temptation at every turn.

In addition to this exhibition, Ally Capellino has collaborated with Liberty to continue her thirtieth birthday celebrations. She has reworked two of her existing bags into exclusive styles for the homely department store. The ever popular (and one of my favourite) Frank rucksack has been produced in soft blue leather with contrasting tan leather buckles and lined with Liberty fabric. Ever since I saw it in March I've been in love. In addition to offering these bags exclusively Liberty is home to a Rupert Blanchard installation in the main stairwell.

No words can do this justice.

Apologies, I was momentarily sidetracked by a beautiful bag. Back to the retrospective exhibition for a moment...I urge you to make the trip to the Wapping Project if you can. The exhibition officially opens today and runs until the 6th June. If not, I'm sure you'll join me in toasting thirty years of Ally Capellino and if you are interested in seeing more from the collection then look out for an upcoming post from Susie (I excitedly shot a number of womenswear pieces and she'll no doubt want to feature the exhibition when she returns from New York).

Style Salvage Speaks to... Showroom Next Door

You might recall that I eased myself in to AW10 proceedings with a visit to Showroom Next Door at 16 Hanover Square at the beginning of London Fashion Week. The Touba Distribution curated showroom allowed me the opportunity to inspect and fantasise over a few of my favourite brands while introducing me to a few new ones. I spent the best part of two hours fully immersing myself in the new collections of Mr. Hare, Casely-Hayford, H by Harris and Bruno Chaussingnand before being acquainted with Japanese denim specialist Sable Clutch and amazing knitwear by The Inoue Brothers. The idea was to create a Wardrobe of Menswear and they undoubtedly excelled. The space became my dream walk in wardrobe the moment I stepped inside. More than that though, it was a space that exemplified everything that I find exciting about menswear design in London; namely it's diversity and constant sense of sartorial evolution and revolution. I had meant to only post once on the showroom but as I spent so much time with each of the brands it was only proper to showcase each of the brands individually. After this series of excited ramblings that saw me waxing lyrical about a selection of real AW10 highlights I wanted to take stock and learn more about the Showroom Next Door and the people behind it. Here I catch up with Touba Distributions very own Fode Sylla to learn about the reasons behind the Showroom and how he would like to see it evolve over the coming seasons...

The Showroom Next Door for AW10.

SS: What were your inspirations, your dreams and the driving catalyst behind Showroom Next Door?
Fode: We were aware of this surge in London emerging that wasn't receiving the credit and exposure it deserved. When the menswear day took place in London Fashion Week. We decided to utilise the Showroom Next Door as the showroom that represented the quality of menswear that was emerging from London. Our aim is to become the representation for menswear in London. I have always been surprised by the amount of talent in the UK and have always considered it as the quintessential home of Menswear. Yet there didn't seem to be many opportunities to see the work of established and exciting the new designers this city has to offer.

Casely-Hayford: A wool biker jacket takes pride of place in the presentation. It can either be worn long or short depending on the fancy of the wearer.

SS: What does Showroom Next Door mean to you?
Fode: We wanted the Showroom Next Door to be an interesting and vibrant place where fashion, art and craftsmanship can be appreciated side by side.

Casely-Hayford's accessories.

SS: As you know, I spent the best part of two hours fully immersing myself in some of my favourite brands while discovering a few new ones. The Showroom was extremely well curated, how did you go about selecting and approaching the brands?
Fode Sylla: We are interested in brands that although UK/London based have an international capacity and a unique handwriting. The idea was to create an exciting Wardrobe of Menswear. After working many years in various areas of the industry, we know when we fall in love with something. It is instinctive and inevitably it leads to us falling a friendship and a tremendous liking for the designers and the ethos behind their creativity. This has been the case for all the participants the Showroom Next Door have been honoured to work with. It felt like home.

H by Harris' luxurious luggage and accessories on display.

SS: What makes London Menswear design so special for you/ What are your thoughts on menswear design in the capital?
Fode Sylla: It's fresh and original not homogenised. I have always love the idea of the English male's wardrobe, particularly the hand made suit, hand made shirt, hand made shoes and the craftsmanship behind them etc...Of course this is only one facet though.

The Inoue Brothers' knitwear mixes Japanese sensibility with Danish simplicity by way of Bolivian craftsmanship.

SS: The growth and increased influence of Menswear Day in recent seasons has given menswear a huge boost but there is so much more that could be done. I honestly feel that initiatives like the Showroom Next Door can help drive menswear forward both here in London and beyond. The set up of the showroom allows a far greater appreciation to the craft of the collections than any runway show could and displays designs alongside like minded labels. Is this an important facet of the project?
Fode: You have absolutely hit the nail on the head. in the course of approximatively a week in which the Showroom took place ,we have enjoyed very much being able to explore each collection even further, understand the designers inspiration by talking to them in depth,see the reaction of both the Press and the Buyers. Menswear Day is of a great influence in promoting Menswear and in attracting an increasing number of Press and Buyers in the capital. The aim of the Showroom Next Door is to go some way to reinforce that Britain is the home of Menswear by the diversity of its offering.

I love the reflective lenses in these beautiful frames from Bruno Chaussignand.

SS: What has the reaction been like to the latest Showroom and labels involved?
Fode Sylla: There's been a very positive and encouraging response from both Press and Buyers. We look forward to extending the range of the Showroom in the near future here in London and beyond whilst keeping it organic and diverse.

Mr. Hare aims to give us all a boost for AW10.

SS: Are there any designers who you'd love to add for next season?
Fode Sylla: Mr (Roland Mouret menswear), Kim Jones, Hannah Martin (Jewellery) and some exciting emerging designers. God, the list is endless. The city is full of talent to choose from and that makes a very exciting project to curate the Showroom. We will also like to give a free platform for new talent by choosing an unknown but talented designer each season to showcase their work among established designers in the near future.

Mr. Hare's shoes proudly sitting on the shelves inside Showroom Next Door.

SS: How would you like to see the project develop over the next few seasons?
Fode: Showcasing the London collective around the world. Work officially alongside British fashion council so we can support a selection of emerging UK designers internationally with their sales. Make the Showroom Next Door an exciting, diverse and unique place for the city whilst keeping it fresh and organic there is still a lot of work to be done but we will keep at it.

A close up of the leather wrist protectors from Casely-Hayford.
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These are exciting times for menswear and I'm so pleased that there are platforms like the Showroom Next Door that help to showcase the obvious and abundant talent that calls the capital its home. For me this is more than a showroom, it signifies a continuation of a movement...first up London and then the world

LCF and Diaghilev's Ballet Russes (Part Two)

To coincide with the major retrospective at the V&A and the centenary of the Ballets Russes, London College of Fashion and English National Ballet have spent the past year working together on a unique project which examines the Ballet Russes and the incredible legacy of artistic director Diaghilev on dance, art and, of course, fashion. To mark the culmination of this exciting collaboration we decided to talk to Rob Phillips, the Creative Director of the School of Fashion Design and Technology to learn more about the project. In the first part below we set the scene and learn how the project evolved over the course of the year. Here, we learn about the creative and design processes displayed by the students throughout the course of this very special project.

Tailored trousers and jersey drape T-shirt by Deema Abi-Chahine

SS: The project began in 2009 with LCF students having the chance to explore the Ballets Russes through English National Ballet’s performances, rehearsals, set design and importantly, giving students a unique insight into costume design for dance. I'm really intrigued to hear more about the creative processes that the students explored and demonstrated. Could you talk us through some of the processes displayed?

Rob Phillips: The project gave the students amazing opportunities to explore the rich heritage of English National Ballet. The students were given access to Marden in Kent where ENB have their storage facility of costumes and sets. It is a treasure trove of all the performances past and present that ENB have been involved with. We were lucky enough to be given a guided by Head of Costume Wizzy Shawyer. Marden is also where new costumes and sets are made so it really was an unique visit.

Students also visited the rehearsals at the ENB studios in London Kensington where they were preparing for the Ballet Russes season in June 2009 at Sadlers Wells. Some of the students that went along sketched and recorded what they saw.

Fleur Derbyshire-Fox Director of Learning at the ENB gave the students a lecture about the history of Ballet Russes and the ENB which helped the students start to put into context what they were seeing. It also provided them with inspiration for what the ENB was all about. During June 2009 students were able to see performances at Sadlers Wells – for some of them this was the first time they had seen a ballet performance and was a great inspiration for them. So the students really had many experiences to draw upon when they set out on their design process whether this was through drawing or watching and listening to what was around them.

Despite the fact that it was a very creative brief – it was important the outcome was relevant to fashion. One particular menswear student was very inspired by the set, colours and lights and how all of this goes in motion with the movement of the ballet dancers - so her garment was designed to have movement in it, rather than a garment that can be danced in – in fact although the garment looks as though there is movement in it is actually quite restrictive!

The whole process for students is to create and negotiate their own path to answer the brief. The process from there is all about the individual student and the world they create from their own view point. The brief is there to give structure but the outcome is like a jigsaw, it can be played with and essentially it is all about the autonomy of each student and how they decide to interpret the brief.

Ivy printed multi-layered Vest and trousers by Tomi (Wai Yee Ho)

SS: Ultimately, the project has brought together three cultural powerhouses with spectacular results. Looking back over the finished designs and the project as a whole, how proud are you that the students have managed to the incredible legacy of Diaghilev’s Ballets Russes and the significant impact the company continues to have, not only on dance but also on art, design and fashion? I know this must be difficult but do you have any particular highlights?

Rob Phillips: The highlight for me has been watching how each student has developed their ideas. Through this process the students come to realise, that through people such as Diaghilev, elements such as fashion, art, costume, theatre ballet and dance all intermingle – they all affect each other and lend themselves to each other.

This project has opened up the mindset of the students that fashion is not just about wearing clothes and that in the design process other factors come into play – they have seen that fashion designing can be more fulfilling by using different approaches. They have become enriched when given an opportunity which isn’t just about producing designs which are for the everyday – this project showed them about creating an impact and pushing the imagination to be inspired by other practices, such as Diaghilev was. It is great that the students will now take this experience and new ways of working into their final collections – so watch this space!

Appliqué Cotton Top and shorts by Tristan Lahoz

Full Credit list for the shoot is as follows: Creative Director - Rob Phillips. Photography - Sean Michael. Assisted by - James Finnigan. Hair & Make Up -Dora Veronica Simson & Marina Kerecsanyi using M.A.C. Models - Jay, Abella and Jodie all at Nevs. Location - English National Ballet - Marden.

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The finished designs will be displayed at the V&A for one night during the landmark exhibition ‘Diaghilev and the Golden Age of the Ballets Russes, 1909-1929’. The display is part of a special evening entitled Ballets Russes Design Perspectives – which takes place at the V&A at 8pm on Friday 19 November and is free (hurray!) to the public.

LCF and Diaghilev's Ballet Russes (Part One)

To coincide with the major retrospective at the V&A and the centenary of the Ballets Russes, London College of Fashion and English National Ballet have spent the past year working together on a unique project which examines the Ballet Russes and the incredible legacy of artistic director Diaghilev on dance, art and, of course, fashion. Diaghilev imaginatively combined dance, music and art to create 'total theatre'. A consummate collaborator himself, he worked with Stravinsky, Chanel, Picasso, Matisse and Nijinsky, there's no doubt that Diaghilev would have approved of this celebratory collaboration.

The students have been able to immerse themselves in the fantasy and couture world of Diaghilev and let their imaginations and creativity take over. To showcase the results of this hugely successful collaboration, twenty five students have been asked to take their designs, including garments, footwear and accessories, into production. These finished designs will be displayed at the V&A for one night during the landmark exhibition ‘Diaghilev and the Golden Age of the Ballets Russes, 1909-1929’. The display is part of a special evening entitled Ballets Russes Design Perspectives – which takes place at the V&A at 8pm on Friday 19 November and is free (hurray!) to the public.

To mark the culmination of this exciting collaboration we decided to talk to Rob Phillips, the Creative Director of the School of Fashion Design and Technology to learn more about the project. Our chat is supplemented with an exclusive look at the students' work with a fantastic look book shot by photography Sean Michael on location at English National Ballet. As we have bombarded you with lengthy, text heavy posts in recent weeks we have decided to split our discussion in two. In the first part below we set the scene and learn how the project evolved over the course of the year...

Jacket, shirt and external front pocket trousers by Sungkyun Yuk

SS: You have spent the past year working closely with the English National Ballet on this wonderfully unique project which examines the Ballet Russes and the incredible legacy of Diaghilev on dance, art and of course fashion. How did the collaboration arise?

Rob: Phillips: The collaboration was formed over a year and half ago when the ENB first approached London College of Fashion through the Fashion Business Resource Studio (FBRS - regarded as a one stop shop for the fashion industry, sharing the creative, business and technical expertise of London College of Fashion with the fashion and lifestyle industries).

ENB essentially came to the table with the idea of the collaboration to partner on a project to celebrate the centenary of Diaghilev. They were keen to work with an educational body with fashion expertise, LCF as the country’s only college to specialise in fashion education, was a natural fit.

Exaggerated contour fit, jersey marl stirrup trousers By Mishaal Mansoor

SS: How did the project evolve throughout the year

Rob Phillips: The aim of the brief was to inspire students through the work of Diaghilev and the Ballet Russes and celebrate the centenary and create a project that fused dance and fashion. The brief was tailored by me to ensure the collections that were produced were not ballet costumes made to dance in – but garments that reflected the beauty, movement and excitement of a Ballet Russes performance.

The brief allowed the students the freedom and autonomy to be creative – a key component of a brief of this kind. The project began back in Autumn 2009, it was a complex process which involved multiple pathways and courses – it is one of the rare projects that was a real cross school collaboration, and involved designers, photographers and illustrators which really enriched the whole process. Initially over 150 students took part and submitted work before Christmas 2009. The final stage of the process was the difficult task of shortlisting – which was undertaken by LCF and ENB staff to decide on which students work would be taken forward for production.

In the true spirit of Diaghilev, we prepared the shortlisted students to present their work in a number of ways including: static exhibition, photoshoot, a live salon show and documentary film. This cross genre execution also echoed the cross course collaboration. The whole project was scheduled to finish with an event at the V&A which would showcase these various outputs.

Devore striped vest and trousers – by Ng Chun Bong Julio

SS: Rarely do students have the ability to immerse themselves in such an exciting world. What was the reaction of the students to the task?

Rob Phillips: The students were really inspired by the rich history of art, music and image that they had access to. The whole Diaghilev scene was so imaginative and ‘out there’, the students celebrated the fact they could just indulge themselves in their designs which were not about being worn or designed for the high street – this project was actually about designing something to honour Diaghilev rather than a practical, wearable garments.

Circle cut sleeve shirt and hook'n'eye shorts by Tomi (Wai Yee Hoo)

Full Credit list for the shoot is as follows: Creative Director - Rob Phillips. Photography - Sean Michael. Assisted by - James Finnigan. Hair & Make Up -Dora Veronica Simson & Marina Kerecsanyi using M.A.C. Models - Jay, Abella and Jodie all at Nevs. Location - English National Ballet - Marden.

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Please do come back later on today for the second part of our discussion where we hear about the creative and design processes displayed by the students throughout the course of this very special project.

Out of Print

David James: Out of Print!

Visionary creative director David James has fortunately (for us) decided to showcase twenty two years of innovation in a unique online exhibition. The resulting site is just too good to miss. David James' Out of Print displays plentiful highlights from his career to date while offering alternate views of articles and 'Idea Evolution' text which unravels the inspirations and concepts behind each piece. Now, you might not recognise the name but if you have picked up a fashion magazine in the last decade you would have undoubtedly admired his craft.

James is best-known, to me at least for his work at Prada (for whom he has been art director since 1997). After twelve years of iconic print campaigns James's work for Prada is now shifting towards the moving image. Even the print ad campaigns for SS10 are stills taken from Yang Fudong's utterly beautiful and fascinating 'First Spring' film. Over the next year, James is said to be repositioning his studio towards working in this medium and it seems fitting to finally celebrate his print work online. As I look through his impressive body of work and unravel the evolution of each idea, I am reminded of a recent article by Craig Mod which discusses the excitement and potential surrounding the unveiling of Apple's iPad. During these uncertain and somewhat confused times, as print splutters and digital surges, one thing is certain with visionaries like James at the creative helm, beauty will always be created and it will always move forward.

Prada Aw09. The collection was inspired by country-style clothing but had elements of the futuristic and this spread echoes it wonderfully.

Prada SS00.This was Prada's famous lady collection with designs partly inspired by Lady Diana's 80's wardrobe. The campaign was made to look like a bourgeois tv drama.

Prada SS01. Inspired by Cedric Buchet's long lens shots of people on beaches.

Prada Sport SS01.

You might be more familiar with his work for the Milan fashion house but I adore his work for two of my favourite magazines. Under his creative directorship, Another and AnotherMan magazines have been notable for their typographic experimentation and strong editorial which have been a staple component of my inspiration diet...

Another Man Issue 2. Styled by Nicola Formichetti and shot by Laurence Passera.

Another Man Issue 3. Styled by Alister Mackie and shot by Willy Vanderperre.

Another Man Issue 3. Styled by Alister Mackie and shot by Willy Vanderperre.

Another Man Issue 7. Styled by Alister Mackie and shot by Norbert Schoerner.

This online exhibition, which will come down on 15 May, is a welcome opportunity to view a beautiful body of print work. It is impossible to leave the site without being inspired or at the very least having your aesthetic appetite satisfied.