Podcasts about central saint martin

Designer Keanan Duffty; Fashion meets Music, David Bowie, Sex Pistols; The University of FailureI'm thrilled to introduce Keanan Duffty—this isn't just an intro, it's your VIP pass into the mind of a true blend of fashion, music, and education.Keanan is a British-born creative powerhouse (b. 1964, Doncaster) who's been rocking stages and runways since the late '70s After cutting his teeth in punk and New Romantic bands like Sordid Details and Wonder Stories, he sharpened his artistic vision at Central Saint Martins before relocating to NYC in 1993 to pursue both fashion and music In fashion, he founded his own Soho-based label in 1999, leaning into rock‑inspired, subculture-driven style—selling to heavy hitters like Bergdorf Goodman, Harrods, and Bloomingdale's . He's styled legends like David Bowie and the Sex Pistols—and even co-created a David Bowie-inspired line for Target in 2007. Between designing for Gwen Stefani's L.A.M.B., consulting with Ben Sherman, Reebok, Aveda, Dr. Martens, and launching a built‑in wardrobe show with DIY punk flair, his style ethos is nothing short of revolutionary On the music front, he's frontman and vocalist for Slinky Vagabond—a glam‑punk supergroup that featured Sex Pistols' Glen Matlock, Blondie's Clem Burke, and Bowie/Lennon guitarist Earl Slick—tossing his voice into iconic events and venues since the 2000s. Today Slinky Vagabond is Keanan and Fabio Fabbri. Around academia, Keanan's a true educator and mentor. He's held leadership roles at Parsons, Academy of Art San Francisco, Polimoda in Florence, and now at USC's Iovine & Young Academy—teaching fashion through the lens of innovation, sustainability, and entrepreneurial storytelling He's also a proud CFDA board member and advocate for Ukrainian designers, having orchestrated their platform at NYFW .What ties it all together? His signature “practical sustainability” ethos—upcycling vintage Levi's and Lee jackets, launching eco-cotton collections in the '90s, and integrating tech like CLO‑3D to slash waste Get ready for an engaging, inspiring conversation—Keanan blends raw rock energy, design discipline, and an educator's insight like no other. Let's jump in!Don't forget to like, subscribe, and share your thoughts in the comments below!✅ Important Links:

A famous essay argues that “not a single person on the face of this earth” knows how to make a pencil. How true is that? In this 2016 episode, we looked at what pencil-making  can teach us about global manufacturing — and the proper role of government in the economy. SOURCES:Caroline Weaver, creator of the Locavore Guide.Matt Ridley, science writer, British viscount and retired member of the House of LordsTim Harford, economist, author and columnist for the Financial TimesJim Weissenborn, former CEO of General Pencil CompanyThomas Thwaites, freelance designer and associate lecturer at Central Saint Martins. RESOURCES:"When ideas have sex," by Matt Ridley (TED, 2010)."How I built a toaster — from scratch," by Thomas Thwaites (TED, 2010)."Look on this toaster, ye mighty, and despair!" by Tim Harford (Financial Times, 2009)."I, Pencil," by Leonard Read (Foundation for Economic Education, 1958). EXTRAS:“Fault-Finder Is a Minimum-Wage Job,” by Freakonomics Radio (2025).

Behind the glamour of couture week, away from the spotlight of the runway shows, lies the quiet brilliance of the artisans. These skilled craftsmen pour their expertise and passion into every stitch, bead, feather, and flower that adorns each runway creation. Few understand the importance and artistry of this better than Christelle Kocher. After graduating from Central Saint Martins in London, Kocher spent over a decade in the luxury fashion industry, working with renowned brands such as Bottega Veneta, Dries Van Noten, Chloé, Sonia Rykiel, Martine Sitbon, and Emporio Armani. In 2010, she took on the role of Artistic Director at Lemarié, and joined the Fashion Métiers d'art in 1996, where she worked closely with artisans to craft some of the most intricate couture textiles. This experience proved transformative, honing her understanding of both the technical and creative sides of luxury fashion.In this conversation, Kocher reflects on the beauty and importance of handmade traditions, staying inspired, sustainability and its impact on the industry and the future legacy of Lemarié.

A exposição “Este quarto parece uma República!”, da artista angolana Sandra Poulson, está patente no museu MoMA PS1, em Nova Iorque, desde 24 de Abril até 6 de Outubro. A mostra reúne várias esculturas que remetem para o imaginário do dia-a-dia angolano e para a forma como o universo doméstico é contaminado por símbolos do exterior, sejam de Angola ou frutos da globalização. As obras compõem uma instalação polissémica e foram construídas essencialmente a partir de peças de mobiliário encontrado nas ruas de Amesterdão. “Este quarto parece uma República!” é o título inspirado das memórias familiares e do quarto da artista onde começou uma certa "criação da consciência política no espaço doméstico e também no seio familiar". A "politização do espaço doméstico" e a forma como os símbolos do exterior entram, "como cavalos de Tróia", dentro de casa é a principal linha de força desta primeira exposição de Sandra Poulson no MoMA PS1, em Nova Iorque. Sandra Poulson nasceu em 1995, em Angola, é formada em moda pelo Royal College of Art e pela Central Saint Martins, em Londres, e actualmente é artista residente na prestigiada Rijksakademie van beeldende kunsten, na Holanda. Participou na 60.ª Exposição Internacional de Arte – La Biennale di Venezia (2024), no Biennale College Art, na Trienal de Arquitectura de Sharjah, na Bold Tendencies (Londres) e no Pavilhão Britânico na Bienal de Arquitectura de Veneza (2023). Esta é a primeira vez que expõe no museu MoMA PS1, em Nova Iorque, e falou com a RFI sobre as obras que apresenta.RFI: O que conta a exposição “Este quarto parece uma República?”Sandra Poulson, Artista: “A exposição chama-se ‘Este quarto parece uma República!' e vai buscar uma frase que o meu pai costumava dizer quando entrava no nosso quarto em Luanda, que eu partilhava com os meus irmãos. Era, no fundo, uma repreensão sobre o quarto estar muito desarrumado e é uma frase que eu ouvi desde muito nova e que realmente eu não percebia até perceber que o denominador comum de todas as vezes que o meu pai dizia essa frase, era que realmente o quarto estava desarrumado. Eventualmente, eu começo a pensar nisso em relação a esta ideia de criação da consciência política no espaço doméstico e também no seio familiar. Na altura, Angola ainda estava em guerra civil. Esta criação de consciência começa muito cedo e começa nesse espaço muito íntimo. Ao mesmo tempo, também nesse espaço íntimo há uma série de objectos que são indicadores semióticos, que também alteram o ‘status quo' do corpo e que orientam, de certa forma, a consciência social. Então, eu começo a olhar particularmente para t-shirts e objectos de propaganda que são distribuídos gratuitamente, mas como se fossem quase cavalos de Tróia.” Fale-nos desses cavalos de Tróia. Que elementos estão representados na instalação? “A maior parte dos elementos são objectos de mobiliário encontrados todos em Amsterdão, que é onde eu vivo neste momento, onde estou a fazer uma residência na Rijksakademie. Alguns deles são mobiliário encontrado na rua, outros são coisas que comprei a pessoas individuais, mas quase tudo são objectos de mobiliário encontrados e intervencionados por mim e também há algumas peças completamente novas, feitas com madeira já existente.Todas as obras são feitas em madeira, alguma dela data do século XVIII, XIX e até, na verdade, dos anos 2000. Quase tudo é feito com espécies de madeira tropical que entra na Holanda através da exploração económica e de recursos. Essa madeira entra na Holanda e depois essas peças de mobiliário são feitas e são consideradas mobiliário holandês, mas são feitas com madeira tropical. A obra tem interesse na reclamação desse material como um caso de estudo e também não se saber exactamente em que momento é que aquela espécie entra no país.”A madeira tem também um significado político de expropriação? “Sim, sem dúvida. A madeira foi um dos grandes materiais exportados a partir de Angola, como o café, como o algodão e foi um material muito importante, ainda é um material importante, mesmo localmente. Na verdade, o meu interesse em madeira começa visitando um mercado em Luanda que é o mercado do Kikolo e trabalhando com um atelier a céu aberto de carpintaria, em que o mobiliário é feito por jovens e por tamanho. Na verdade, é mais barato comprar uma cama feita em Luanda por tamanho do que uma cama importada, se calhar, de muito menos qualidade por causa dos custos dessa relação com o exterior.” Na exposição, também tem uma t-shirt onde o perfil de um homem está recortado e lê-se “candidato a Presidente da República de Angola”. O negativo desse retrato está junto a um móvel às avessas. Há um significado particular? “Sim, essa escultura tem referência àquilo que é uma das t-shirts de propaganda mais disseminadas nos últimos anos no país e que é uma t-shirt que muitos angolanos têm em casa e que foi distribuída nas duas últimas eleições. É uma referência directa à disseminação da imagem do Presidente e também da possibilidade dessa imagem existir outra vez nesse espaço de intimidade. Muitas vezes estas t-shirts são feitas com algodão de muito boa qualidade e têm um tamanho largo e são t-shirts utilizadas para dormir. São t-shirts não só com a imagem relativamente a partidos políticos, mas a bancos, a organizações como a União Europeia, a petrolíferas e outras organizações normalmente do exterior que se tentam impor semioticamente no país. Esse é um dos exemplos de um objecto altamente disseminado e, naturalmente, com muito valor corrente.” Outra peça curiosa é “O Clube de Agricultores Familiares de Cabinda”, um pedaço de madeira suspenso com as estrelas da bandeira da União Europeia gravadas e com tudo a fazer sombra no chão. Mais uma vez temos aqui um significado político?“Sim, claro. ‘O Clube de Agricultores Familiares de Cabinda' foi uma iniciativa que, a certa altura, em 2013, recebeu algum dinheiro da União Europeia e essa obra tem um outline de um pólo. É também directamente uma referência a uma t-shirt utilizada pelo Clube de Agricultores em Cabinda. Cabinda é outra vez uma espécie de Cavalo de Tróia que foi dado a Portugal quando Portugal e a Bélgica negociavam quem dominaria a entrada do rio Congo que era muito importante para o transporte forçado de pessoas africanas escravizadas. Leopoldville ganhou essa disputa e, em compensação, foi decidido que Portugal receberia este território de Cabinda que está fisicamente separado de Angola. O que na Conferência do Congo não se sabia é que quase 100 anos mais tarde, em 1956, é descoberta em Cabinda uma das maiores reservas de petróleo do continente. Então, essa obra interessa-se nessa presença da União Europeia altamente semiótica, através de uma campanha de marketing que se esconde por trás dessa ajuda aos agricultores e dessa presença muito física.”Qual é o fio condutor que une as obras da exposição? “Eu penso que o fio condutor será esse estudo quase histórico ou arqueológico de diferentes casos de estudo que se vão repetindo e de uma proposta para nós percebermos como é que nós estamos a lidar com estes símbolos que nos rodeiam, como é que nós somos influenciados por estas coisas materiais que parecem não activas, mas que, na verdade, são muito activas. O fio condutor não deve ser uma narrativa fechada, mas é uma tentativa de colocar algumas perspectivas possivelmente factuais, perto umas das outras, para suscitar pensamento.” Mais uma vez, a sua arte é política também... “Além de muitas coisas, eu acho que é inevitável, com a História e as histórias que são transportadas através do tempo, através dos nossos corpos, através das nossas experiências e, particularmente, com as minhas - tanto a minha relação com Angola, com o meu país, com Luanda, a cidade em que eu cresci, mas também as minhas relações macro igualmente históricas e profundas, por exemplo, a relação com Portugal. É inevitável o corpo despolitizar-se. Não tenho muito interesse em etiquetas, mas a obra é, sim, política.”O que representa para si ter uma exposição individual no MoMA PS1?“É a minha primeira individual no MoMA PS1, mas também é o meu primeiro show num museu. É um marco importante, é um momento importante. A conversa com uma instituição é diferente de expor num contexto de uma galeria comercial ou de uma feira. A abrangência da exposição é completamente diferente, o PS1 é visitado por volta de 200.000 pessoas por ano e a exposição fica entre Abril e Outubro. O acesso que a obra tem é completamente diferente e eu já consigo sentir isso no feedback, nas pessoas que têm acedido e que têm entrado em contacto, mas também a nível do acesso de imprensa que tem a exposição. No fundo, tem a ver muito com números, mas também com a audiência que tem acesso, que é uma mistura de profissionais, mas também do público em geral.”Quer falar-nos um pouco do seu percurso?“Cresci em Luanda e saí com 18 anos. Fui para Lisboa, estudei Moda na Faculdade de Arquitetura da Universidade Técnica de Lisboa. Daí vou para Londres, em que estudei também moda -  bacharelato e mestrado - em Central Saint Martins e depois no Royal College of Arts. Agora vivo em Amsterdão e estou a fazer uma residência artística de dois anos. O percurso foi muito marcado por ter estudado moda, mas também por ter percebido que aquele espaço académico não deveria delimitar a forma com que eu queria trabalhar e o que eu me interessava fazer. Ainda assim, a minha obra começou muito com essa relação com o corpo - inicialmente eram peças de roupa, mas depois começo a interessar-me mais e a pensar que as coisas que alteram o ‘status quo' do corpo poderiam ser outras coisas: a cidade, o pó, a história, a politização do espaço doméstico.”

Lee Swillingham; Inside The FACE Magazine; a style Revolution That Changed British Culture!To watch the interview go here;https://www.youtube.com/watch?v=MmZAmkcJC4k​Lee Swillingham, former Art Director of The Face magazine and co-curator of The Face; Culture Shirt Exhibition at the National Portrait Gallery in London, is a distinguished British art director renowned for his influential contributions to fashion and culture publications. After studying Graphic Design at Central Saint Martins, he became the art director of The Face magazine in 1992, where his innovative designs significantly boosted its circulation and acclaim. In 2000, Swillingham co-founded Pop magazine, further cementing his impact on the industry. Alongside Stuart Spalding, he established Suburbia, a creative agency that has been shaping visual culture for over two decades. ​In 2025, the National Portrait Gallery in London hosted "The Face Magazine: Culture Shift," an exhibition celebrating the iconic imagery from The Face. The exhibition featured over 200 prints by more than 80 photographers, showcasing the magazine's profound influence on fashion, music, and youth culture from the 1980s onward. Hosted on Acast. See acast.com/privacy for more information.

In this episode Gary Mansfield speaks to Daisy Collingridge (@Daisy_Collingridge) Daisy Collingridge is a artist renowned for her unique and thought-provoking textile sculptures. A graduate of Central Saint Martins with a background in fashion design, her work bridges the gap between fine art, sculpture, and costume.Her creations are imaginative, surreal, and often playful, characterised by their fleshy, anthropomorphic forms made from intricately stitched layers of fabric. These pieces, which she refers to as "Squishies," explore themes of human anatomy, identity, and the boundaries of the body. Daisy uses materials like Lycra, jersey, and wadding to craft tactile, exaggerated forms that are both grotesque and endearing. Her sculptures often evoke visceral responses, challenging perceptions of beauty and bodily norms while maintaining an underlying sense of humour. Collingridge's work has been exhibited in galleries across the UK and internationally, capturing attention for its innovative approach to textile art. Through her practice, she continues to push the boundaries of materiality and storytelling in contemporary sculpture. For more information on the work of Daisy Collingridge go to https:// DaisyCollingridge.com To Support this podcast from as little as £3 per month: www.patreon/ministryofarts For full line up of confirmed artists go to https://www.ministryofarts.co.ukEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

You've likely heard that the fragrance business is booming, and this week, Alyssa sits down with one of the newest perfumers on the scene: Trey Taylor, founder of Serviette, which launched earlier this year. Trey began his career by climbing the ranks in independent fashion media and earning a masters in fashion journalism at Central Saint Martins — complete with stints at Dazed, Fantastic Man, Interview, and The Face — before pivoting into beauty, building his brand as a side project while keeping a full time job. Tune in for some incredible tales from Trey's time in editorial (and when he heard the death knell for his magazine career), as well as how his interest in fragrance piqued after writing an article about how celebrities smell; the challenges of being a niche brand in a massive market; what it was like learning the fragrance ropes from the legendary Marissa Zappas; the culture of Fragrantica and online perfume fandom; the process behind formulating the first four fragrances in his line, as well as its visual identity; why cultural curiosity is the driving force behind Serviette; why being delusional is important for success, and much more. This episode was recorded in the podcast studio at The SQ @ 205 Hudson. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit thenewgarde.substack.com

In this Fragrance Friday episode on Skin Anarchy, we step into the sensual world of niche fragrance with the founders of Liis, Alissa Sullivan and Leslie Hendin. Built on a shared obsession with scent and a decade-long friendship, Liis is a fragrance house that brings a new level of intimacy, artistry, and storytelling to the perfume space. Trained at ISIPCA and Central Saint Martins respectively, Alissa and Leslie fuse science and creativity to craft perfumes that are deeply personal and wearable.Liis is known for creating scents that feel like a second skin—light, sheer, and long-lasting. Each fragrance is rooted in memory and emotion, designed to evoke feeling rather than overpower. A standout from the collection, Lucienne, captures brightness and clarity with notes of pomelo, lemon zest, magnolia, and marine accords, delivering a salty-citrus glow that feels fresh and luminous.Clean beauty is a core pillar for the brand. Liis fragrances are formulated without phthalates, preservatives, or unnecessary synthetics. Everything from the recyclable packaging to the sustainably sourced ingredients reflects the founders' California roots and commitment to conscious beauty.The episode explores Liis' layerable scent structure, its evolution from three original fragrances to a growing library, and what's next—including an upcoming body care line that expands their signature scent language into new formats. Whether you're a fragrance lover or just beginning your journey, this conversation offers a behind-the-scenes look at the power of scent to tell stories and connect us to ourselves.CHAPTERS:(0:00) – Introduction to Liis Fragrances(1:04) – How Alissa and Leslie Met and Started the Brand(3:03)– The Creative Process Behind Niche Fragrances(6:06) – The Science and Emotion Behind Scent(8:01) – The Launch of Liis Fragrances and Initial Offerings(10:01) – Lucienne: The Story and Notes Behind the Scent(12:01) – Longevity and Wearability of Liis Fragrances(14:32) – Consumer Interpretations of the Fragrances(19:01) – Upcoming Body Care Launch and Brand FutureTo learn more about Liis, visit their website and social media.Don't forget to subscribe to Skin Anarchy on Apple Podcasts, Spotify, or your preferred platform. Reach out to us through email with any questions.Sign up for our newsletter!Shop all our episodes and products mentioned through our ShopMy Shelf! Hosted on Acast. See acast.com/privacy for more information.

Rei Xiao was born in Istanbul, Turkey, and earned her BFA at the School of the Museum of Fine Arts at Tufts University in Boston, Massachusetts, with additional study at Central Saint Martins at the University of Arts, London, United Kingdom. She has exhibited her works in shows in Istanbul, London, Boston, and New York City and has held artist residencies at ChaNorth, Vermont Studio Center, and The Macedonia Institute. Her first solo exhibition, "The Flea and the Acrobat," was shown in Fragment Gallery in 2025. She is also a recipient of the Elizabeth Greenshields Foundation Grant and a finalist for the Bennett Prize. CYCLONE V10 ABSOLUTE, 2024 Oil on linen 24 x 42 in | 60 x 106 cm IT WAS DARK INSIDE THE WOLF, 2022 Oil on canvas 48 x 60 in | 121 x 152 cm BALL AND CHAIN, 2022 Oil on canvas 28 x 36 in | 71 x 91 cm

We wanted to bring you a special episode featuring a live conversation Chioma Nnadi had with Daniel Lee, the Chief Creative Officer of Burberry. The interview was a part of Vogue's Lightroom exhibit in London, which explores the history of fashion and design on the runway. We could not imagine a better place to talk with Daniel, being that Burberry is the ultimate British brand and we were steps away from his alma mater, Central Saint Martins. Daniel took the helm as Chief Creative Officer at Burberry in 2022, and has been wowing us ever since with his ability to embrace legacy as well as innovation for the brand. This conversation was recorded just ahead of his Winter 2025 Ready-to-Wear Show. Learn about your ad choices: dovetail.prx.org/ad-choices

Fashion thrives on newness but resists change, celebrates young designers yet makes survival nearly impossible. Olya Kuryshchuk, founder of 1Granary, knows this contradiction well. What began as a student-run blog at Central Saint Martins has become one of the industry's most unfiltered voices, exposing the gaps between talent, opportunity, and success. In this episode, Kuryshchuk unpacks why magazine editors are shifting to brand consulting, how ageism shapes studio culture, and why true innovation isn't about aesthetics but structure, sustainability, and survival. With characteristic candor, she lays bare fashion's broken pipeline, the illusion of overnight success, and what it actually takes to build a lasting career today. "What's contemporary now? Long-term thinking. Creating with intention. The industry is obsessed with speed, but the future belongs to those who build for longevity." - Olya Kuryshchuk Episode Highlights: The Birth of 1Granary – What started as a student project at Central Saint Martins became a global fashion education platform. The Reality of Fashion Education – A degree from a top school doesn't guarantee success—80% of graduates don't find jobs in the industry. Acting as a Designer Union – 1Granary advocates for young designers, exposing industry flaws and providing career guidance. The Power of Community – Success in fashion isn't just about talent; strategic relationships and collaborations shape careers. Why Editors Are Moving to Brand Consulting – Traditional media salaries are low, while brands offer better pay and creative freedom. Ageism in Fashion – Studios are filled with designers under 30, and career paths for women over 40 are nearly nonexistent. The Industry's Broken Pipeline – Young designers either join big brands or struggle to launch their own—a middle path is missing. The Harsh Truth About Fashion's Business Model – Many emerging designers can't sustain their brands, despite industry hype. Fashion's Double Standard on Sustainability – Big brands have the power to create real change, but it's indie designers who often lead the charge. What's Contemporary Now? – Long-term thinking—in an industry obsessed with speed, real impact comes from sustainability and intention. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Marisa interviews visual artist Emma Kathleen Hepburn Ferrer. Growing up in both America and Europe, Emma took ballet and drawing classes. She refined her painting technique at the Florence Academy of Art, and found her creative voice in an MFA program at Central Saint Martins. Now living in Italy, Emma's surroundings of nature, religion, and hunting culture inspired her first solo exhibition, “The Scapegoat.” Originating from a biblical myth, Emma's retelling begs the question, “what is the scapegoat of our society?” Like her grandmother, Audrey Hepburn, Emma approaches art as service and works to capture empathy.Follow Emma @ekhferrerCheck out her website at https://www.emmaferrer.com

Seetal Solanki describes herself as a materials translator and has been in the vanguard of material thinking since she launched her practice, Ma-tt-er, in 2015. Three years later she produced the hugely influential book, Why Materials Matter, and she has gone on to work with a variety of brands, including Nike, Selfridges and Potato Head in Bali, as well as teaching at institutions such as Central Saint Martins (where, incidentally, she graduated from the Textile Futures MA)  and the Royal College of Art. Her latest project saw her joining forces with designer Jorge Penades in Madrid for Uprooted, an exhibition that explored Spain's olive oil industry. In this episode, we talk about: helping people build a relationship with materials; why she's working with olive tree roots; interviewing materials; her fascination with cookery (and her love of a cheese soufflé); growing up in Leicester and feeling rejected from her home city; the spiritual side of materials; being ‘broken' by Central Saint Martins as a student; material discrimination; how her practice was built on frustration; and why she's in a hopeful place. Support the show

Designer and creative director Jawara Alleyne is widely regarded as one of London's most exciting fashion talents. Growing up between Jamaica and the Cayman Islands, he moved to London aged 19 to study at Central Saint Martins. After graduating, he joined talent incubator Fashion East, where he honed his signature deconstructed aesthetic, one that's earned him the nickname ‘the safety pin polymath', and a shoutout from Rihanna, who called him her new favourite designer.In this episode, I sit down with Jawara to discuss eight items of clothing that chart his life and career in fashion. Click here to see pictures of Jawara's chosen items in the accompanying newsletter, and don't forget to hit the heart button and subscribe for more Threads of Conversation. Get full access to Threads of Conversation at threadsofconversation.substack.com/subscribe

In conversation with the incredible Fiona of London's legendary vintage store Rellik growing up in Australia in the 70s and using patterns to make her own clothes, going to Central Saint Martins in the 80s, her introduction to Portobello Market and starting her own stall in 1995, at that time selling young upcoming designers clothes along with vintage and upcycling, the fashion buyers and designers who would come to the market, how her pieces ended up in Hong Kong Department store Joyce and Topshop, Getting her shop where Rellik still resides today, the increase of Stylists pulling full vintage looks from Rellik, underrated UK designers, her love for Rick Owens, the future of fashion and so much more

Gabrielle de la Puente, half of the art critic duo The White Pube, talks about: A few things people outside of the UK need to know about Liverpool, where she's based; the origin story of the White Pube, when Gabrielle and Zarina were in art school together; the reputation of Central Saint Martins, the art school where they met, including where it was when they started school, which was already in a more gentrified, corporate atmosphere (they had to use key cards to get into the studios, for example); their working dynamic since their collaboration started, which involved more in-person activity early on when they were regularly in demand to talk about criticism at various art schools (because of how different they were from the clichés of an art critic), to now being more consistently using WhatsApp and ‘flying by the seat of our pants;' how key it is that they post about culture-at-large, not just art (their film  restaurant reviews have been their most read); her solo visit to a special preview of a Peter Doig show in Edinburgh that had a tragic quality to it, but also became a great symbol for the artist's struggle; their book, Poor Artists, including how they wrote it with both readers as well as subjects who they interviewed (and paid), including a moment in the book when the narrator talks about their experience of a performance in a gallery; and the case of the late artist, Nat Tate. This podcast relies on listener support; please consider becoming a Patreon supporter of the podcast, for as little as $1/month, here: https://www.patreon.com/theconversationpod The Conversation was recently included in Feedspot's list of top art podcasts. We're grateful to make the list again!

In Dinner for Shoes podcast episode 59, How to Make It in Fashion: Tips From an FIT Professor, host Sarah Wasilak chats with FIT Assistant Professor of Fashion Design Amy Sperber about what it's like to be a student at the renowned college. Amy and Sarah talk about the technological advancements in fashion design that have been introduced to the curriculum and Amy offers tips for aspiring designers that dream of making it in the industry.  Sarah also depicts her own journey as a fashion journalism student studying at NYU, offering insight into the internships she tried and various career moves she made to land where she is now. Sarah tries Amy's favorite meal — a refreshing herb salad with fruit and goat cheese, complemented by a crispy chicken cutlet — then goes on to answer her first Shoe Therapy call. Whether you're in need of outfit advice or in the midst of a style dilemma, the Shoe Therapy hotline is open for your anonymous voicemails. Call 917-336-2057 with fashion vents and funny stories so I can “heel” ya — you just may hear your message on the podcast. THIS DINNER Paulie Walnuts Salad with a chicken cutlet from Chickie's in Jersey City, NJ and Redbull Zero  THESE SHOES Steve Madden Lawsen Black Leather Loafer THIS OUTFIT Shop my look Quince Mongolian Cashmere Oversized Boyfriend Cardigan Sweater Quince Mongolian Cashmere Scarf Hollister Low-Rise Medium Wash Baggy Jeans Brahmin Lane in Pecan Melbourne Warby Parker Andre colorblock eyeglasses THESE CHAPTERS 0:00 - INTRO 4:30 - THE OUTFIT BEHIND THE SHOES 11:10 - FIT PROFESSOR INTERVIEW 42:30 - REDBULL AND CHICKEN CUTLET SALAD 47:20 - MY FASHION CAREER 59:00 - SHOE THERAPY HOTLINE THIS PRODUCTION is created, written, hosted, and produced by Sarah Wasilak. is creative directed and executive produced by Megan Kai. is tech supervised by Nick Zanetis. includes photos and videos in chronological order by Sarah Wasilak, Fashion Avatars, Fashion Institute of Technology, Tanner Leatherstein, Parsons School of Design, Central Saint Martins, Marshall Columbia, Haley Greene, Amazon, Anthropologie, Revolve, and Reformation.     references Craft Me More Faux Pearl Trim, Syhood Velvet Ribbon Trim, Tinkrstuff Resin Rhinestones For Crafting, Gras E6000 Fabri-Fuse Fabric Adhesive Glue, Pilcro The Kenna Mid-Rise Heritage Barrel Jeans via Anthropologie, Alice + Olivia Ora Wide Leg via Revolve, and Reformation Cary High Rise Slouchy Wide Leg Jeans. is made with love. Dinner for Shoes is a fashion podcast for people who love food, hosted by editor Sarah Wasilak. With appearances by her cats, Trish and Kit, and agendas that almost always go to shit, we aim to dive into a discussion about fashion and style and break some bread in each episode.  Dinner for Shoes podcast episodes are released weekly on YouTube, Spotify, and Apple. You can follow along for updates, teasers, and more on TikTok, Instagram, and Facebook. If there are any fashion topics you've been pondering or good eats you think Sarah should try, don't hesitate to send a DM or an email. Dinner for Shoes is an original by The Kai Productions. Follow Dinner for Shoes: @dinnerforshoes on Instagram, TikTok, Facebook, and YouTube  Follow host Sarah Wasilak: @slwasz on Instagram  Follow producer Megan Kai: @megankaii on Instagram  Get in touch: dinnerforshoes@gmail.com To make this video more accessible, check out YouDescribe, a web-based platform that offers a free audio description tool for viewers who are blind or visually impaired.

On this episode of the Openwork podcast, we look at luxury pricing. Of course, we've already done a deep dive on how watches are priced. (Check out our episode with Mike Margolis of Czapek and Singer Reimagined for that.) However, in the past, we've largely focused on how inputs like cost of labor, materials, inflation and currency exchange impact pricing. But there's of course more that goes into pricing for watches and luxury goods more broadly. There are considerations like brand value, product positioning as well as consumer psychology that also impact pricing. And that's what we explore today – those other more nebulous, but equally significant, inputs into pricing. To help us with that we have the perfect guest: Katharine K. Zarrella is a writer, editor, and the Fashion Critic-at-Large at Document Journal. With a background as Fashion Director at the Wall Street Journal's Off Duty section and as a lecturer at Parsons School of Design and Central Saint Martins, she has contributed to numerous renowned publications, including Harper's Bazaar, The Business of Fashion, and most recently The New York Times, where she recently published the guest essay: Obscene Prices, Declining Quality: Luxury Is in a Death Spiral. Hosted by Asher Rapkin and Gabe Reilly, co-founders of Collective Horology, Openwork goes inside the watch industry. You can find us online at collectivehorology.com. To get in touch with suggestions, feedback or questions, email podcast@collectivehorology.com.

Today I am joined by Abbey Glass! Abbey is an Atlanta-based womenswear brand steeped in confidence, timelessness, and playful elegance. Abbey is a classically trained designer who honed her skills at Central Saint Martins and the Rhode Island School of Design. Following her distinguished education, Abbey returned to her hometown of Atlanta to create couture gowns for women nationwide. Abbey, who began designing dresses at the young age of ten using her grandmother's vintage Singer, was quickly met with a growing demand for both her point of view and custom-made products. Her appeal led to the launch of her namesake brand in 2015, harnessing her unique skillset to make designer style accessible with a full collection under $500. Designed to encourage women to explore the art of dressing up, the Abbey Glass collection offers versatile, expertly tailored occasion wear featuring custom fabrics and prints. Inspired by 1960s icons, the designer plays with clean lines and feminine proportions to infuse her timeless pieces with effortless style. When she's not designing and running her company, Abbey loves to spend time with her Great Pyrenees rescue and test out extravagant recipes with her husband using homegrown vegetables and herbs.Abbey's InstagramAbbey's WebsiteMDA for ALS

Lauren is joined by Christopher Kane, one of the most celebrated designers of his generation, to discuss everything from his relationship with late Central Saint Martins instructor Louise Wilson, to his rise on the international fashion scene, to the dissolution of his brand. They also get into his recent collaboration with the London-based Self-Portrait, and what that experience may portend about his next act. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Ceri speaks with polymath Louise Gray, whose creative career spans textiles, fashion, costume, sound, and writing. Louise shares her experiences in fashion, textile design, and education, discussing her bold aesthetic choices, fearless approach to creativity, and commitment to authenticity. Her journey from establishing her own fashion label to teaching at Central Saint Martins, and currently venturing into new creative areas, provides insightful guidance for anyone on their own artistic journey. This discussion explores sustainability, the significance of creative freedom, and the necessity of staying authentic to your own values. KEY TAKEAWAYS Having grown up in rural Scotland, Louise learned to see extreme colours in nature, which later influenced her distinctive colour palette in fashion, combining contrasting hues that both clash and complement She deliberately kept her fashion label small and focused on high-quality, handcrafted pieces rather than bending to industry pressure to make more commercial products or use digital printing Louise views collaboration as essential for creative growth, seeking out artists and creators who challenge her while still maintaining her unique vision and voice Rather than trying to please everyone, Louise focused on creating work that excited her personally, knowing that authenticity would attract the right audience who truly connected with her aesthetic When teaching at Central Saint Martins, Louise rewrote the MA Fashion curriculum to emphasise sustainability and encouraged students to deeply question their identity and values as designers After closing her fashion label, Louise took delivery jobs to fund her creative work, choosing financial freedom over prestige to make art on her own terms She approaches textiles as a feminist practice, seeing it as a way to amplify historically overlooked women's work while pushing boundaries of what textile art can be Louise has learned to separate her sense of self-worth from her creative work, leading to more artistic freedom and joy in the making process BEST MOMENTS "I'm not trying to be you, I'm trying to be me. I'm interested in creating something that I know will talk to other people, because it's interesting." "I've had to really detach my sense of value from my work because I thought that they were the same thing, and since I've detached them, there's so much more lightness to the work that I do." "Joy is about connecting with other people, like true joy is always about other people.” "I'm so grateful that I have chosen a creative path. It is not easy. I didn't need it to be easy. I haven't learned from easy." "I liked making things which had multiple technique fabrics. I wasn't trying to make it accessible to people, I was trying to make the most beautiful things that I could dream of." "Sometimes just saying this is who I am and this is how I want to do it is good." "If you can make work that makes somebody feel something, you've won." EPISODE RESOURCES www.iamlouisegray.com@louisegray__ PODCAST HOST BIO With over 30 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Artist Mastermind CircleThe Artist Mastermind Circle is a focused group coaching programme for mid-career contemporary artists ready to take their practice and career to the next level. You’ve built a solid foundation, and now it’s time to refine your strategies, increase your income, and tackle new challenges with confidence. This exclusive, application-only programme provides expert guidance from Ceri Hand and the support of a trusted community to help you achieve greater recognition and expand your opportunities.Apply Now ****Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Build Relationships The Easy WayOur self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/**** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative.

Hello and welcome back to Fashion and Founders The Podcast. This week I spoke with Jen Keane the Co-Founder and CEO of Modern Synthesis. Modern synthesis is a London-based biotech company bringing life to new materials by working with bacteria to produce an entirely new class of nanocellulose based materials for fashion without using any plastic or animal inputs. Jen's background leading up to founding her own company is so impressive and she has accumulated so many experiences in textiles and circularity. She did her undergraduate degree at Cornell University with a major in fiber, science and apparel design. She then worked at Adidas for five years getting so much experience in this large company. And then did a masters in material futures at Central Saint Martins of University of Arts London.If you are interested in the bio technology and material innovation side of fashion Tech, this episode is for you.They've worked on some really cool projects like “growing a shoe.” A collaboration with Ganni on their iconic Bou Bag, and theres so much more to come so let's get into the episode.Follow Fashion & Founders:InstagramWebsiteYoutubeTikTokSubstackFollow Modern Synthesis:InstagramNewsletterThey're hiring!WebsiteFollow Baggy:InstagramWebsiteThank you for listening!

Support the show:https://www.paypal.me/Truelifepodcast?locale.x=en_USBuy Grow kit: https://modernmushroomcultivation.com/

This series of conversations with art educators, practitioners and makers expands on the ideas presented by Visualise: The Runnymede Trust and Freelands Foundation 2024 report on Race & Inclusion in Secondary School Art Education. In this episode 'The Art of Teaching' we are joined by Shepherd Manyika, an artist and educator based in London. Shepherd graduated from Central Saint Martins with a BA in Fine Art and an MA in Academic Practice in Art, Design and Communications and has since gone on to work and exhibit with Spike Island, Iniva, Camden Arts Centre and Tate. Shepherd joins me today to discuss teaching as an artistic practice. Freelands Foundation works to broaden access to art education and the visual arts across the UK. They work with teachers and educators to develop diverse and ambitious approaches to art education. Read the report Visualise report here. Executive producer and host Lou MensahShade Podcast InstagramShade Podcast WebsiteMusic King Henry IV original composition for Shade Podcast by Brian JacksonEdit & Mix by Tess DavidsonPodcast design Joel Antoine-WilkinsonShade Art Review Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Louis Barthélemy is a multidisciplinary artist and designer based between Marrakech and Paris. He went on to work for Dior after studying fashion design at Central Saint Martins, before pivoting away from the fashion world after the public departure of designer John Galliano.  Louis designs beautiful works of art, from tapestry to rugs to stained glass and works on paper. He is a passionate exponent of craftsmanship and turns to ancient and trusted techniques to execute his work. We also talk about Louis' disillusionment with the fashion industry, and how a cancer diagnosis led Louis to the Middle East. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's conversation is with Sharmadean Reid, the founder, writer and creative consultant who started off in fashion before becoming a figurehead for women in business around the world. Originally from Wolverhampton, Sharmadean moved to London to study at Central Saint Martins. There, she began working with Nicola Formichetti, aka. Lady Gaga's stylist, and consulting for clients like Nike. She then founded an innovation-led salon called WAH nails - the coolest place to hang out in the 2010s. After closing the salon in 2015, she created a groundbreaking beauty startup, Beautystack, which evolved into The Stack World, a media company and global community for mission driven women. This year, she distilled her learnings into her first book, ‘New Methods for Women', and is currently working on a scripted TV show about female founders.Click here to see pictures of Sharmadean's chosen pieces, and subscribe for more Threads of Conversation. Get full access to Threads of Conversation at threadsofconversation.substack.com/subscribe

In this episode, Roy Sharples presents his talk Creative Bravery in Leadership: Transforming the Ordinary into the Extraordinary, given at the Central Saint Martins and Birkbeck MBA Program. Roy shares insights from his 20+ year leadership journey, explaining how embracing creativity and bold decision-making can lead to transformative results. Tune in to learn how creative bravery can help you push boundaries and achieve extraordinary outcomes in your leadership.Support the show

Mark Farid, a visionary artist and researcher, discusses his provocative projects on digital privacy and surveillance. He shares his experience of giving away all his passwords for six months, aiming to live without a phone or computer, which led to social and financial isolation. Farid also describes "Poisonous Antidote," where he broadcasted all his online activities, revealing personal habits and validating his behavior. His latest project, "Invisible Voice," funded by the European Commission, aims to empower individuals by providing information on companies' environmental impacts, corporate accountability, and more, promoting collective action and influencing external narratives.   In this episode, you will hear: Identity, performance, perception, and the self. The relationship between anonymity, privacy, and agency. Living life as a 23-year-old without a phone or computer. Data privacy and protection, and where the weak points are for you. The cultural changes happening day-to-day and how our technology usage keeps us connected. Solitude, loneliness, and being alone. Being known intimately and continually. The big and small ways to have accountability in our lives. The power of collective action.     Mark Farid is an Artist, Researcher, and Lecturer in Fine Art at Central Saint Martins, University of the Arts London. He specializes in the intersection of the virtual and physical world, and the effect new technologies have on the individual and their sense of self. Farid's work embodies hacker ethics, such as a focus on privacy policies, use of surveillance technologies, and campaigning for data privacy and protection. His work forms a critique of social, legal, and political models.   Farid graduated from Kingston University, London, with a First Class (Hons) degree in Fine Art (2014), and has since given talks and participated in group and solo exhibitions in England, France, Germany, Spain, Denmark, Finland, Slovenia, UAE, and Japan. He gave a TEDx talk in 2017 about his first two projects, “Data Shadow” (2015) and “Poisonous Antidote” (2016). Farid was selected for the Sundance Institute's 'New Frontier' Fellowship in Utah, USA (2016), for his ongoing VR project, “Seeing I”. "Seeing I" was piloted as a solo exhibition at Ars Electronica Digital Arts Festival (2019), and was selected for the European Media Artist Residency Exchange, as part of the Creative Cultures Programme of the European Union (2020/21). In 2022, Farid received European Commission Horizon 2020 research and innovation funding to develop his browser extension, "Invisible Voice”, which was later presented at the Pompidou Centre, FR (2022). In 2023-24, Farid received European Commission ST+ARTS funding to further develop "Invisible Voice" into a mobile phone app, a cross-device platform, and an interactive artwork. This will be exhibited at Ars Electronica Digital Arts Festival, AT (2024).   Farid's projects have been covered by media outlets worldwide. He frequently engages in art and technology conversations appearing on Fox News, Sky News, France24, Arte, BBC Radio 4, BBC 5Live, Times Radio, The Telegraph, The Guardian. In 2021, Farid featured as the contemporary “Surrealist Artist” on “Great British Railway Journeys” on BBC2.   Connect with Mark Farid: Website: markfarid.com Twitter: x.com/MorkForid TedxWarwick:  Data Privacy: Good or Bad? | Mark Farid: youtube.com/watch?v=pKD5rxMonBI   Connect with R Blank and Stephanie Warner: For more Healthier Tech Podcast episodes, and to download our Healthier Tech Quick Start Guide, visit HealthierTech.co and follow instagram.com/healthiertech Additional Links: EMF Superstore: https://ShieldYourBody.com (save 15% with code “pod”) Digital Wellbeing with a Human Soul: https://Bagby.co (save 15% with code “pod”) Youtube: https://youtube.com/shieldyourbody Instagram: https://www.instagram.com/bagbybrand/ Tiktok: https://www.tiktok.com/@bagby.co Facebook: https://www.facebook.com/shieldyourbody

What is the role of a fashion designer today? Thinking purely about gorgeous clothes is so last season. Gone are the days when designers could consider only a collection, how it will sell and what the customer might be looking for. Forward-thinkers are already beginning to take more holistic view and adopt a living systems approach. They're asking questions such as, Can we make like Nature makes? How might fashion create nutrients instead of waste? How can we use biomimicry in sustainable ways? Program living systems to produce bespoke products? And, how can we build a truly regenerative system in place of the current regenerative one?“We won't have a choice in the future. We will all have to include sustainability in everything we do,” says this week's guest Carole Collet - a bio designer, professor of textile futures and the director of LVMH's Maison/0 incubator for emerging talent focused on regenerative luxury.Carole was raised in Burgundy, France, to respect Nature. Her mother worked in a flower shop, her father in a greenhouse. In 1991, she was in London studying for her Masters in textiles when she had a revelation: “It's in biology that the answers will be.” Traditionally, textile design education focuses on weaving, knitting or maybe printing. “It's very craft based,” says Carole says, “and I love craft; I think it's justified. But at Masters level, I felt like it was too restrictive.” She went on to set up the first Material Futures program at Central Saint Martins “to explore what textiles could be”. A philosophical conversation that extends way beyond fashion, encouraging us to ask the big questions about what sort of world we want to build - and our responsibilities in doing so. We might begin, suggests Carole, by challenging our anthropocentrism, and ask, "What does a bee want? How about a fish?"Thought-provoking!Can you help us spread the word ?Wardrobe Crisis is an independent production.We don't believe in barriers to entry and are determined to keep this content free.If you value it, please help by sharing your favourite Episodes, and rating / reviewing us in Apple orSpotify. Share on socials! Recommend to a friend.Find Clare on Instagram @mrspressTHANK YOU Hosted on Acast. See acast.com/privacy for more information.

The journey of an artist is a winding one. You make the decision to start, not knowing where it will take you. Over time, if you're fortunate, you build a career from your work while gaining the freedom to explore new forms of expression, with each project becoming an important and affirming part of that journey.   In this episode of The Unfinished Print, I speak with Mariko Jesse, a professional illustrator who has integrated mokuhanga into her artistic practice. Mariko draws inspiration from her life experiences, sharing insights on her family and travels. We discuss how living in San Francisco, Hong Kong, and Japan has shaped her outlook and creative process. Mariko also reflects on her involvement with MI Lab, now based in Echizen, Japan, as well travelling to the International Mokuhanga Conference in April 2024.  Finally, we explore Mariko's collaborations with The Mokuhanga Sisters and wood+paper+box, and how these partnerships shape her own artistic practice. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.   Mariko Jesse - website, Instagram   Nagasawa Art Park (MI Lab) Awaji City - Nagasawa Art Park was an artist-in-residence program located in Awaji City, Hyōgo Prefecture, Japan. It was open for 12 years before evolving into MI Lab in 2012. More info, here.    Yoonmi Nam - is a contemporary mokuhanga printmaker, lithographer, sculptor, and teacher, based in Lawrence, Kansas. Her work can be found, here. Her interview with The Unfinished Print can be found, here.   From Yoonmi Nam's exhibition Among Other Things, as seen at The University at Buffalo Art Gallery, Buffalo, NY (2024) photo by me.    Katie Baldwin -  is a contemporary mokuhanga printmaker, illustrator, book maker, and artist based in Huntsville, Alabama.  Her work can be found, here. Her interview with The Unfinished Print can be found, here.    Looking For Different Places to Call Home, from the series Family Tree (2004) 18"x14" mokuhanga and letterpress   Ralph Kiggell (1960-2022) -  was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print can be found, here.   Leaf Change   linocut -A linocut is a relief or block print type, similar to woodblock printing. The artist carves an image into a linoleum block, printing what's left.    Central Saint Martins - is a renowned art and design college in London, formed in 1989 through the merger of St Martin's School of Art and the Central School of Art and Crafts, both known for their innovative, hands-on teaching methods. It later integrated the Drama Centre London and the Byam Shaw School of Art.  Central Saint Martins continues its tradition of radical art and design education while adapting to modern shifts in its disciplines and teaching approaches.   intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.     Into The Garden (mokuhanga printed book)   cat + jug (etching)       A4 paper size - is a size of paper from the ISO 216 standard, with the dimensions of 210x297 mm.    Summer Blooms (2021)     MI Lab - is a mokuhanga residency located in Echizen, Fukui, Japan. More info can be found, here.    The Mokuhanga Sisters - are a mokuhanga collective consisting of Yoonmi Nam, Mariko Jesse, Lucy May Schofield, Melissa Schulenberg, Kate MacDonagh, Katie Baldwin, Mia-O, Patty Hudak, and Natasha Norman. Instagram   Masaban - was the exhibition held at the Udatsu Paper Museum in Echizen, Fukui, Japan in April, 2024. More info can be found, here.  Udatsu Paper & Craft Museum - is a museum dedicated to washi and its history. More information can be found, here.  gomazuri - is a mokuhanga technique where slight pressure is used with pigments too make a “spotty” image, what look like sesame seeds. It can add depth to your prints.  Paul Binnie - Travels with the Master: New York Night T/P 11 3/8" by 8 1/8" Awaji Island - located in the Seto Inland Sea of Japan, has a rich history that dates back to ancient times. It is considered the birthplace of Japan in the *Kojiki* (Records of Ancient Matters), as the first island created by the gods Izanagi and Izanami in Japanese mythology. Historically, Awaji was a strategic point for maritime trade and travel, linking the Kansai region with Shikoku and Kyushu. During the Edo period, it was part of Tokushima Domain under the rule of the Hachisuka clan. Today, Awaji is known for its natural beauty, traditional industries like Awaji Ningyo Joruri (puppet theater), and as the site of the Akashi Kaikyō Bridge, the world's longest suspension bridge, connecting it to mainland Japan. 弁  - is the Chinese character for ben, "dialect." Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here.  sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used. Gotō Hidehiko - is a mokuhanga printmaker and baren maker based in Tōkyō, Japan. You can order baren from him, here.  Terry McKenna -  is a mokuhanga printmaker and teacher residing in Karuizawa, Japan. He received guidance in the art form from Richard Steiner, a prominent mokuhanga printmaker based in Kyoto. Terry established the Karuizawa Mokuhanga School, a renowned residency dedicated to mokuhanga education, located in Karuizawa, Japan.  For further details about Terry and his school, here. Additionally, you can listen to Terry's interview with The Unfinished Print, here and Richard Steiner's interview here.  The Western Sky (22.4"x9") 2022 Lucy May Schofield - is a printmaker, photographer, and scroll maker (kakemono, 掛物) and is based in England. More information cane found on Lucy's website, and  Instagram. Lucy's interview with The Unfinished Print can be found, here.  The Last Light series (cyanotype) 2016 Tiffany & Co. - is a luxury jewelry and specialty retailer founded in 1837 in New York City. Known for its iconic blue boxes and high-quality craftsmanship, Tiffany's specializes in fine jewelry, particularly diamond engagement rings, as well as silver, watches, and luxury accessories. Over the years, it has become a symbol of elegance, style, and timeless sophistication. The brand is also known for its collaborations with renowned designers and its presence in popular culture. wood+paper+box - is a collaborative art group made up of Katie Baldwin, Mariko Jesse, and Yoonmi Nam. It is based on their experiences at Nagasawa Art Park, the precursor of MI Lab.  mica - in mokuhanga, mica (kirazuri) is used to add a shimmering, reflective effect to prints. Mica powder is typically mixed with glue and applied to the surface of the print in areas where a subtle sparkle or luminous texture is desired, often to highlight details such as clothing, water, or the sky. This technique gives the print a luxurious quality and enhances the visual depth. Historically, mica was used in ukiyo-e prints to elevate the status of the work, and it continues to be used by contemporary printmakers for its unique aesthetic appeal. © Popular Wheat Productions opening and closing credit - sounds of the Sumida River 2024  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                      

A thousand facets sits with Sian Evans, Jewellery designer, goldsmith and lapidarist. We talked about her beginnings in the jewelry industry, her 15 years creating her production line, then change to be a lecturer and Central Saint Martins and going back to her roots in the goldsmiths work to create a more thoughtful, slow collection! Hope you enjoy our conversation. About: Sian's work is inspired by interests in archaeology, fashion, geology, nature and sustainable technologies with a deep interest in storytelling. Her many jewellery collections over her career have taken some very different forms, stemming from ideas, ethics and heuristics. Some fashion lead, some materials lead and some process lead. Each of her collections in the last decade have been explorations of process in a long term project about sustainable working practices : Learning a jewellery technology, often, an ancient technology with a low carbon footprint, using recycled or found precious materials, then designing and making collections of jewels that incorporate these. This is her modus operandi and an act of reverence for our skilled, ingenious ancestors. She studied jewellery design, silversmithing and goldsmithing from 1982-86 at The Cass ( City of London Polytechnic - now London Metropolitan University ) In her Summer breaks she worked as a volunteer archaeologist in Dorset. Her first studio was established the year she graduated in 1986, in Spitalfields, London. In the ensuing years she designed and created in this first studio, the biannual collections shown at London, Paris and New York fashion weeks that she became known for. Then from her next larger studio, in Clerkenwell, close to Londons jewellery quarter Hatton Garden, she worked producing collections at the bench alongside her small team of craftspeople. These early collections sold internationally to many stockists and galleries, winning her export and design awards. During this period she was commissioned by designers including Jo Casely-Hayford and Paul Smith, to create lines for them, and by Costume designers for film and TV productions. Her work was regularly seen in the pages of newspapers, glossy magazines and on the ears and necks of TV and film stars. For 13 years she was Senior Lecturer at BA Jewellery Design, Central Saint Martins, University of the Arts. Her research focus: Sustainability and mining , Neolithic and Bronze age technology. Lithics and metalworking She left UAL at the end of 2014 to return to and pursue her design and creative practice. Since reestablishing her practice she has won several awards and accolades : Most notably, her work is in the V & A collection, she has exhibited and sold her work at Sotheby's. She is a Homo Faber Master Artisan. A Queen Elizabeth Scholarship Trust ( QEST ) grant in 2022 helped to extend her lapidary study, into the wonderful and ancient arts of Intaglio and Cameo carving . She has won a number of awards from the Goldsmiths Design and Craft Awards in different categories ranging from major design awards to awards for craft skills in lapidary. For the past few years she has presented her work annually at The Goldsmiths Fair, in 2024 she was selected by The Goldsmiths Fair and QEST to exhibit at Collect . You can follow Sian Evans on Instagram @sianevansjewellery , visit her website https://www.sejewellery.com/ Please visit @athousandfacets on Instagram to see some of the work discussed in this episode. Music by @chris_keys__ Learn more about your ad choices. Visit podcastchoices.com/adchoices

ABOUT SAMAR YOUNES:LinkedIn Profile: https://www.linkedin.com/in/samaryounes/Websites:bio.site/samaritualwww.samaritual.comBio:Samar Younes is a Beirut-born hybrid artist, futurist, and creative catalyst whose work embodies a transcultural approach. As the visionary behind SAMARITUAL, a multidisciplinary creative studio, she weaves multidimensional narratives at the intersection of humanity, technology, and nature. With over 20 years of experience as an artistic director and brand strategist, Samar blends generative AI with artisanal craftsmanship and ancestral wisdom to create immersive experiences that challenge stereotypes and envision nuanced futures.A Central Saint Martins alumna, Samar's work explores global south futures, otherworldly narratives, and interspecies harmonies through three interconnected spheres: Creator, Catalyst, and Cultivator. As a Creator, she crafts visionary artworks and installations that blur the lines between art, fashion, and architecture. In her Catalyst role, she provides strategic foresight and cultural alchemy for organizations navigating our evolving world. As a Cultivator, she nurtures future creativity through her Imaginalogy hybrid future edu lab, empowering individuals with tools and perspectives to thrive in an ever-changing creative landscape in the age of AI.Samar's transcultural perspective allows her to seamlessly integrate diverse cultural influences, creating a unique aesthetic and transcultural language symbiotic to her diasporic and third culture experience. Using a neuroaesthetic lens, she celebrates kaleidoscopic identities that resist binary categorizations. Through SAMARITUAL, Samar fosters interconnectedness, radical imagination, and visionary world-building, inviting us to participate in crafting inclusive, sustainable narratives that bridge ancestral wisdom with speculative futures. SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.Well here we are…SEASON 6…our 70th episode. And we've had some great interactions in the first 69. This season will be no less engaging.In the coming weeks we'll have artists, architects, authors and educators. We dig into tech issues with people who make crafting a digital future their lives work. Scientists who will expand our understand of the way we work and how the environments around us work on us. These dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    The NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgIn this 70th episode I talk with Samar Younes is a Beirut-born hybrid artist, futurist, and creative catalyst whose work embodies a transcultural approach. Samar blends generative AI with artisanal craftsmanship and ancestral wisdom to create immersive experiences that challenge stereotypes and envision nuanced futures.First though, a few thoughts…             *                         *                         *At the core of this podcast is the idea of fostering “dynamic dialogues on data DATA” an acronym to include Architecture, Design, Technology and the Arts. Of course, the idea of talking about DATA is that it's a double entendre that allows me to dive into subjects about the impact that a data-driven society has on a myriad aspects of our human experience. Since writing my book “Retail Revolution: Why creating right brain stores will shape the future of shopping in a digitally driven world,” I've had a persistent interest in studying how technological advances are reshaping the way we interact with each other and the world around us.  The impact on various industries - commercial enterprises like the retail and hospitality worlds where I have built a 30 year career. And I've often chosen to discuss how artists and creators of all kinds can wield this amazing tool of data as a new medium for the creation of places where we can interact and connect in relevant ways. At both a city level or small footprint retail store level, I've looked at how digital technologies have grown beyond touch screen interfaces and wayfinding devices to fully immersive environments that deeply affect the way we experience a brand, a product assortment, entertainment venues, a night out for dinner a hotel museums or libraries…the list could go on.In many of my discussions with guests in previous seasons, when we've talked about the emergence of digital technologies, there have been the obvious concerns about how AI and super intelligence could begin to replace humankind.While I don't discount the possibility of those dystopian views being possible, I've tended to land on the side of thinking about technology and its extraordinary capacity for creating and making - or for ‘making right,' some of the things that design, even though some of the things that we have designed into the world have been extremely successful in supporting human advancement, have resulted in other challenges that we now face like the global climate crisis. We've looked at how technologies have been used for pure entertainment as well as applying technology to new approaches in farming. We've had guests with whom I have talked about how technological advancements in neuroscience have allowed us to understand more about how the human brain's capacity to spontaneously create, as in a jazz improvisation, and how that is even possible. Across the 70 episodes that we've published we've intentionally cut across a wide range of subjects. That has been intentional because I happen to believe that everything is connected to everything - that we live in a world of intricate interdependencies where nothing exists in a vacuum and everything in some way either directly, physically, or energetically impacts everything else.And so, when we talk about things like artificial intelligence, we don't do that in a vacuum either. My guests tend to understand the interrelationship of these extraordinary advances in technologies and that they are derived from a human hand or a human brain.This idea of the touch of a hand is important to me because I've always believed that there's something magical in making.That one of the clear defining features of humankind is that we are makers - that we make things that make other things.I've said this often before - birds make nests and so do the great apes but they don't make nests that create other nests on their own.I think that when we look at AI, there's often this idea that artificial intelligence is this deep dark cold entity. Perhaps we tend to paint it that way in dystopian movies the capture our imagination and our strange propensity for thinking about destroying ourselves - but I'd rather talk about how artificial intelligence and the hand of the artisan can collaborate to make things that have never existed before and how that collaboration is a critical component to envisioning the new possible.If you begin to interact with things like ChatGPT and Dall E or Mid Journey, creating visualizations of things that you initially write as prompts, you begin to see what is possible from machines hallucinating but the even those outputs don't exist entirely on their own. They require a human to start the ball rolling. Sitting a the keyboard, I need to be able to initially imagine something and then write a text-based prompt that will effectively give instructions to the AI upon which it builds an imaginary reality.And so, it's not exactly true that there is some robotic process at work entirely devoid of emotion and feeling when using Ai tools as way to generate inspiration. We can introduce emotion - one of our foundational human qualities - into Ai created content and see what emerges from the machine when asked to represent the emotional experience of a place or things. Ask Mid Journey to create a light blue box and it will do a spectacular job. Ask the ai to create a visual representation of the emotions felt when opening a gift from Tiffany and that‘s an entirely different output.We can infuse the prompts with emotional content and when we do, the output can be really fascinating. I think we've often turned to art and in its many forms as expressions of emotion. Sometimes the things that we can't put into words are somehow better expressed through dance, music, painting or other graphic visualizations. And yet when we think about places of human experience it seems that art is often considered decorative rather than part of the strategy.Now… I know that that's not entirely true and cannot be used as a sweeping generalization because certainly there is architecture that in its detailing is considered high art and that the artful design of places it is very much part of the overall experience.Think of places created for the purpose of the enactment of religious rituals or other public or cultural institutions.  Remember the Mies van der Rohe quote “God is in the details.”I think there is something magical and mystical about the maker who take materials and transforms them into places and things that have not been before. And now we have new materials in our palette of things to use. Data is a new medium, yet it doesn't exist alone in the tool box. When we combine “hand intelligence” with artificial intelligence, the skill of the craftsman with the collective intelligence of the masses, we are in for some really interesting creative futures.This is where my guest Samar Younes comes into the story…Samar Younes is a Beirut-born hybrid artist, futurist, and creative catalyst whose work embodies a transcultural approach. As the visionary behind SAMARITUAL, a multidisciplinary creative studio, she weaves together multidimensional narratives at the intersection of humanity, technology, and nature. With over 20 years of experience as an artistic director and brand strategist, Samar blends generative AI with artisanal craftsmanship and ancestral wisdom to create immersive experiences that challenge stereotypes and envision nuanced futures.Samar explains that her work explores otherworldly narratives, and interspecies harmonies through three interconnected spheres: Creator, Catalyst, and Cultivator. As a Creator, she crafts visionary artworks and installations that blur the lines between art, fashion, and architecture. In her Catalyst role, she provides strategic foresight and cultural alchemy for organizations navigating our evolving world. As a Cultivator, she nurtures future creativity through her Imaginalogy hybrid future edu lab, empowering individuals with tools and perspectives to thrive in an ever-changing creative landscape in the age of AI.When seeing Samar's work, I am transported to a new place where imagination plays. She is a creativity maven who wields the tools and touch of an artisan and the deftness of a data scientist in making the new possible. I was lucky to sit down with her at the SHOP Marketplace show to talk about the worlds of artisan craft and its new creative partner in artificial intelligence…             *                         *                         *ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com.  The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

A Central Saint Martins alum and one-time CFDA/Vogue Fashion Fund finalist, designer Christian Cowan founded his namesake brand in 2017 after Lady Gaga's support thrust him into the spotlight. Today, the London native who now resides in NYC is well-known for his fun, attention-grabbing designs. They've been selling at retailers including Saks Fifth Avenue since Cowan became serious about growing the business. “You've got to grow the business so you can do bigger and bolder creative ideas — it's about being able to facilitate a bigger creative vision,” Cowan says on the Glossy Podcast. “I love the hustle and strategy behind growing a brand that survives.”  Also on the podcast, Cowan discusses his New York Fashion Week Spring 2025 collection and stress-free approach to the corresponding show. He also shares his take on why “meteoric rises” of designers no longer happen in fashion.  Throughout New York Fashion Week, from September 6-11, check back for more daily podcast episodes featuring influential fashion insiders, from editors to designers.

Sanne Visser is a Dutch-born, London-based designer. She describes herself as a ‘material explorer, maker and researcher', who is best known for a string of installations and products using human hair. Since graduating from Central Saint Martins a little under a decade ago, she has exhibited all over the world and been nominated for a number of awards. Happily too, she will be one of the stars of this year's Material Matters fair – taking place at Bargehouse, Oxo Tower Wharf from 18-21 September – with an installation called, Locally Grown, that invites visitors to explore their hair as a new material. Essentially, people will able to have a free hair cut and then (if they stick around long enough) watch it being spun and turned into rope. Sounds kind of interesting right? In this episode she talks about: her installation at the Material Matters fair (obviously); how she became fascinated by hair in the first instance; the processes she puts the material through; its (quite) extraordinary properties; the ethics around ownership of designing with hair; creating new material systems; collaborating with makers, hairdressers and scientists; the products it's possible to make with hair; coming from a creative family; finding school testing; and the importance of teaching to her practice.And remember the Material Matters fair is free for trade but you must register in advance here: https://registration.iceni-es.com/material-matters/reg-start.aspxSupport the Show.

Italian fashion designer Francesco Risso is renowned for his offbeat, innovative approach to contemporary clothing. He learned how to cut and sew from the age of eight with any fabric he could find, going on to study fashion at Florence's Polimoda, New York's FIT, and London's Central Saint Martins. As creative director at Marni since 2016, Risso gained prominence by infusing the brand with vibrant colors, eclectic patterns, and playful aesthetics. His charming exuberance and unique ability to blend craft with modernity sets him apart and captivates audiences worldwide. What he sees as contemporary now is simple and uncontrolled by trends and a fast-paced industry: food and sex. Episode Highlights: Risso's early years were spent not talking in a hectic and blended family home in Genoa, where he communicated by making things with his hands. At 8 or 9 years old, he began making clothes, scavenging clothes from his grandmother's closet to cut and sew. Studying the classics and art, Risso “escaped” from his loud family by moving to Florence, knowing he would make clothes.  He found in the dance, clubbing, and rave scenes a way to escape from the constrictive traditional forces in Italy at the time when he considered himself goth and an outsider. “Provocative, and visceral, and obsessive.”: Risso talks about how he accepts a darker side of his outlook as a complement to his lighter and romantic side. He notes one of his mentors, Louise Wilson at Central Saint Martins, taught him to base a world around a garment without using typical fashion references.  Risso read a Virginia Woolf piece in which she invites her friends to the countryside and tells them not to bring clothes, as to leave behind a kind of social structure, and this inspired him to lose reference points.  On the secret of merging creative freedom with commercial success, Risso champions trust, pleasure, and courage,and living in the moment rather than for the final product. Marni Jam is one example of interdisciplinary creativity that Risso works into the brand, expanding music into fashion. To Risso, what's contemporary now is “sex and food”—two exchanges he finds beautiful in that they build community. Learn more about your ad choices. Visit megaphone.fm/adchoices

Catherine speaks to Faye Twinn about her late autistic discovery. Faye discovered she was autistic in her late 30's and this discovery changed her entire outlook on life itself. She spent her teens in Devon and it was there within her secondary school that she was identified as ‘dyslexic'. Struggling to fit in, she quickly self identified as arty and found that within the creative subjects she could strive. She went on to study Fine Art at Falmouth University. Later retaking her English and Maths GCSE's, gaining a PGCE in arts education and completing a Masters in costume at Central Saint Martins, London. She feels that she scrabbled through her late teens and 20's and worked in various settings to get by. Eventually settling into lecturing art and fashion. She spent 15 years as a Lecturer before resigning during the pandemic. These days Faye can be found working as a studio potter in Essex. She is married, has a 8 year old son and 2 step children in their 20's. The work that she produces now, came from needing to step back and an understanding that some of us need to live slower for our well-being. She creates eco conscious functional pottery and strives to provide simple pieces that can be used to create little moments of loveliness. Her pottery is sold across a number of independent lifestyle stores through out the UK and is also available from her website  Follow Faye on Instagram ⁠⁠⁠3 ways you can support the podcast and the work we do... Become a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠member⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, champion or partner and join our growing community. Buy us a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠coffee.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rate & review⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the show Thank you to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Community Partners ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠who are supporting the work that we are doing. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠A Tidy Mind⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠The Growth Pod⁠⁠⁠⁠⁠⁠ A BIG shoutout to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Community Champions ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠who are championing the work we do: Kay Mathiesen The Late Discovered Club is hosted by Catherine Asta and edited by Caty Ava - visit our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Contact ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Catherine Asta⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music by⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Allora⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Catherine Asta ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Late Discovered Club⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our next Group Circle⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠The Asta Community of Professionals⁠

Dr. Ghadah W. Alharthi is an international Cultural Adviser based in London, as well as an Associate Professor and Director specializing in Culture and Innovation at Central Saint Martins, University of the Arts London. With a PhD in International Management, she is passionate about protecting and sharing Saudi Arabia's heritage and traditions both within the Kingdom and abroad. She has worked on UNESCO sites and giga-projects in the Middle East, including NEOM and Diriyah Gate. In this episode, she defines cultural diplomacy, highlights the astounding progress of Vision 2030 thus far, reflects on the growing workforce of women in the country, and expands on the importance of tourism and cultural exchange. She is fueled by the success stories of local Saudis and looks forward to the bright future ahead. 0:00 Introductions1:51 UNESCO9:35 Saudi's image in mainstream media14:00 Vision 203015:48 World Economic Forum17:27 Aha moment21:50 Soft power25:25 Overcoming challenges27:10 Research, storytelling, locals32:30 Saudi women in the workforce36:08 Fears, optimism, happiness43:10 Teaching44:30 Advice, exhibits, travels51:24 Exciting events coming up53:10 Closing words

Before taking the reins as creative director of Carolina Herrera in 2018, Wes Gordon had been immersed in the world of high fashion by running his own label and going to school at Central Saint Martins. After graduating, he launched his eponymous label in 2009 and quickly garnered attention for his sophisticated and vibrant aesthetic, which blends modern sensibilities with timeless elegance.  Since stepping into his role at Carolina Herrera, Wes Gordon has been credited with infusing the brand with a fresh, exuberant spirit while also honoring the opulent and refined legacy of the founder, Mrs. Herrera. His collections are celebrated for their dynamic use of color, meticulous craftsmanship and playful yet sophisticated aesthetic. Under his creative guidance, the brand has continued to captivate a global audience, expand to new markets and grow its e-commerce reach. Carolina Herrera is opening multiple stores in the next couple of months, with its most recent opening being in Palm Beach. The brand is owned by Spanish conglomerate Puig, which also owns Paco Rabanne, Dries Van Noten and Jean Paul Gaultier. This week's Glossy Podcast explores Carolina Herrera's Puig ownership, Gordon's challenges while taking over Herrera's role and the the brand's Met Gala plans this year. 

Episode 320 features Wafa Ghnaim, a Senior Research Fellow at The Metropolitan Museum of Art, Curator for the Museum of the Palestinian People and Founder of The Tatreez Institute, alongside Dr. Tanveer Ahmed, a Senior Lecturer in Fashion and Race at Central Saint Martins and also Course Development Lead for MA Fashion and Anthropology at London College of Fashion. “Inherently, just by being Palestinian and by teaching about Palestinian life and history, and including oral history in my work as a foundational aspect of my research, I am threatening these kinds of structures, in and of itself. And so, simply my existence is resisting that colonialism and the normalization of destruction and death of Palestinian bodies.” -Wafa “Translating lots of decolonial thought around the canon and Eurocentrism and what shapes our ideas of art and design is really crucial to understand how we then deconstruct the canon. It's not just a question about changing reading lists or to me, about representation and bringing in more Black and Brown academics into our institutions, although that is part of the equation. I think what we need to do and what I think is the most important role for me is to undue the harms that coloniality has done to our disciplines and within our institutions.” -Tanveer  APRIL THEME — COMING TOGETHER TO BUILD A BETTER FASHION FUTURE Decolonizing fashion, intersectionality, identifying the knowledge holders, cultural inheritance and systems change were some of the key themes we explored in this week's episode. We take a look at some of the areas that fashion educators are dismantling when it comes to heteronormative and Eurocentric views on fashion education and design. And how this knowledge can translate from the classroom or across cultural communities into practical ways. Building off of our last episode, we question – what are the biggest challenges we still face and how can we work toward more transformation?  We learn from one of our guests that this focus and lens on decolonising fashion where marginalization and othering is built into the foundation, is very different to the offerings of cultural preservation, which holistically exists to share lived experience, pass over craft practice, history, culture and honor the hands and bodies of the people at the center of this. As our guest shares, what else is there if we cannot honor the people preserving culture. Fashion as it exists, still has a ways to go in embracing this at its roots, but our guests give us hope as they move through the world, sharing their wisdom and truth, and teaching us the meaning of how to be good custodians and stewards, so we can uphold this legacy with care and intention and continue to center Indigenous craft, culture and practice.  Links from the conversation: Tatreez & Tea Website Tanveer's Work Profile Follow Wafa (@tatreezandtea) on Instagram

In this episode designer Jawara Alleyne and writer and cultural communications thought leader Yasmin Jones-Henry discuss how designers can utilise indigenous knowledge and traditions to create truly sustainable brands. Delving into their Caribbean heritage, Jawara and Yasmin highlight how many indigenous groups have rich histories of sustainable production and consumption and they discuss the resounding positive impact of their upbringing on their work.About Jawara:As an interdisciplinary artist, creative director and educator, designer Jawara Alleyne graduated from London's Central Saint Martins in 2020, going on to launch his namesake brand on the London Fashion Week schedule as part of Fashion East in 2021.Jawara's work is rooted in identity - linking together inspiration from Jamaica, where he was born, the Cayman Islands, where he grew up and London where he currently resides.About Yasmin:Yasmin Jones-Henry is a writer for the Financial Times, a cultural placeshaping strategist and co-founder & curator of The Lab E20.Working across investment, real estate, the creative industries and public art, Yasmin is committed to demonstrating the power of culture and co-creation as catalysts to unlocking inclusive regeneration and positive growth, continuously linking her work back to the legacy of community, craft and the power of collective creativity.About the BFC Fashion Forum Podcast:Brought to you by the British Fashion Council, a series of conversations with designers and the broader creative community, all of whom play a vital role in the fashion industry's culture and reputation, promoting British creativity on a global scale. Hosted on Acast. See acast.com/privacy for more information.

Artist Zineb Sedira records cultural and postcolonial connections between Algeria, France, Italy, and the UK from the 1960s, featuring films, rugs, and radical magazines from her personal archive. Dreams Have No Titles (2022) is Zineb Sedira's love letter to cinema, the classic films of her childhood in Paris, coming of age in Brixton in London, and ‘return' to Algiers - three cities between which the artist lives and practices. Born in 1963, the year after Algeria achieved independence from French colonial rule, her and her family's diasporic story is central to her practice. Zineb recalls her first encounters with 'militant cinema', and international co-productions like the Golden Lion-winning The Battle of Algiers (1966). She shares her decision to represent France at the 59th Venice Biennale in 2022, controversial reactions from French media and society, and solidarity from her radical contemporaries and women, like Françoise Vergès, Sonia Boyce, Latifa Echakhch, Alberta Whittle, and Gilane Tawadros. We discuss the legacy of her work in the selection of Julien Creuzet, the first person of Caribbean descent and from the French overseas territories to represent France at the Venice Biennale in 2024. Zineb shares how personal histories contribute to collective memory, subverting ideas of ‘collection', and using museum and gallery spaces to make archives more accessible. With orientalist tapestries and textiles - her ‘feminist awakening' - we discuss how culture can both perpetuate political and colonial hierarchies, and provide the possibility to ‘decolonise oneself'. From her academic research in the diaspora, Zineb suggests how she carried much knowledge in her body as lived experience, detailing her interest in oral histories (and podcasts!), as living archives. With Nina Simone, Miriam Makebe, and Archie Shepp, performers at the Pan-African Festival in Algiers (1969), she shows her love of jazz and rock music, played with her community of squatters and fellow students from Central Saint Martins. Finally, we see how the meaning of her participatory works change as they travel and migrate between global audiences, and institutions and funding in Algiers today, via aria, her research residency for artists. Zineb Sedira: Dreams Have No Titles runs at the Whitechapel Gallery in London until 12 May 2024. A free Artist and Curator Talk (with some of Zineb's ‘tribe') takes place at the Gallery on 11 April 2024. and the film version of the work shows at Tate Britain in London until September 2024. Zineb Sedira: Let's Go On Singing! ran at the Goodman Gallery in London until 16 March 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Souffles, Tricontinental, and the Casablanca Art School (1962-1987), listen to curator Morad Montazami at Tate St Ives in Cornwall. For more about Baya, read into: Baya: Icon of Algerian Painting at the Arab World Institute, Institut du Monde Arabe (IMA), in Paris. Kawkaba: Highlights from the Barjeel Art Foundation, part of Modern and Contemporary Art of the Arab World. at Christie's London. And for another artist inspired by the port city of Venice, tune in to Nusra Latif Qureshi's 2009 work, Did You Come Here To Find History?, with curator Hammad Nasar. WITH: Zineb Sedira, Paris and London-based artist, who also works in Algeria. Working between the media of photography, film, installation and performance, she was shortlisted for the 2021 Deutsche Börse Photography Foundation Prize. Dreams Have No Titles was first commissioned for the French Pavilion at the 59th Venice Biennale in 2022. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Rich, white and privileged - the creative arts sector has a class problem. Particularly in class-obsessed Britain, where middle-class people are twice as likely to work in creative jobs than their working class contemporaries. According to the Evening Standard, "the worlds of TV, film, music and the arts are dominated by straight, able-bodied white men living in London, despite them only accounting for 3.5% of the [UK] population."Not that this is purely a UK problem. In New York, 85% of artists represented by commercial galleries are white. In Australia, where one in four of us were born overseas, culturally and linguistically diverse creatives are still barely represented in fashion at all. And consider the global luxury brands, with their spate of recent cookie-cutter creative director hires - can anyone actually tell the difference between these men from their photos alone?But, "What about the new editor at Vogue?" I hear you say. Too often, the celebrated hire is still the only Black or brown person in the room.I bet you can think of a thousand places where career progress is affected by your postcode, where you went to school and what your parents did. And lurking behind all that: race, gender, sexuality, difference, not to mention how much cash you've got...It's time for a power shift!Meet Rahemur Rahman, a British-Bengali artist, educator and designer who is determined to change the system, not simply tinker round the edges of representation. He made it, despite the odds. Raised in working class Tower Hamlets, he studied fashion at Central Saint MartinsHe studied fashion at Central Saint Martins, where he now teaches. Designs from his debut London Fashion Week collection menswear collection were acquired by the V&A Museum. Now, he's the director of training and development at Bari, a new incubator supporting South Asian creatives in East London as part of the British Bangladeshi Fashion Council.This is a lively conversation about what it takes to, practically, turn things around - not just talk about it. Hint: no true diversity and inclusion without addressing the class barrier!We're also talking the creative innovation meets heritage craft, social impact fashion, holidays with friends, and the joy of working on what matters.Check the shownotes for links & further reading.Tell us what you think! Can you help us spread the word ?Wardrobe Crisis is an independent production. We don't believe in barriers to entry and are determined to keep this content free.If you value it, please help by sharing your favourite Episodes, and rating and reviewing us in Apple orSpotify. Thank you!Find Clare on Instagram @mrspress Hosted on Acast. See acast.com/privacy for more information.

Matthew Bannister onFrank Farian, the German music producer behind the hugely successful group Boney M, who caused controversy when it was revealed that his duo Milli Vanilli had been miming at all their live shows. We hear from Boney M singer Liz Mitchell.Medical journalist Caroline Richmond who founded the Campaign Against Health Fraud, now known as HealthSense.Professor Phil Baines, the respected typographer who designed many book covers and public signs as well as the memorial to the victims of the 7/7 2005 bombings in London.Norma Izard, who managed the England Women's Cricket team, leading them to win the World Cup and creating the trophy for the women's Ashes series.Producer: Ed PrendevilleArchive used: London Plus, BBC 1 South East, 09/10/1985; Sixty Minutes, BBC 1, 07/06/1984; BBC Breakfast Time, BBC, 25/03/1986; Caroline Richmond's interviewed on Woman's Hour, BBC Radio Four, 27/04/2000; England v New Zealand - Women's World Cup Final, 5 Live, 01.08.1993; Phil Baines - Form and content: reflections on the practice and responsibilities of book design, Real Smart Media, 25/04/2012; From Priesthood to Art and Design, Central Saint Martins

Costume Designer Alexis Forte CD credits include: Ghostbusters: Frozen Empire | Smile | Eric Larue | Resurrection | Miguel Wants to Fight --- I am so thrilled to welcome my friend Alexis to the inaugural episode of TFACD! We begin with the wild story of how we met (randomly in a bar!), then her beginnings in ballet and to PA-ing, assisting and now where she is today as a department head.   --- Alexis was born and raised in Lisbon, Portugal, and moved to Miami at the age of 10. As a child, she trained as a ballet dancer at Miami City Ballet, Joffrey Ballet School and Alvin Ailey, with dance being her gateway into costumes. Alexis pivoted from dance into visual arts in college when she went to London to study at the prestigious Central Saint Martins. Immersed into the world of theatre and film there, she found her calling. Upon graduation Alexis moved to New York City and started her career. She came up as an Assistant Costume Designer working on films such as Jason Reitman'sGhostbusters: Afterlife and The Front Runner; Drew Goddard's Bad Times at the El Royal; Darren Aronofsky's Mother! and The Whale, and Steven Spielberg's The Post to name a few. In addition, Alexis was on Jacqueline Durran's costume design team for Greta Gerwig's, Little Women, which won Best Costumes at the 2020 Oscars. Alexis kicked off her own design career with IFC Film's Resurrection, which premiered at Sundance 2022. Following that up with Smile for Paramount Pictures; Miguel Wants to Fight for Hulu; Michael Shannon's directorial debut, Eric LaRue, that premiered at Tribeca Film Festival 2023; and currently Gil Kenan's sequel to Ghostbusters Afterlife. Alexis also designs for the stage, most recently making her Broadway debut with Stephen Adly Guirgis's Between Riverside and Crazy, the 2015 Pulitzer Prize-winner for Drama. That production of Between Riverside and Crazy was nominated for a 2023 Tony for Best Play. Alexis is also a proud member of LAByrinth Theater Company. --- Alexis Forte Links:  Website: alexisfortedesign.com  Instagram: @alexis_forte_costumes  --- TFACD Links: Instagram: @talesfromacostumedesigner Twitter: @talesfromaCD TikTok: @talesfromaCD --- Whitney Anne Adams Links: Website: whitneyadams.com  Instagram: @WAACostumeDesign  Twitter: @WhitneyAAdams  TikTok: @WAACostumeDesign 

SEASON 20 BEGINS!!! We meet ICON of film and Hollywood costumes SANDY POWELL OBE!!!! We discuss her love of art, collaborating with legendary queer artists/creative minds Derek Jarman and Lindsay Kemp, a 25 year collaboration with choreographer Lea Anderson, and how art informs her costume design. Sandy is a multi award-winning Costume Designer who has won three Academy Awards, three BAFTA Awards for Best Costume Design, plus the recent honour of BAFTA Fellowship 2023, and a Costume Designers Guild Award.Londoner, Sandy, studied at St Martins School of Art and the Central School of Art and Design where she specialised in theatre design. She started her professional career in fringe with the National Theatre working on numerous productions including Orders of Obedience and Rococo. She went on to design sets and costumes for productions of Lumiere and Son, Bright Side and Culture Vulture. As a student and one of the leading lights of the international theatre scene she most admired was Lindsay Kemp, the gifted director, designer and performer. On impulse she spoke to him on the phone and said how much she wanted to work with him. After seeing samples of her work he asked her to join him in Milan as costume designer for his theatre company. During her 3 year spell with him she worked on Nijinsky which was a study of the start and madness of the great Russian dancer. She also designed the costumes for The Big Parade, a tragic- comic homage to the silent screen, and the stage and screen versions of A Midsummer Nights Dream. In 1985 she rapidly established herself in the world of video working on many pop promos with director Derek Jarman and with him on his film Caravaggio, and Zenith's For Queen and Country.Born in 1960, she was raised in south London, where she was taught to sew by her mother on a Singer sewing machine, and began experimenting with cutting and adapting patterns at a young age. Educated at Sydenham High School, she went on to complete an Art Foundation at Saint Martins in 1978, and in 1979 she began a BA in Theatre Design at Central School of Art and Design (now Central Saint Martins.)In 1981 she withdrew from her degree to assist a costume designer who worked for a fringe theatre company called Rational Theatre, and also began a long collaboration with Lindsay Kemp designing for him in Italy and Spain.In 1984 when, after a spell as a costume designer on music videos, she moved into the film industry. Her break came when the film director and stage designer Derek Jarman appointed her costume designer on his film, Caravaggio (1986), starring Tilda Swinton and Sean Bean. To date, Powell has worked as Costume Designer on over 50 films, including Orlando (1992);The Crying Game (1992); Interview with the Vampire (1994); Michael Collins (1996); The Wings of The Dove (1997); Hilary and Jackie (1998); The End of the Affair (1999); Gangs of New York (2002); Far From Heaven (2002); Sylvia (2003); The Aviator (2005); The Departed (2006); Shutter Island (2010) Hugo (2011) The Wolf of Wall Street (2013); Cinderella (2015); Carol (2015); Mary Poppins Returns (2018); and Living (2022). She has earned 76 award nominations and won 27 awards in her career, including Academy Awards for Shakespeare in Love (1998) and The Aviator (2004), a BAFTA Award for Velvet Goldmine (1998), and both an Academy Award and a BAFTA Award for The Young Victoria (2010).Follow @TheSandyPowell on Instagram.Thanks for listening!!! This season is shaping up to be one of the most fascinating so far!!! Thanks for listening. Follow us @TalkArt for images of works we discuss in today's episode. Hosted on Acast. See acast.com/privacy for more information.

Creative consultant and iconic figure Amanda Harlech has played a key role in fashion for decades. Harlech is recognized for her insightful, ultra-collaborative approach, her influential work with brilliant designers, and her mentorship of young designers. She initially joined forces with John Galliano in the '80s and '90s before later joining Karl Lagerfeld at Chanel. For her, creative sensitivity and a willingness to work are facilitating forces in an industry that she sees as evolving in a more collaborative direction. Though she surprisingly calls herself not quite “a fashion person,” Harlech's prolific career has shaped parts of contemporary fashion design and showcased her intuitive understanding of creative storytelling. Illustrating a unique narrative of artistic connection, Harlech notes that the enduring allure of craftsmanship is what's contemporary now.  Episode Highlights: Creativity and make-believe: Harlech has vivid memories of being surrounded by storytelling and fashion, which were emphasized in her life from an early age by those around her. “It's a way of navigating life:” Weaving fictions and working with fantasy is how Harlech has always sourced creative inspiration, from childhood collaging to designing gowns. Career trajectory: Harlech went from working at Harper's Bazaar and The Face to working with Galliano, a collaboration she calls “so powerful.”  Collaboration rather than competition: Harlech found Galliano's designs emotionally powerful, and their active collaboration is contrasted with a more passive one while working with Karl Lagerfeld for 27 years. She discusses collaborating with Andrew Bolton for the most recent Met Gala in celebration of Lagerfeld.  Collaborative evolution: While Lagerfeld, for instance, directed teams based on his genius, Harlech notes that contemporary labels tend to create entire creative communities wherein designers all bring something unique to the garments. Creative sensitivity: Harlech's intuitive understanding of a collection's intention and rhythm has propelled her throughout the years.  “I am this undefinable thing:” Surprisingly, Harlech says, “I'm not really a fashion person, although I love the whole creative process that goes into a collection.” She describes herself as a facilitator above all else, synthesizing creative energies among the many individuals any collection or shoot requires.  Other forms of collaboration: Enjoying how mentorship “switches the light on” in her head, Harlech brings her know-how to the energy and willingness of Central Saint Martins students. Progress and its countermovements: Discussing AI's ever-increasing role in creative design, Harlech takes a positive stance, remarking on the emergence of support for and dialogue with the hands-on, artisanal work that goes into design.  What's contemporary now: Harlech takes the question in a mythical direction with ancient myth and ritual, paying homage to “the old ways, the skill of making, craft.”

The stylist and fashion editor reveals to BoF founder and editor-in-chief Imran Amed why she resigned from Vogue and how she is channelling her influence and energy to support that next generation of fashion talent.Background:In the dynamic world of fashion magazines, Gabriella Karefa-Johnson stands out. Karefa-Johnson has always stood out, growing up as a self-described loud, weird, driven kid. Karefa-Johnson's first Vogue cover was Paloma Elsesser for the January 2021 issue of Vogue, photographed by Annie Leibovitz. Later that year, she worked on the cover shoot featuring US Vice President Kamala Harris. But recently, Karefa-Johnson decided to leave Vogue. “The truth of the matter is we grow and sometimes our containers don't grow with us. And so I am excited to build a new container for all of these ideas and this energy,” Karefa-Johnson says.This week on The BoF Podcast, Karefa-Johnson joins BoF founder and editor-in-chief Imran Amed to discuss her professional journey, how she harnesses her creative energy in a high-pressure industry and why she is laying the foundation for the next generation of fashion creatives. Key Insights: On excelling in the demanding, hyper-creative world of fashion media, Karefa-Johnson avoids burnout by focusing on her inner self. “Staying true to who you are and… really maintaining the purity of that creative exchange is something that keeps me grounded,” she says.Looking back at some of her most challenging assignments, Karefa-Johnson recalls the 2021 cover shoot during the Covid-19 pandemic with US Vice President Kamala Harris. “It's very hard to communicate with your subject, which is super crucial in executing an image. You need to have a relationship and a rapport and there needs to be mutual trust,” she explains. “But it's hard to establish that between 15 masks, because it was during Covid, 14 secret service agents, a press secretary and a chief of staff.” Reflecting on her decision to leave Vogue, Karefa-Johnson is excited about what lies ahead. “I just hope that whatever comes to be of this career of mine is something that models possibilities for the next Gabriella Karefa-Johnson,” she explains. “I can't wait to take those tools and apply them in ways that are really just true to who I am, serve me and serve people who look like me.”Karefa-Johnson is passionate about nurturing emerging talent and has used her network to support the development of Central Saint Martins graduate Torishéju Dumi. “It's very easy to feel invisible in these cities as a young designer, period. Full stop. But as a young black female designer, I knew that the hurdles she was up against would be exponentially bigger than some of her colleagues,” Karefa-Johnson says. “I wanted to be able to bridge the gap. I wanted to be able to give her a leg up, which I think in a lot of ways is something that has produced so many of the most enduring young designers.”Additional Resources:Poet Laureate Amanda Gorman Appears on Cover of American Vogue | BoF Ye Lashes Out at LVMH and Vogue Editor After ‘White Lives Matter' T-Shirt Draws Criticism Hosted on Acast. See acast.com/privacy for more information.

Tom Ford's new creative director opens up to Imran Amed about his progression in the fashion industry and his first womenswear collection for the brand.Background: When Tom Ford started his namesake brand in 2004, his longtime deputy at Gucci Peter Hawkings was his first call — and his first employee. Fast-forward to April 2023, Hawkings' phone rang again. Only this time, Ford said he was stepping down and putting Hawkings forward for the top job. “I didn't sleep for the first two nights. It was crazy,” Hawkings said of his reaction to the news that he would step into his longtime boss' shoes and become creative director of the eponymous brand he created. “But after all of that subsided, I realised that Tom [Ford] was giving me the opportunity of a lifetime. And I am, to this day, super grateful to him for giving me this chance to continue the legacy.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Hawkings, the new creative director of Tom Ford following his runway debut at Milan Fashion Week to discuss his origins and journey into the fashion industry — and his plans to continue the Tom Ford legacy.Key Insights:It was in 1998 that Hawkings first met Ford, after finishing his master's course at Central Saint Martins. The then-24-year-old applied to the assistant menswear designer position at Gucci, where Ford was the brand's creative director. This would launch a 25-year partnership with the two designers and eventually lead to Hawkings becoming the creative director of the Tom Ford brand. Hawkings, who previously designed Tom Ford's menswear collections, said that he leaned on his wife when designing womenswear for the first time. “It's been invaluable, you know, having that conversation with her. Her trying clothing on, trying shoes on … for me, it's so important, comfort and fit and all of those elements that are so important when you're designing for a woman,” says Hawkings. During Hawkings' career, he had the opportunity to learn from not just Ford, but also other fashion talents, such as British designer Louise Wilson, who was one of his professors at Central Saint Martins. “I always go back … to the advice that Louise [Wilson] always gave me, which was one: work hard, absorb knowledge and give knowledge, understand what manners are and deploy them. Take risks. Failure is okay. You can learn from failure, for sure. Have at least one skill and develop it,” says Hawkings. Additional Resources:Peter Hawkings Named Creative Director of Tom Ford: With the sale to Estée Lauder complete, Tom Ford's longtime colleague and collaborator will take the creative helm at his namesake brand.The Miuccia-ness of Prada, the Gucci-ness of Tom Ford: Brand DNA is marketing speak until it isn't, as the latest Prada and Tom Ford collections proved. Hosted on Acast. See acast.com/privacy for more information.

In this episode of the podCASS, I'm with Aaron Esh (@aaron.esh) creative director of one of London's new hot luxury brands - he's an LVMH prize finalist, NEWGEN scheme recipient, Central Saint Martins graduate and just happens to be very humble about all of his success thus far. We talk about how Aaron ended up creating his brand, the importance of a great team, Pharrell's Louis Vuitton role, Virgil Abloh, the trials of being a new designer and lots more things. I'm so thankful to call Aaron a friend and that he agreed to do this podcast with me! There's a lot to be learned in this episode (and always a giggle to be had).Aaron's Instagram - https://www.instagram.com/aaron.esh/Shop Aaron Esh here: (Ssense) https://slooks.top/6Py7/64, (Farfetch) https://slooks.top/6PJ9/64, (LN-CC) https://bit.ly/3PWNH85Watch the podCASS: https://www.youtube.com/@thepodCASSpodFollow me on Instagram and Tiktok @itscassiethorpe Subscribe to my youtube channel: https://www.youtube.com/channel/UCx5xZSr6ng-xpMMe09FYsHg

Imagine freelancing for one of the biggest names in the fashion industry while still in fashion school!If you're thinking that's impossible, then listen to today's episode to hear how our guest, Jade Wei, a freelance pattern cutter, did just that - landing a freelance gig with Alexander McQueen!From interning to launching her own brand, Jade opens up about the unique path she took in the fashion industry. Discover how she consistently attracts clients, raises her prices, and maintains her creative freedom. With an uplifting and inspiring perspective on life, Jade shares her insights into both the fashion world and the journey of finding your own passion. Whether you're a fashion enthusiast or simply someone looking for a boost of motivation, this episode will leave you feeling inspired to embrace your own unique path and create a brand that makes a meaningful impact.About Our GuestJade is a freelance designer based in London, specializing in 3D pattern-making, garment, and product development for brands with similar creative and world-view ethos.Born in Taiwan, she moved to the UK at the age of 18 to pursue an education and a career in fashion. She studied at Central Saint Martins and London College of Fashion with various technical qualifications in between. With 17+ years of knowledge and experience in the fashion industry, she works for a range of luxury brands including Alexander McQueen, Theory, and ClothSurgeon as well as designing for independent designers, developing garments that have sold in retailers including Net-A-Porter, Mr. Porter, Selfridges, Liberty, and Harrods. Jade launched her own and ever-evolving brand and creative platform, ATELIER WCMF, to provide bespoke creations, freelance services with limited quantities of clothing and accessories.She never stops learning and has recently begun to merge the digital and physical fashion worlds, using emerging technology to create advanced technical services for fashion brands, enhancing both the experience and sustainability for the client, as well as opening herself up to new markets in the digital world. Connect with Jade: Email at j.w@atelier-wcmf.com Follow on Instagram: @atelier.wcmf @jade_wei_s Connect on Linkedin: https://www.linkedin.com/in/jade-wei-atelier-wcmf/ Visit her Website: www.atelier-wcmf.com Sick of being tied to a desk and want more freedom in your day, snag my free training: How to Freelance in Fashion (even if you're terrified you don't have all the answers) by clicking here.