What did your mother pack in your lunchbox? Mine sandwiched bologna
between two pieces of white bread, and often threw a slice of pickle
in for crunch or contrast or because she didn’t know what else to do
with the pickles she bought on sale. It was never about the pickles.
My first boyfriend taught me how to buy meat from the butcher, helped
me overcome my neurotic fear of the cleaver-wielding kid behind the
counter at the Ukranian deli. He sliced the ham thin, like parchment
paper, so thin that if you held a piece to the light you could see
God. We had been dreaming of this ham all day, had skipped breakfast
and lunch for it, had run three blocks from the train station in rain
to get it before the butcher shop closed. We shared just one slice on
the walk home, careful to save enough for our sandwiches, idly
debating which condiments we’d use this time.
At some point in my youth someone told me where ham comes from. This
animal may or may not supply whatever results in bologna; I’ve never
figured that out. I have sympathy for pigs, having fed them at petting
zoos. And I have watched them slow-roast over a spit and tasted their
crackling, fire-black skin. But when their meat sits between two
pieces of dull bread that pig’s life is wholly justified. We are all
feeders, and eaters, primal things.
photo Sebastian Piras
LONDON, The fine line between art and fashion has often proved controversial. Continuing to blur the boundaries is London College of Fashion graduate Una Burke who with a combination of leather and studs has both provoked and intrigued audiences with her fragmented pieces inspired by the human body. The Irish born, London based creator talks to FAULT about her artistic vision.
FAULT: What was your inspiration for your MA graduate collection?
Una:My graduate collection is based on the study of the human mind, how it processes an event of trauma and the consequential after effects. I examined medical findings which discuss the protective emotional barriers often put in place as a result of this. I looked at the different stages of trauma, from the event itself, through the psychological aftermath and finally arriving at a place of acceptance and recovery. The collection in its entirety is a journey which pays respect to all of the stages that have to be endured before healing can take place.
FAULT: Your architectural-like aesthetic would provoke some to categorize your pieces as costume or even sculpture. Was this your intention? How would you describe your work?
Una:I have always been interested in blurring the boundaries between fine art and fashion therefore the primary function of this collection was, in fact, to create pieces which are built around the body’s form but would be viewed as a sculptural display in a gallery environment. When exhibiting these pieces I deliberately position each one so that it interacts visually with the surrounding pieces within the given space. The scenes created relate back to the original concept of the collection, so they depict dialogues of physical and mental anguish through to the healing process. As a result of this, a certain mood is created and the viewer often develops feelings such as compassion, fear or pity for particular characters, depending on how each person interprets the scenario.
Una: These pieces have been exhibited in various galleries in the UK, Ireland and Italy. Due to their extreme visual impact and their dramatic effect on the body, they have also been used for several photoshoots for UK and international fashion magazines. This collection had not actually been worn on catwalk until I brought it to Germany in October 2009. Here these pieces were worn at “Cologne Catwalk”, a fashion show titled, “Art meets Fashion” which was held at “Art.Fair21”, an expose featuring emerging contemporary artists.
Una: It is amazing that my work has been received so well from both the fashion and fine art aspects. I suppose it could be described either as wearable art or sculptural fashion. This, once again, is for the viewer to decide.
FAULT:Where do you hope to see yourself in five years time?
Una: I hope to be collaborating with some interesting artists and designers, producing sculptural pieces for catwalk shows, while also producing structured leather accessories and corsetry for sale in high end stores. I will continue to produce conceptual pieces for display in galleries and to be used in fashion editorials.
FAULT:Do you feel there is enough support for emerging designers?
Una: I think that there is quite a bit of support for designers right now however there could certainly be more help given in the line of grants for new fashion business set-up and also in the area of access to free business information.
FAULT: What advice would you give to other emerging designers?
Get a PR agent. I can’t afford one yet and I’m spending so much time co-ordinating and getting my work to and from shoots, exhibitions and other events that I find that I don’t have even nearly enough time to focus on the making and development of new styles.
FAULT:What are your plans for the moment?
Una: Right now I am developing some cinch belts and corsetry which are selling in Coco De Mer and I am also working on a small collection of handbags for sale in a store in San Francisco called Circle and Square.
Arctic Monkeys with Richard Hawley: Live At The Apollo
SANTO & JOHNNY
FAULT Teen book :: Now available ::
FAULT Featured:: Graphic designer Louise Moe Dean
I will try and tell you a little about myself… Im 22 and have recently graduated from Central Saint Martins studying Graphic Design. Before this, I also took a one year foundation course at Central Saint Martins. I am very inspired by handmade and traditional design e.g. paper engineering, letterpress, 3d tactile design, and hand drawn typography etc and I like incorporating hand crafted elements in my work. For example, I created all my tick tock images using long exposure on a SLR camera and piercing very small holes in a piece of card to create the words. None of this project was created using photoshop! I don’t have an all time favourite designer, I actually enjoy looking at other students/graduates work as it is full of fresh and exciting ideas. At the moment I am interning at different companies to gain experience whilst at the same time looking for a job in a graphic design studio.
Print designer: Isobel Gravestock
Posted By: Amandine Paulandre
Wardrobes with their shelves, desks with their draws, and chests with their false bottoms are veritable organs of the secret psychological life. Indeed, without these ‘objects’ and a few others in equally high favour, our intimate life would lack a model of intimacy. They are hybrid objects, subject objects. Like us, through us and for us, they have a quality of intimacy.’ (Gaston Bachelard)
Objects are very powerful, they can act as a living memory in the form of still life, create a sense of belonging to an unfamiliar place, depict a person’s personality at a glance and can create a whole world of escapism. ‘Nesting Nostalgia’ is a project is inspired by the crow family’s instinct to hoard, store and collect, which will bring intimacy in to a space.
At the moment I have designed a wallpaper design, knickers and a house coat. I would like to go further and create draw linings for the vintage dressing ables I collect from the 20s/30s and portray a life style which people will want to buy into.
At the moment im working on my products for Liberty’s Best of British Open Call which is happening on the 7th February. I have also had interest from a Ladies clothes/homewear shop which want to stock my wallpaper from the beginning of feb. Also, Beyond the Valley want to stock my products also, which is very exciting. My web site will be ready shortly.
FAULT Magazine’s featured photographer:: Mira Loew
FAULT: Why did you choose to come to London to study and work?
Mira: when i fist visited london i fell in love with the city and promised myself I would move here one day. going to university seemed like a good place to start. now i finished my BA but I just can´t think of a reason to leave. London is a place where things happen. there are plenty of opportunities for young creatives to make themselves seen. there´s a lot of helpful people around and if you manage to stand out you will be noticed. As much as my love vienna, my hometown, i don´t feel it has much to offer me professionally.
FAULT: Who inspires you ?
Mira:Egon Schiele is my main inspiration. his paintings and drawings of the human body touch me in a way no other images ever did. he does not try to beautify his subjects, not even his own body. he shows the human body in its natural- sometimes intimidating state. He picks both the beauty of the human body and its physical weaknesses; sexuality and mortality as his central themes. even if he lived today, we would consider his images provocative, shocking and highly innovative.
The work of the cinematographer Cristopher Doyle, particularly his collaborations with Wong Kar Wai had a big impact on the way I work with colours.
FAULT: What do you think about fashion photography nowadays ?
Mira:most of it bores me. in the past, certain norms have in established, how a model and the fashion shall be represented, that i find rather restrictive. when we think of fashion photography we have a very particular look in mind, a certain type of girl, doing a certain type of pose, with a certain way of retouching- This makes Fashion Photography repetitive and predictable. Magazines should be a playground for creativity, giving photographers the opportunity to explore new ideas rather than recreating images that worked in the past.
FAULT:Why are you so fascinated by human body ?
Mira:if i knew that i could maybe overcome this obsession of mine.
On the one hand it is a purely visual fascination with the body, its forms, the texture of skin, etc. On the other hand it is the whole process of photographing nudes I really like. Interacting with the model and the make-up artist, creating an atmosphere that makes my models feel comfortable. I prefer to work in a very small team to create and capture a moment of intimacy.