trait PECKHAM AIDAN NATALIE CHUI speaks to the set designer about ZAMIRI his “smash it together” style and why being original isn’t original anymore.

With his pastel pink hair and Glasweigan accent, Aidan Zamiri stands out amongst a white graphic design studio, where he Natalie Chui: Would you consider was just editing photos on an yourself more of a set designer? iMac. Despite moving to London a year and a half ago to attend Aidan Zamiri: I mostly do set Central Saint Martins, Zamiri design because I always work in a is already making a name three-dimensional way. I like an for himself as a set designer, immediate product. So the fact though not to be boxed into one that I work in a 3D space and category, he regards himself build something to have right in as more of a “multidisciplinary front of me, gives me the most designer”, working across satisfaction. I’m extremely erratic, photography, film and music. always running around, so the His sets are like mirrors of himself, best way for me to work is to be full of colour, character and life, building stuff and throwing stuff and often mesh together together. Set design helps to put unexpected items, sourced from the garments into context, and it the streets of Peckham. His work becomes so complete. has been published in Wonderland, Rollacoster and NC: What do you do set design for? Urban Outfitters and he’s worked with fashion designer Roberta AZ: I’m primarily based for Aiener’s and indie band Dream fashion editorials or photography Wife. On a Friday afternoon in his based work. Fashion editorials are university, the charming Zamiri particularly fun because you can converses how his “DIY” style suspend belief a little bit. You don’t came to be and how rewarding it need to focus on every detail; you is to not be “cool”. can do it so it’s a bit of a façade and fake something that looks absolutely amazing just by a few Photography by Becca Deains NO SUBSTANCE AidanZamiri.com sneaky maneuvers. philosophy is that I recycle as many set pieces as I can. And it doesn’t look the NC: That’s really interesting because same in the next shoot because I’ll paint when you look at fashion editorials and it, attach a carpet to it or break it in imagery, they’re there to inspire and draw half. I normally find that if I’ve got people in. In your set design as you place something, and it’s a good shape or a lot of “random” things together, what is a good colour, it’ll come in useful again. the reason behind you doing so? You can make something look really impressive, and there’s not actually AZ: When people try so hard to be a lot in it. original, its stupid, as there’s no point pushing being completely different all NC: How did you fall into set design? the time. Taking inspiration from other things and using it in your own way AZ: Last year, I was making a lot of is how you create your best work. It’s work I didn’t like because I’d just moved annoying when people say, “Oh that’s to London and I didn’t know what I been done before”, because who cares! was supposed to be doing. I saw what Everything has been done before. As other people on my course (BA Graphic long as you’re able to do and think about Design) were doing and just felt that it authentically, then that’s authentic. it wasn’t like my work. I tried to do a certain style of photography, and NC: So how do you create? realised I don’t really like working technologically on a computer. I much AZ: Sometimes I’ll have an archive of prefer making with my hands. What images that I’ve always wanted to make, ended up happening is my friend be given a brief and find that it fits the William, who’s a set designer, asked me image. If I don’t have a budget for a to help construct Mary Benson’s fashion shoot, I go out for a walk in Peckham, see week presentation. I ended up assisting what I can find and bring it home. Nine him, then Gary Card, whose main times out of ten, I will find something philosophy is that anything can look amazing. I’ll see the back of a chair, rip good, as long as you do a lot of it. it off, nail it to something else and that’s Then I start doing work on my own. made an interesting shape. I try to make Anyone can do set design but its more it so it’s reflective of the clothes or it’s the idea of understanding how you can getting an idea across. use materials.

NC: A lot of people would probably as- NC: Do you feel like a lot of people in sociate set design as something that has a London feel constrained when working lot of production. But in reality, you don’t more creative jobs? really need to? AZ: I’ll come into a shoot and the stylists AZ: God, definitely. I think I’m lucky will have brought in three assistants, and that I’ve found an outlet that I’m pas- for a set designer it’s just me. My main sionate about. It’s so easy to come here and feel constrained by what’s sur- thinking, “This is cool because it was on rounding you. People have such set Dazed”. Be introspective and say some- ideas about what’s ‘cool’ or ‘trendy’, thing you want to say. which are such limiting and stifling words. On my first year, I found it NC: People would argue that there isn’t so difficult to have a voice in terms any “longevity” to doing things on your of design, and to say something that own. I thought people wanted to hear. Trying to be “trendy” removes all AZ: As someone working in the freedom in creativity. When fashion, it becomes a lot less about ego. I was making my portfolio in It’s frustrating but you have to leave Glasgow, I wasn’t active on Tumblr your ego behind. I suppose you have to and Instagram, so I wasn’t keep a balance. If you want to work for concerned with what would money, then do so. But if you’re a person generate the most likes. This thirst that wants to say something, then it’s for likes interferes with the creative counterproductive to work in a way that’s process. When people make stuff following others. with that in mind, its always contrived. Money is such a big NC: If you never moved to London to factor for so many people. A lot of study and stayed in Glasgow, would you people think that if it looks cheap, still have this “do it yourself ” ethos? then it’s bad. AZ: If I were in Glasgow, I’d probably NC: There’s this idea of be based in my family home and “authenticity” and I feel that with wouldn’t be around people, making so many ideas, nothing new stuff. Collaborating and working with is being generated. others is so important, especially with people you respect. You can’t really AZ: People have this formula in find yourself by yourself. mind that they think, this is how to be “cool”. I really love everything Charles Jeffrey has done with SEE HIS ‘THE MIDAS TOUCH’ Loverboy, but then people have COLLABORATION ON PAGE 3 thought, “Ok that’s how to do it”. Although it’s exciting, don’t do that because you think that’s the way it works. Nothing ever happens the same way. When I first started, I was just copying Gary, with using PORTRAIT BY cardboard. Then I started experimenting and developing my JEFFREY own style. It’s about working on PANGPUTHIPONG your own terms; instead of HACKNEY KELLY WORDS BY LEE OWENSNATALIE CHUI PORTRAIT BY JEFFREY PANGPUTHIPONG

NATALIE CHUI meets UK singer and producer Kelly Lee Owens to discuss her ‘longer’ route to music and why there’s something wrong about ‘Doing it Yourself’

‘My name means warrior”, Kelly Lee Owens tells me thirty minutes into our conversation. It’s a strong statement but one that is telling of Owen’s character. It’s a bank holiday morning and she greets me with such a strong sense of self-awareness, its equivalent to the caffeine in the black coffee she’s sipping. We meet inside Hoi Polloi, a restaurant steps away Sister Ray, the accompanying record store to the Ace Hotel where she works two days a week. When she isn’t at Sister Ray, the indie-electronica singer and producer is busy in the studio, set to drop her debut album this September. With two singles out, and four festivals to play this summer, thisis undoubtedly a busy period in her life.

Owens music has been making sound waves for her unconventional musical style in which she fuses synths, electronica and pop together. At first chord, her music is fearless and almost intimidating, but fuelled with raw emotion and power, something Owens has learned to gain over the past few years. Currently, she is signed to record label Not On Label, and has taken a very “modest route”. Experiences with “decent” record labels that were wishy-washy over signing her has made Owens realise the inauthenticity within the music industry. “When someone is so genuinely interested in what you do, there’s this extra mile that they go and that is all that you can ask for.” Rather than sign a master rights deal, which is more typical, she’s signed a licensing deal, which allows her complete ownership over her master rights. Owens controls all her music, a rarity in an industry that is subjected as transparent. Her creative control over her music led to her being asked to curate the soundtrack for the Alexander McQueen AW’16 show in London, an homecoming for the brand. The soundtrack, a chilling homage to 80’s New York composer Arthur Russell, set the tone for the show and proved that Owens’ step back into focusing entirely over her music does indeed pay off.

Born in the humble coast of North Wales, Owens grew up in a tiny village where “everyone knows everyone else.” She was brought up in a family in which hard work was championed. “My mum never spoiled us, I don’t think she could afford to in a sense.” From a young age, Owens began working, starting as a waitress at fourteen. After meeting friends who were involved in the “2006/2007 indie scene”, Owens’ interest in music developed. “They would put on nights in Manchester and talk to me about the scene there. I was so intrigued by people just putting on shows of bands they wanted to see. They made it happen.” Initially starting out helping selling merchandise, Owens moved to Manchester after school and eventually came to London, where she gained work experience at XL Recordings and a job at Pure Groove, where she met Ghost Culture and Daniel Avery. Despite being in a choir back in Wales, which “immensely” helped her voice, Owens was still unsure of how to produce music. “I couldn’t read music or anything like that,” she recalls. “So I guess it took me a long time to figure out and gain the confidence to get to the point where I would write anything.”

For Owens, it’s the creative process that really reflects the sound she produces. “I do genuinely sample a lot of music on my iPhone,” she tells me when we first meet as we discuss my methodology of recording our interview on a Dictaphone. Technology and social media, though the subject of major critique in society for developing antisocial behaviour and glamourising staggering high prices, is something that Owens uses to her advantage. “Technology is your friend, it’s allowed people like me to put music on Soundcloud.”

Though she doesn’t receive an advance, her label finances all her recordings. Despite this, Owens is frank and acknowledges that lack of money, especially within London can be “bloody difficult”, yet there are still less limitations. “It’s a pool for meeting likeminded people.” London is a difficult place for an artist to work in, with rising rents and lack of governmental support for arts and culture, so it’s not an easy path, but as Owens comments “it never is though”. Even as we meet, Owens is clad in an outfit all directly bought from charity shops. “I’ve had two videos I’ve released, they might not be the best things I ever do but one of them is made from no money at all, second one was made from two hundred and fifty quid and we had so much fun,” she adds with a truthful nod. Owens is refreshingly bold, but with reason. A lot of her pathway to music comes from Owens’ initiative to learn by herself and take the first step. She’s been branded as a “DIY” artist, a spirit in which she embodies but also holds some weariness to. “One thing I’ve realised is that there’s something about “DIY” which is wrong, in a sense of the title,” She addresses, looking at me directly in the eye. “If it wasn’t for other people, I wouldn’t be where I am. You’re never by yourself and it’s about being open to other people, but of course, you are the driving force.” Building this network of people who can support her has become a big part of her career and her music. In the music industry, where success stories of singers rising to stardom overnight are often idealised and aspired, Owens is in contrast, slowing down the process. “I didn’t rush anything even though I’m impatience in one sense, which is why I put out my two EP’s myself. I’m not going to wait around for someone to tell me that my work isn’t good enough. I feel it is and I’m going to put it out there.”

Kelly Lee Owens has EP’s “Lucid/Arthur” and “Uncertain” out, to listen to her music, visit NOBUDGET.com Her album is set to drop in September. MANOR HOUSE ROBERT WORDS BY CAROLYN KANG

FOX PORTRAIT BY RYAN SKELTON

have been recognised by an international performance arts centre in Glasglow. He was A freelance cinematographer, shortlisted as a part of The Turner Robert Fox and Central Prize Public Program and has Saint Martins BA Fashion joined the creative production A freelance cinematographer, team, Maavven, to publish his films. RobertCommunication Fox and Central student, Saint MartinsRYAN BA SKELTON Fashion Communication discuss Ryan Skelton: Do you think your howstudent, the RYAN pace SKELTONof the industry profession allows you to have more discussin film how are the eitherpace of stifling the or time, in comparison to a lot of industry in film are either stifling other industries? or sparkingsparking creativity. creativity. Robert Fox: There is definitely a Recently graduated from BA Fine lot of time where I feel like I’m Art at Goldsmiths, University of not generating enough ideas. London, Robert Fox states how I’ve always felt that, even at art art education has let him learn school, it was like this weird state to stand for his own vision. He is of in between times where you currently producing contemporary think, ‘Should I be producing films, posted onto his website and more work or should I be using various social medias. Fox sits this time more to my benefit?’ in his Manor House studio in a Upon reflection of my time clean, white lab coat, the exact studying, it was necessary to have same one used in his most recent this stillness of time, to think film “The Guest”. Details are about things down to a tee. A lot important to Fox and it’s evident happens in the thought process in his work. In his films, everything without you realising it, so it’s from the square inch of fabric extremely necessary to go through used, right down to the sans serif periods where you don’t think lettered font of his notices, are all you’re using your time to your carefully arranged and designed advantage, but subconsciously are. at his studio. His penchant RS: Has your opinion changed for symmetry, and band of over the years of art school, in brilliantly dressed characters comparison to when you were studying art? RF: Yes, a lot of people go into art school, thinking that they’re going RF: When I was in the process of to be spoon fed, which sets you up it, I somewhat saw myself as out of for disappointment. Goldsmiths it as well. I never went in with the is a perfect example, because a lot mindset of using it as a ‘tool’, and of people go there thinking of the that it’s not my ‘be all’ and ‘end name. “Here is a checklist of all all’. Whereas, a lot of people get the things I expect to be gratified whipped up into the environment with, from this experience”. The very much focused into the course. only time I really appreciated the I saw it on a bit of an outer layer, learning was realising how much that I was using to my advantage, time and space you had to develop but was never on track of yourself. I realised during my first everything that was happening. year you’re expected to really sell yourself and present yourself as a RS: In terms of the environment powerful being during group of the students you were with, do discussions. I didn’t really you think there was a divide of a appreciate how important that different backgrounds and how was for me. That’s when it really they used that in their own work hit me, when I was expected to or not at all? produce work under pressure during my third year. However, RF: I’m not too sure, I think there people definitely close themselves was very much, like a sheath of off from this, because through this the way in which, people worked education, they think more about at Goldsmiths but, I definitely what they’re given rather than think there has been connotations what they have. of churning out a certain type of person, everyone had an idealist RS: We come from a background certain position that they really at Saint Martins where a lot of celebrated. Maybe I’m speaking students come for the space, as it because I was entwined into a has been re-designed and of the certain group of people who were name. People seem more wowed in that sort of mentality, but I by the campus rather than looking think people celebrated what their at the graduates’ work. So, how stance was, whether that was based much does money feed into your on background or not. own practice? RS: It seems as though you have RF: I work in physical production more of positive outlook on art so money is vital. It’s funny though education? because I’ve somehow managed to coin this way of working where I think things look a lot more RF: I guess it never really bogs me expensive than what they look like. I’m down. Obviously, we moan about actually doing higher production, where it but never really give it too much I’m being asked to replicate the thought. Maybe that it’s partly production values that have generated tied to the fact that I’m not sure from those past films, it’s about doing where I’ll be in a year, I might be something on a higher scale but not in London, I might not, so that allowing it to look too much of a higher scale. feeling of longevity is not with me.

RS: How do you feel being an artist RS: How would your life be if specifically in London? you had unlimited funds or a high income? RF: I don’t see myself in one place ever. I don’t feel very comfortable in saying that RF: My goal is to be in a place I am a London based artist because I feel where I can do what I want to like there’s a sort of stigma attached to it. do, but of the belief that striving I want to be thrown into other places. I without money really pushes work in London physically, but produce you, which maybe couldn’t have music videos for LA. occurred if you were cushioned. You need that strive, that friction RS: How do you feel about the Internet, to unearth things. It’s traumatic, as it’s a free platform, has changed in but you have to go through trauma many ways? Do you think it is a great to produce your best work. medium to show your work? h things. It’s traumatic, but you have to go through trauma to RF: It’s there because it’s there. I think produce your best work. it’s not beneficial to abruptly oppose digital culture. My work personally works Visit vimeo.com/robertfox to see his works well on the Internet, so I’m fond of playing with what it can do. On the flip side, the work of my friends works better off the Internet because their work is produced in an organic form.

RS: You say you don’t feel dictated who you are by your surroundings, and we started this project as we feel rent prices dictates very much the way we work. Do you agree that in terms of accommodation in London, it’s becoming a problem? HACKNEY WICK UNITI ENGLESIA , PORTRAIT BY and ALICE BETTINGER NATALIE CHUI MOLLY O’REILLY form the all-girl DJ group Uniti. Fresh from the success of their debut performance at The Yard Theatre in Hackney Wick.

SANJEEVA SURESH catches up with the girls at the location of their parties to discuss the music scene in London and just how they managed to pull off starting the group with invariably no budget.

Settling down with our way-too-expensive-for-too-little coffees from the Crate Brewery. A DJ is spinning at 2PM and a lesbian couple is kissing openly surrounded by flannel-clad boys in skinny jeans. Uniti formed around the time that the #Icanbeboth hashtag, in reference to being able to enjoy clubbing yet still stand up for a good cause, was really getting in the media limelight, this hasthtag inspired the theme of their first party. Aiming to represent solidarity and independence as a woman and the ability to do whatever you want, is what they wish to achieve with their parties.

Profit wasn’t even on their minds, Uniti explain. “We just wanted to do this nice thing for people and we use all of our profit for our show, even if we’re broke”, says Alice, one of the members of Uniti. The clubbing scene in London, has been in recent times, reduced less and less. Bars and clubs such as Dance Tunnel, which will open it’s doors for the last time in August, have been turned into fancy flats and restaurants in attempts from the government to “rebrand” and attract more money, defeating the heart of the communities these clubs brought together.

Yet DJ group Uniti is part of a resurgence to bring back club nights into a city pushing them out and a music scene which segregates them. Coming from a range of different backgrounds, all three members of Uniti, feel that they contribute to the group in their own way. German-American Alice is the voice of reason for the group, whereas Englesia, who was born and brought up in California and Shanghai, is the most experienced DJ out of the group, having already hosted nights in both her home countries, and thus more accustomed to the nuisances of carrying out a performance. “Its all quite equal and shared, and I think its good that there’s three of us because if there’s two people with an opposing idea then the third person can be like ‘maybe we can do this’,” explains Molly, who is the only member of the group from London. Uniti’s focal message is to make sure there is acceptance in the clubbing scene after seeing how under-represented both the female and LGBT community were in the underground, electronic music club scene.

According to the group, heterosexual men have been heavily dominating the experimental club scene and emerging female musicians don’t have the same platform as men do. “Its always guys on the lineup and then you’ll see a token girl a you’d be like ‘oh wow, she’s really good but I’ve never heard her before’,” says Alice. Molly apprises to me that women tend to get held in a corner despite being good at what they do. “The dance music scene is fun but there is something lacking and I’m not sure what that is. That’s something that we’re trying to achieve with Uniti because you’d expect London to be an experimental progressive space.” Englesia notes that the major difference in the clubbing scene in London to that of Shanghai is how much of a tight community is formed within certain spaces. An outsider to that certain space wouldn’t bother venturing into unknown territories because they feel they wouldn’t fit in. Their music and shows in turn are accessible to people of all backgrounds. “I think what we’re doing is a little different than that because we want everyone to be included, no matter how they look or how they dance or what kind of music they like, they should just come and have fun.” Fully encompassing the title they call themselves, Uniti is set to unite all kinds of people through experiences that’ll serve as memories for life.

With Molly and Englesia both still being students, it was interesting to see how they balance studying with running and playing club nights. “I think the reality of finance doesn’t really hit you until you’re finished with university and realise, ‘Ok, I’m in the real world, I don’t have student loan’.” Says Molly, who currently still lives at home with her parents and doesn’t go to university. “Living in London is where everything is and where all your friends are. Yet, you want the privacy and the independence to not live at home. That’s the reality you have to face. Finding a job that pays well enough to live in London because rent is so high.” Engelsia took a rather conscientious tone to the question stating, “If you want to go out, you will probably spend at least a hundred pounds a night, to pay for drinks, travel and entry fees. But if you stay in and have a chilled night with your friends, it will be free unless you’re buying beer.”

So just how far is one able to push themselves on a limited budget in this line of work? For Molly, she believes that it can either be a hindrance or push you to do better. “It wasn’t the fact that I didn’t have much money that was stopping me or pushing me from doing anything, it was just like, ‘I want to do this and I’m not going to really think about what’s stopping me,” she notes. Englesia, believes it has a lot to do with determination, “You really can’t do whatever you want if you don’t have any money, it’s a real pressure when you know you have zero pounds in your bank account. You’re just forced to make the most of what you have.” The rise of unemployment rates and increasing education fees has stretched millennials’ finance to the limit. Jobs at any price are not enough to cover the funds. “I’ve been working on my music more and practicing DJ-ing because I can’t just faff around. I feel a lot of pressure when I don’t have money”. Anxiety has also emerged as one of the factors dominating the minds of millennials, with many citing financial limitations as one of the key causes. Yet, Uniti in turn, are harnessing limitations and really use, what can be very damaging pressure, into something that is pushing them to work even harder at what they love.

What does the future hold for Uniti? In September they will be performing for a charity event and all the proceeds will be going to a charity supporting women’s refuge. They would like to see themselves progressing from more than just a club night and have their message be a movement that resonates with people.

Visit NOBUDGET.com and soundcloud.com/uniti to listen to Uniti HIGHGATE DOM WORDS BY SEBASTIANCAROLYN KANG PORTRAIT BY JEFFREY PANGPUTHIPONG

Dom Sebastian is a multi- talented creative who recently switched this year from studying a degree in graphic design to textile design at Central Saint Martins. The last time we were in touch, he was twenty years old and was living in East London’s Whitechapel. Sebastian already Carolyn Kang : For the last two had a large presence on Tumblr years, you have built a solid set when launched his first clothing of photography work for your collection, ‘Jurassic Marble’. His personal portfolio. For example, work comprised of pixelated video you have been commissioned as a photographer to produce editorial screens and pastel toned still life work for Dazed and Garage images of fruit, honing a nostalgic Magazine. How did you balance and cyber aesthetic. His work your university’s work and includes a range of disciplines independent projects? from photography to fashion, graphic design and fine art. Dom Sebastian: From fashion brands to musicians, During my foundation year, Sebastian has collaborated with I experimented with various range footwear label Camper, Italian of disciplines from photography fashion house Fendi and to textile designs. After I did a up-and-coming musicians such week project about ‘White Space’, as Hucci, Empress of, and Bewil- I remembered I started to get derbeast’s, designing their album into photography through covers. Yet, when we meet to experimentation. That’s when interview, Sebastian is no longer I used my tiny student living in the east and has moved accommodation room to set further out to suburban area of a small studio set for myself. Highgate in North London, where I didn’t have a lot of space and he now has his own studio space. time to work on that project. All the briefs lasted a day to a week and I student halls and finding a flat further wanted to develop my ideas further even out in North London? Do you work dif- though project ended. ferently after you moved into Highgate?

CK: You’ve been absent around your DS: Highgate is not too far from King’s website and social media strangely for a Cross. I mean it is at zone 3 but its about while. Have you lost interest to produce 20 minutes away. I think you have to more still life photographs? move further out, if you want more studio space. It’s calmer to live there and I have DS: Oh, I’m still taking photos and a studio in my flat where I can focus collaborating with other artists but not better. I still come to King’s cross and use releasing any content on the website at the photography studio to take my final the moment. I’ve been more focused on photographs but I like to experiment the projects I received from my (textile with different medium back in my flat. design) course recently. During my first year, when I was specialising in CK: How did you start selling your graphic design, I think I was more clothing line, ‘Jurassic Marble’? actively involved with my personal work. I didn’t really like the project briefs I DS: Before I sold it online, I couldn’t received and found it very restrictive. I find any clothes I liked to wear that were think that’s how my interest drifted off affordable. So I started to design my own from there. After I changed my degree to clothes by printing it on caps, t-shirts, textiles, I think they (my tutors) became shorts and sweatshirt so I could wear it more accepting with experimentations. everyday. My friends were interested in wearing what I designed, so I created a CK: I’ve heard the briefs were quite website to sell my own clothes. restrictive and also there were lots of ‘rules’ you had to follow. What were the CK: Is it expensive to set your still life at ‘rules’ to be more exact? the studio?

DS: The brief were super specific. For DS: Well, it really depends on what kind example, we had to produce our visuals of props I am using for the shoot. When and layout for a publication. It feels like I worked with Garage Magazine, I used everything needs to fit into a frame. £150 pounds to buy a Bonsai tree. I wasn’t expecting every brief to be very Luckily, that was a commissioned work client based. For my course, I think so I got paid for that editorial shoot. wanted more creative freedom to create Also, the shoot I will be doing with an idea from scratch. Camper will be produced within the given budget. I have discussed if the CK: How does it feel moving out from budget they are offering me is part of payment. Most of the projects I have collaborated were solely funded by me. Budget for a shoot is rarely discussed.

CS: What are your strategies to find cheaper objects to put on your still life? Do you think you can produce a high quality work with a limited budget?

DS: I think you can do really good work within a low budget. You have to spend time looking for interesting objects that can compromise price and quality. When I used to live at Whitechapel, I’d just walk down to Brick Lane and start search for props for my shoot. I mean, if you have a good budget on your hands, you can get all the equipment and props that you exactly need. But as a student I’m not too bothered by how much money I spend when I produce my work. Buying a handful of plastic flowers and fruits from a local market in Brick Lane was actually much cheaper to buy from Sainsburys and I really like when my photos looked much better than I planned.

CK: Do you think it is important to have education for arts today?

DS: Although it’s expensive, I think it’s definitely important to get a degree in university. Having a studio space, time to develop your work is truly a luxury. For me, I feel really comfortable working in an environment, where I can fully push myself without any restrictions.

DECK DESIGN WITH FORMAT SKATEBOARDS, SEPTEMBER 2015 DOMSEBASTIAN.COM BETHNAL GREEN HIND Fashion designer Hind Matar sits down with NATALIE CHUI to discuss starting MATAR your own fashion label and the differences in education inside and outside university.

PORTRAIT BY

CAROLYN KANG

As opposed to most aspiring tures, stemming from her Arabic fashion designers choosing to identity. When I meet Matar, it’s study at a fashion orientated in her new Bethnal Green studio university to pursue their careers, and home and she’s clad in purple Hind Matar came to fashion tights with kohl rimmed around through more unconventional her eyelids. Whilst sitting next to means. Born and brought up her sewing machines and in front between Bahrain and America, of a wall decorated with mood Matar initially studied a bachelor’s boards, Matar discusses why, in the degree in economics and phi- certain context, money is not an losophy at university due to her ends or beginning to any means parents’ weariness about pursing and how taking the first step leads fashion professionally. Yet, her to a bounty of opportunity. lifelong desire to work in the Natalie Chui: Did you feel that to fashion industry, took her across go into fashion design, you needed waters to London. She began to grasp an education in it? her career in fashion in styling, interning at The Face, Matar then Hind Matar: I think it’s a mixture of learning from people and undertook a graduate diploma academically. I think there’s a at Central Saint Martins. She certain knowledge you need to debuted her SS’14 collection and attain from university and it helps opened her ready-to-wear line, a lot, but a lot of it has to come Matar Studio. Inspired by her with your own perseverance and varied background, Matar Studio trying to educate yourself as well. presents femininity and an arti- Not everything is going to come sanal quality through rich tex- from school. completely different aesthetics, so it NC: So why did you feel to come was interesting to expose myself to. to London for fashion rather than the states? NC: At what point did you decide to start your own line? HD: There was an amazing scene in London at the time. So when HM: After I finished at Central my sister and I came here after Saint Martins, I was interning with university, there was the whole Yang, and at some point had the electro-clash scene. People were conviction that it was time for me really dressing up and not caring to start and didn’t want to wait any about anything. There was a sense longer, so I launched. London is a of freedom and expression that I great place, at least in the beginning, felt, was really gravitating. Once as it’s got an amazing support system. we got into that world, it really The BFC (British Fashion Council) made me become more passionate are supporting a lot of emerging about clothing and how you can designers. express yourself through clothes. I come from an Arab background NC: When you started your line and when I was young, I lived in what were some of the difficulties you the states, which is a very open faced starting out? environment and very free, then had to go back to Bahrain. So there’s HM: Planning and time frames, this whole idea of east versus west, specifically not knowing how long of being free and feeling more things really take. Also, securing a conservative. So clothes were a sales showroom in Paris. All these way to express myself. things are very new, so you don’t really know whom to work with. All NC: How did you feel your these different aspects that are way experience academically studying up and beyond the fashion design fashion differ from your aspect that you have to think about experiences interning? and plan. In the beginning, you are more rushed to do things and you HM: I think the academic aspect realise if you really want stronger helped me discover a way of results, it requires a lot of planning working and a methodology, in early on. It’s a learning experience terms of research and collating and as you go along seasons by it together and translating it seasons, things improve. As you go into something tangible. But the one you realise what sells and what internships really helped honed my doesn’t. skills, technically. I interned with two different designers (Yang Li NC: Why do you feel as if there’s the and Bernard Wilhem) who had idea that you can only produce good Prefall 2016 HINDMATAR.CO.UK work with support and high backing? a student, you’re not too caught up HM: Obviously money helps but I with the whole idea of selling so your think skills and creativity can present mind is a lot freer and you can tap themselves even if you don’t have into your imagination. You can go these advantages, you’ll be capable into a much more interesting direction. of showing people what you can do. Whereas, when you’re facing the real Actually, I think when designers world and it’s all about numbers, you are struggling early on; they get a kind of have to balance things more, lot more creative. So I don’t think so maybe you don’t go to the extreme. it always goes hand in hand. Even Extremes are what bring out the best designers I’ve been following and because you’re not scared and can go really respect, sometimes I see earlier really far with your creativity and it in their career when they didn’t have can produce a lot more unique and the backing, and they were doing interesting results than when you much better work. It varies and isn’t have to deal with numbers because always the case but support is really then commerciality and viability play important, in terms of the speed of a big role. Obviously its great to feel how things can happen. successful, but its also nice to focus on something and go for it. NC: Did you find that meeting peo- ple helps a lot as well? NC: Do you think your background in economics helped you when you HM: Absolutely, contacts just hap- started your line? pen immediately. To be honest, half of getting where you want to get is HM: Absolutely, it gives you a great through people. It plays a huge role, foundation. My company is quite because you can easily meet people small and I’m handling a lot of the through word and mouth. It just business aspects. Luckily, at a very becomes this interworking. If you’re recent time I’ve managed to secure going to isolate yourself, you can some investors so I think this comes produce good work but I think these from my economic background. It things happen a lot more through gives you a better understanding of relationships you cultivate. how to do pitches.

NC: Sometimes when you’re the most NC: Do you feel that having your restricted you create the best work? experiences really helped you hone your identity? HM: To be honest, even what I did when I was in Central Saint Martins, HM: Absolutely, I think for sure. it’s probably the strongest work I’ve With styling, you’re creating a done. When you’re a student, your whole look. I’m currently thinking life is completely different as to when about shoes and have received great you start your own label. I think as feedback on the jewellery I’ve done Prefall Prefall 2016 HINDMATAR.CO.UK

challenging at the same time, because you’re dealing with dif- ferent weights. In Arab culture, there’s a sense of simplicity of twisting things around. That whole idea is appearing more and more in my work. It’s like so far. So my background in working with simple ideas and styling really helps me to think turning them into something more of complete looks and be more sophisticated. I would say with playful in design. me, I go with the maximum. I never try to put that limitation NC: A lot of design students on myself. When it comes to limit themselves in terms of costing, it can be very expen- materials, have you ever had a sive and limiting. As I’m going brief that really challenged you? ahead I’m realising I need to put a limit as its not always feasible. HM: To be honest, I go wild To me, when I start a collection, with fabrics. It’s hard for me fabrics play a huge role in how to narrow things down! I love they design formulates you. mixing a lot of different fabrics When you put something on, together as it creates a very it’s the sensation and it’s the interesting narrative. It’s fabrics that really come to play. NEW CROSS RICCARDO M

Self-proclaimed ‘visual philosopher’, Riccardo Matlakas and Central Saint Martins

RICCARDO ATLAKAS BA Fashion Communication student, RYAN SKELTON discuss why artists don’t always need a blank, white canvas or a quiet stage to become a performer or a painter.

Born in Naples, Italy, Riccardo Matlakas is now currently based in New Cross, Ryan Skelton: What is your inspi- London. His background ration behind your performances broadens to the fields of painting, and mural paintings? performance and installation. Riccardo Matlakas: My work is After completing his Master centred on themes of: Crisis of degree in classical sculpture back human identity, Consciousness / in Naples, Matlakas moved to Unconsciousness, Communica- London and undertook a Masters tion / Consumerism, Sensations, degree in Social Sculpture at Criticism of a sick world and Oxford Brookes University. Dreaming as a refuge. For me, Through his Masters, he the crowded masses of humanity discovered a new way of working contain power, fear, desire for involving the participation and pleasure and constraints. sensibilisation from the audience, environment and eco-system. RS: What kind of performance do His works has been displayed you create? inexhibitions and performance RM: ‘Heimat Obstruction’ is a events worldwide including: series of actions/performance Biennale of young artists in made in public spaces, where Moscow, Gwangju Biennale in I just perform spontaneously. South Korea, The Museum of Art can be made in any context Palestine in Cape Town and the and be performed and showed Institute of Palestine in in public spaces, without the South Africa in 2015. support of any institution, going straight to the audience. This WORDS & approach witnesses lots of PORTRAIT BY planning and strategies before the action can be made. The RYAN context is very important for the SKELTON kind of action I deliver. I’ve been & performing ‘Heimat Obstruction’ CAROLYN in Europe, Korea, China, Japan KANG and Russia.

The London Art Wall in Shoreditch, London, is a large 4-panel advertising wall used by multinational advertisers for product launches, as well a popular painting venue, for acclaimed international artists. It is viewed by over a million people a month (both foot and vehicle traffic) I prefer paying people, for example, RS: Do you have time to do what you regarding my performance practice. really want to do? Rather than buying “stuff ” although RM: Time is never enough when the my other practice painting requests mission is to go beyond what you a fair amount of cash. Of course if I conceive as yourself. So my answer had a larger amount of money, my would be no, I don’t have time and I practice would definitely explore the ’m a full time artist. As Foucault said, field of science and new technologies there are a thousand things to do, to in connection with performance art. invent, to forge… RS: Do you have money to live on RS: What is your relationship like with independent terms in being able to money? do what you want to do? Money is something that we need, to RM: I myself don’t own anything, spend and also earn. It’s a great reward money just filters through me when I to receive but I’m not obsessed with need it. Sometimes in larger amount how much I earn. I’m saying, whatever sometimes seemingly not even comes in our pocket will be just enough, enough for a coffee, but I fulfilled always for our basic needs. It will come many of the projects I wanted to, whenever we have motivation for the independently. work we’re doing. Artists aren’t slaves of money. Even better if our aim is selfless RS: You have once been a student and at disposal of everyone else, art is and lecturer in various universities generous and grows. When you work in the UK, Italy and Korea, what in synergy, money will channel towards are your thoughts on art education you, without thinking. I usually don’t today? Do you feel it has changed check my bank account and find that over the years? sometimes very helpful so I feel I can RM: Art education has changed spend whatever I want (of course indeed but essentially deeply reasonably). I don’t put monetary value remains the same. It remains a for my work. If I want to develop an humanitarian practice, containing all idea, I will make it happen with subjects existing and not existing yet. whatever resources I have on my hands. I can see nowadays all other subjects are getting closer and closer to art. RS: How does money affect your prac- Every other field is inspired by art tice? Are there specific examples where and creativity and vice versa, this it has helped or degraded a specific feeling of subjects feeding each other project you have done? is a sensation I have seen clearer over Usually lack of money can even bring the years, disciplines getting closer to artists to find better ideas. Restriction of art and art exploring other disciplines choice can lead you to a style that you as a platform. I feel the essential might develop and discover new realms. change is that art teaching and When I have a good budget to spend, existence is getting inevitably closer to its essence. And I see its ultimate RM: I don’t think so. essence to have no tangible form. RS: Is London supportive of strug- RS: How has living in London gling or upcoming artists without affected your practice? much funds backing them? RM: It’s affected many aspects; even RM: There are specific schemes for leisure can be very expensive. Shops artists but they’re very competitive are different so the materials I used and very often those who can write to use are and each country I visit proposals in advance and can artic- actually changes my practice slightly, ulate well, get the funds. However, a different context has a different there’s a poor understanding that energy, so what I create actually is many artists work in different ways, channelled in that particular so the system doesn’t work for a frequency. Living in London wider variety of characters, but again, changed my practice in terms of the system wants to homologate the understanding that I have to be way art is proposed, made, styled, myself, follow my heart since there presented. In my opinion, artists is so many artists living here, so the in London who can prove years only way to step out of the crowd, is of experience should receive basic being your true self and I think this income in order to unfold their own is one of the most beautiful opportu- potential and not be conditioned by nities human being has. the external financial worlds.

RS: Has lack of funds pushed you RS: What does it mean to be an more or deprived you in your work? artist today? RM: It’s dragged me down many RM: The role of the artist in society times, but by persisting, I could see is changing, drastically. Every field, that things move on! I am very cu- business, company, organisation, rious so any obstacle can actually be educational building, all the jobs beneficial. The only obstacle art can existing should include at least an have is mind self-sabotage. Actually, artist in the role of who has no not having money made me start my experience in that particular sector street action, which now is a priority but that can bring a fresh input to it. in my practice. Working in the streets The role of art is not merely a liberates me from the politics of commercial role, I believe artists institution. I also noticed that some should be considered more as organizations are particularly focused scientists collaborators because artists on artists whose work is very similar and scientists have a lot in common. or follow a specific line, even art organisations tends to homologate circles of artists.

RS: You need money to produce a high quality of work, do you agree? trait