Ok, THIS is the last thing before holidays. Check what REAL people think about CSM creations. Reading the comments is a must.
Days of “summer” have finally arrived in London… Thank god! So don’t waste your time in front of a screen or on top of a pot, but go out in your shortest mini shorts and get your white-eew skin tanned! We bet that’s what CSM students are NOT doing now because school is over and these fashion beasts do enjoy their summers inside studios around London, Paris and New York City to name just a few cities. Let’s face it, CSM fashion students won’t ever be tan. Maybe later in their careers…hence italian designers like Cavalli and Valentino, or is it an italian thing? Also, CSM summer school is open, so go when your tan is serious enough.
Anyways we just wanted to let you know that we shall be leaving you, our gentle readers, for the next three weeks to get some tan ourselves, prepare epic posts AND renovate 1Granary blog into a website! Yes, we are going BIGGER, not only in terms of a new website, but also *hint* it starts with “M”. You guess until we come back with the official news.
It’s summer holidays!!! Let’s enjoy the sun!
Hayley Grundmann is Central Saint Martins’ Knitwear kid, who has made crazy shaped, knitted and glittering with Swarovski crystals clothes for her grad collection, for which she got inspired by the checkered laundry bag. Hayley got accepted onto the MA before graduating from BA! We tip our hat to you, Hayley.
1Granary would like to congratulate Hayley with soon to start MAdness. Perhaps prescription of unlimited amounts of black coffee, injections of Red Bull and a pack of extra stamina should be included in the acceptance letter envelope. Also, we would like to thank Hayley Grundmann for fun and insightful interview.
1G.: How did you get in to Central Saint Martins?
HG: Well, first of all I did a BTEC, and then I applied straight away to go to Central Saint Martins, but I didn’t get in. So I took a year out and worked, applied for Foundation and got in; I loved it! On Foundation you get to experiment with different things, so it was so much fun! After Foundation I got in to Saint Martins, which was the best thing that happened to me.
What is your background, where are you from?
I grew up, probably like ten years of my life, in Buckinghamshire and then moved to the outskirts of London. Now I live in Fulham, with my boyfriend.
Tell us about your final year, how was it?
It’s been busy. It was a lot of work and very stressful at some points – especially the trial stage. It’s like working everything through, at the beginning I had so many ideas, I had to stop myself and really concentrate on a few key ideas. then work with that, instead of going a bit crazy all over the place. But yeah no, I really enjoyed the final year, you develop a lot as a person and as a designer because you go through lots of trials and tribulations on the way, so, to get to the end.
Tell us about your collection. What were you inspired by?
Well, first of all it started with the checkered laundry bag. I really liked the idea of trying to knit with it and got interested by the launderettes. They are dying out of use, and they all look dated as if from the 70’s. I really wanted to concentrate on the colours and use the shapes of the baskets and pegs. I tried to create this sort of necessity of going to wash your clothes in to something quite precious and something a bit more special.
What went wrong?
Well, my first line up was terrible! Basically, I went a bit crazy with this box and I was working a lot from home due to circumstances. I just went in to my own little bubble, doing these crazy shapes and when it got to my first trial line up, it was just like WOW! When I saw it together, even I thought, “What was I thinking?” It was really crazy, so I had to take everything away, apart from two looks, and start again. That was the hardest.
Which stage was this at?
This was just before we started making, it was our final line up. Yes, so I had less than a week to say, “Right, I’ve got to think of my collection. Four more outfits, how am I going to do it?” It’s always a work in progress though, I think everyone in my class would say the same. Knitting especially.
What would you put into the survival kit for the final years?
I would put money into a survival kit for final year! (Laughs) And maybe a few helpers and some chocolate, oh and coffee!!
Did you get any sponsorships, or did you afford everything yourself?
Yeah! Well, I got all my yarns by wholesale prices, so they were a really cheap price. And I got a donation from Swarovski Crystals; they gave me all my crystals.
How did you apply?
I was put forward by my tutor as part of the scholarship, but I didn’t get it, but they offered me a donation instead because they liked what I was going to do. Also, I got a Sally Woodward Award, which is a little bit of money. It paid for my shoes, more fabrics and things. So yeah, I did really well, I didn’t spend that much on my whole collection, but gosh, I definitely needed that help.
Did you do any internships?
I was at Galliano for nearly four months. I really loved it there because everyone was just so lovely and being in Paris is a completely different experience than being in London. I had so much fun and learnt so much. Then, for nine months I was at Gareth Pugh, I did the knitwear for his S/S12 collection. I loved being at Gareth Pugh because I was knitting. I got to do my own thing. I would just come up with an idea, do my samples and then come back to him for his opinion. It was really good; it gave me a taster of being a freelance knitwear designer because I could work from home and come in to the studio to help them work out how to put it all together. That was probably rewarding as a Knitwear student. Then, I did one month of internship at Giles Deacon.
How did it feel during the final show?
I think I had butterflies for almost three days leading up to the show! It was a bit mental. During the first show at three o’clock, I was so nervous and was worried that one of the zips might break on the box shaped dress. But the show later – all those nerves were gone. I really enjoyed the last show because I knew everything could get on in time, so I could just relax and enjoy it.
What would be your dream job?
My dream job would be working from home! (Laughs) Not working at all!!
No, no, doing my own thing, definitely. Having my own label. getting my own, personality and creative ideas out there for everyone to see. That would be my dream, definitely.
And at the moment, I am looking forward to begin the MA course in CSM.
Did you have any crazy stories from your years in college? C’mon tell us!
Oh my god, no…I don’t think so, but I remember in first year there was always one person crying at every crit and there was always one that fell asleep. And I was always doing all nighters! There was one time I fell asleep because that was our first project and I think everyone just gave it their all. But not real drama I would say.
We don’t believe you, at Central Saint Martins there is always drama!
(Laughs) I think us knitters were in our own little bubble! Even our tutor said that we weren’t a dramatic year. There was no breakdowns. Sorry to disappoint you on that front!
What music do you listen to? (Hayley’s soundtrack for the show)
I love The Black Keys, Edward Sharpe and the Magnetic Zero’s and Janelle Monae! I could listen to all 3 all the time!
If you had 1,000,000 pounds, what would you do?
I would firstly help my family out, I would then buy a flat in London- one with space for a studio, pay off loans and overdrafts, set up my label and then with the left over go on holiday with my boyfriend Jack!!
Do you think students make CSM special or CSM makes the students?
I think its a bit of both, Students have made CSM what it is but the talent, energy and creative atmosphere of CSM really can inspire a student and it really is a special place!
Interviewed by Altynai Osmoeva
V&A is one of the greatest museums in the world and its installations and exhibitions often feature works of artists, musicians, architects and designers who studied at Central Saint Martins…we do not even mention the Fashion Galleries. Go and see Ballgowns: British Glamour Since 1950, open from Sat 19 May 2012 –Sun 6 January 2013.
Britain Creates 2012: Fashion + Art Collusion (6th July – 29th July 2012) is a free display of works created in collaboration by leading fashion designers, most of whom are CSM alumni: Hussein Chalayan, Giles Deacon, Matthew Williamson, Jonathan Saunders, Mary Katrantzou and milliner Stephen Jones, and notable artists from Britain. They have come together to celebrate and promote the creative relationship between fashion and art.
Yesterday 1Granary attended an evening talk at V&A where CSM’s notable alumni Hussein Chalayan and Gavin Turk, leading UK artist and RCA drop out, discussed their collaboration for Collusion display, with curator Susanna Greeves.
Unique copper master (used for the pressing of limited edition vinyl of the audio work ‘Four Minute Mile’). 61cm x 61cm. © Steven WhitePhotograph taken from http://www.britaincreates.com/presentation.aspx?pid=2Photograph: Stephen White
The talk was mainly about Hussein’s and Gavin’s collaboration on a beautiful vinyl disc and an audio track called Four Minute Mile, but they also spoke of their time back in university, their work and personal approach to art and design.
Here is some part of an interview with Hussen Chalayan:
SG: You studied in one of the most prestigious art school in the world – Central Saint Martins; could you please speak about your time in university?
HC: Central Saint Martins was great, the campus was much smaller when I studied there and everyone used to hang out with each other because we were in the same building as Fine Art students. I didn’t think that I was being cool by hanging out with artists, it was so natural. Maybe since then Central Saint Martins got much more institutionalized; it is still an amazing institution, but it felt different on Charring Cross road.
Looking at your career, it seems that you could have chosen any other discipline than fashion; you could have been an architect or a designer equally. Did it feel like that to you at that point?
I was certainly of an idea’s person and I was very excited by clothes, so I thought I want to combine the two together. I loved design and was very much excited by the things that would evolve around the body in various ways. I didn’t really like labels, but was definitely very excited by clothes, so I guess my work has evolved in a certain way.
I remember when I was on Foundation course before Central Saint Martins, my tutors would actually say, “You know, you can also apply to an art course as well at Saint Martins.” But I thought that my work would be more interesting if I did fashion with my approach…somehow.
Your work has been often on themes of displacement and duality, why so?
Well, I come from a war stricken place. It affects you. And it affected me, but in a good way because I can see from another person’s perspective. Muslim background, although I am not religious at all, makes me see the opinion of another… in a positive way. So, I feel lucky.
Did it establish certain types of rules and limitations on yourself by doing fashion in that prescribed mode of expression?
Yes. The fact that you have to deliver collections all the time and the time of it is quite mechanical; I find it very difficult. I am not saying that artists don’t suffer from having to produce work quickly, but I definitely think that we are more in an industrial situation and there are financial restraints like there are for the artists as well. I also find that the product has to be perfect or near enough perfect, and you really strive for it to be perfect, but yes, it definitely affects the creative process.
I personally think that fashion is really tough.
You know, I’ve been in fashion for 18 years now and I never stop questioning myself. At times I feel like a hamster in a wheel… it never stops. I often think, do people really need more clothes? At times it is ridiculous to think about! I doubt if I need to go on, but then I also think that it is amazing…so, questioning never stops.
Interviewed by Collusion curator Susanna Greeves.
1Granary had an opportunity to ask one question:
Please share one particular memory when you were a student at Central Saint Martins.
One of my cherished memories would be the first day at Central Saint Martins. Back then, CSM was different, it was smaller and very hard to get into. Everything was much smaller than now, and then, everyone knew the faces much better. I remember how on the first day we were all crammed into one room at Charring Cross road and remember just how everyone was, everyone thought that they were special. It was also very competitive and people didn’t often speak to each other. (Laughs) I always got along much better with girls than boys. And I remember feeling like a sort of a catalyst. Later, I was introduced to some people, but they still weren’t speaking. Of course there were more interesting people than others, but fashion people often are not interested in different stuff, I would say. If you asked them some questions, they would say something like – “ I’m too intense.” (Laughs) Why be interested in only what other designers do or the 90’s fashion? I mean, I am interested in that too, but I do think that there are a lot of fashion people who are on their own planet. It can get boring.
But yes, the first day at Central Saint Martins, I would say, was quite special. It was like out of a film.
But of course, there are so many more memories of Central Saint Martins.
We have decided that it might be interesting to browse through different articles about CSM students and graduates and to find more information about them (especially before going for the internship interviews…). So from now we will be posting from time to time some compilations of their interviews from different magazines and websites. Enjoy!
Insi-De eye: come as you are – i-D Online
” When something spectacular goes off sometimes it takes a while for the dust to settle. When Edward Meadham and Benjamin Kirchhoff presented their SS13 menswear collection as part of the inaugural ‘London Collections: Men’ in June much oo’ing and ahh’ing ensued, not least from i-D online ” We have decided that it might be interesting to browse through different articles about CSM students and graduates and to find more information about them (especially before going for the internship interview…). So from now we will be posting from time to time some compilations of their interviews from different magazines and websites. Enjoy!
i-N conversation: iD online video interview Jul, 2011
Meadham Kirchhoff – Stamp Magazine
” It’s important to be honest to yourself and your intentions. I’m basically a crazy person. Things seem to affect me in ways that I do not observe in other people. I’m just trying to protect myself from as much craziness as possible. ”
A/W 2012/13 show report – British Vogue
” Almost aggressive in their pursuit of fun, the Meadham Kirchhoff boys sometimes seem to want to hide their talent within the spectacle – their shy bows and non-committal attitude when you meet them suggest a very different persona from the one they design for – but the charm is in the closer look. For every explosion of disco glitter, there’s a beautifully cut jacket or a perfectly conceived chiffon dress that raises the bar of true fashion design. Combined, the result is nothing if not impressive. ”
MK Interview – As You Are Magazine
” I got distracted by everything in Ed’s office, what with all the tinsel and boxed Barbies. He showed me his Hole hairclip that he won in a Radio competition 18 years ago and a quick tour of the studio. ”
A riot of colour: Meet the duo behind London’s coolest label, Meadham Kirchhoff – The Independent
”…And then there’s Meadham Kirchhoff, consisting of the designers Edward Meadham and Benjamin Kirchhoff, whose clothes are as desirable as they are marginally deranged, whose hair and make-up is reminiscent of Leigh Bowery’s in his heyday and whose mise-en-scène has been known to transport the audience everywhere from a hyper-real flower garden (the colours were brighter, somehow, than nature ever intended) to a satanic St Trinian’s (think plaited white wigs, crimson lips and the soundtrack to Psycho). ”
Meadham Kirchhoff on Big Brother – Interview Magazine
” “Boys are messy creatures,” said Benjamin Kirchhoff, and that they were—their street-cast models sprawled themselves aimlessly across mattresses and Disney bedsheets, deck chairs, and lounges for the “static” presentation.”
Looking to London: Meadham Kirchhoff strikes a balance – Interview Magazine
” “I got sick of the real world and wanted nothing to do with it ” ”
A Papier Gouaché DIAMOND AND MULTI-GEM NECKLACE
Design inspired by the ballets of Diaghilev, the necklace comprises graduated diamond units with finely rendered emerald, deep amethyst coloured cabochons and onyx units suspended by a multitude of freshwater paper-pearl strands draping towards detailed collarbone units. All gouache pigments individually applied with Kolinsky Sable brushes on 270g dove grey Maya-card, precisely 2012, 17 ½ ins.
A Papier Gouaché DIAMOND AND MULTI-GEM NECKLACE
An ode to the architecture of the Paris Bataclan, the necklace is decorated with finely rendered white diamond, coral and onyx coloured cabochon units suspended by a multitude of freshwater paper-pearl fringes. All gouache pigments individually applied with Kolinsky Sable brushes on 270g dove grey Maya-card, precisely 2012, 15 ½ ins.
A Papier Gouaché DIAMOND AND MULTI-GEM NECKLACE
Designed as a sweeping necklace echoing ‘Les Libellules’ of the Paris Bataclan, decorated with rarely matched Padparacha sapphire coloured pear-shapes in a sweep of smaller canary-yellow sapphire marquise stones and finely individually rendered white diamonds. All gouache pigments applied with Kolinsky Sable brushes on 270g dove grey Maya-card,precisely 2012, 14 ins.
A Papier Gouaché DIAMOND AND MULTI-GEM PEARL NECKLACE
Designed as a necklace mimicking the scale and arrangements of the Ziegfeld Follies centralising three Melo paper-pearls and a Conch paper-pearl all surrounded by graduating impressions of coral beads, pink sapphires, zesty orange sapphires and South Sea paper-pearls. Finely rendered white diamonds suspend the central motif and lead to a multitude of paper-pearl strands. All gouache pigments individually applied with Kolinsky Sable brushes on 270g dove grey Maya-card, precisely 2012, 13 ½ ins.
A Papier Gouaché DIAMOND AND MULTI-GEM NECKLACE
Designed as a tumbling festoon necklace inspired by the costumes of Léon Bakst, decorated with finely rendered white diamonds from which are suspended a multitude of cabochon fringes comprised of forest emerald, olivine peridot, Paraïba tourmaline and aquamarine gouache pigments individually applied with Kolinsky Sable brushes on 270g dove grey Maya-card, precisely 2012, 16 ½ ins.
Caroline moved to Cambridgeshire from the Champagne region of France at the age of 10 where she went on to follow a British education.
Constant activity and the instruction to ‘never be bored’ were starting blocks to her childhood. By following and learning alongside family members in their disciplines of landscape watercolor painting, woodworking, bookbinding and cross stitching she learnt observation, scrupulous attention to detail, patience and gained an inexhaustible enthusiasm and willingness to create.
Strings of internships in London, Spain and India during school holidays led Caroline to question her direction. This ultimately culminated in the discovery of the world of collectable fine jewellery and its many different facets. In conjunction with research of the jewellery field, Caroline eagerly sketches and notes in London museums and art galleries to later realise that constant awareness and curiosity creates links in her thinking to build ideas.
Drawing from life is the basis of Caroline’s work, as she truly believes that knowing the dimensions and details of objects and space are the key to later constructing them from the imagination. Her diverse research stimuli includes the finesse and complexity of Aubrey Beardsley’s monochrome narratives, Charles Avery’s hyper-real ‘The Islanders’ project and the ambience of photographic artists from Daido Moriyama to Francesca Woodman and Deborah Turbeville.
Recent awards have included: winning the Goldsmiths Hall Scholarship for diamond grading having entered fine jewellery designs, being a finalist in the Cartier Design prize for her portfolio, being chosen by Cool Diamonds to manufacture and retail her diamond ring design and The Boodles Prize, awarded by Shaun Leane for the Jewellery Design graduating year of 2012. Additionally a shortlist for the Central Saint Martins NOVA prize was a great achievement, results of which will be revealed at the end of 2012!.
Your previous education?
A boarding school in the Northamptonshire countryside allowed me to specialise myself very quickly after GCSEs into Art, Design&Technology and languages. Which meant I could very quickly spend all my time on creative and individually led projects, both artistic and technical.
International recognition and reputation in the design industry, a need to be in London, independent and out of the traditional ‘Uni’ scene.
What was your journey to get in?
Applications with portfolio to Foundation, getting answers for interview on ski slopes and panicking at the inefficiency of it all! Once on foundation, specialised into jewellery at first opportunity, it was easier to go with the flow of CSM admin system once inside!
Why jewellery design?
Increasingly I was designing and drawing homing in on details and intricacities. Additionally I also have a thorough respect and admiration for the longevity of the objects, sculptures produced at the height of the industry. I like to think that a piece of fine jewellery is similar in ambition to the biggest architectural and technical projects challenging human craftsmanship.
Tell us about your course? How it is structured?
3 years, first quite technical, second very design led, and third completely independent, with valuable feedback from tutors regularly, but not too often! The entirety sprinkled with ‘Live’ industry projects.
Tell us about your final jewellery collection?
The intention for the collection is to recreate the inaccessible opulence of high jewellery. Many collectable, valuable pieces of jewellery now travel around the world as art objects, always seen and judged from behind glass by most. They have become devoid of the original function for which they were designed: to be felt, handled and to adorn the body. This collection is designed for display and immediate visual impact.
The aspiration is for each piece to be made from simple sheets card to produce noble and precious artworks, which at face value resemble extraordinary and surprising pieces of fine jewellery. The pieces intrigue the viewer after an immediate expectation and judgement within the context of a jewellery exhibition to subsequently lead to the surprising realisation of the material. The weightlessness of the pieces is confusing as it is made evident in the presentation; it provokes further enquiry and upon closer inspection, the material might be revealed. The viewer can then linger upon the debatable nature of the objects as paintings, illustrations, sculptures or suggestions for jewellery.
Through meticulous research into stones and fine jewellery construction, the painted details glow realistically to emphasise unique light sources, depths and three-dimensions. Highly specialised techniques of paper-craft to construct and manipulate the material produce confusing and deceptive results.
What in your opinion are the main differences between fashion (apparel) design and jewellery design?
The need for jewellery started fashion, it preceded fashion and clothing as a luxury status symbol of importance and design, it has been coveted and respected since its birth. It does not disintegrate in the same way as fabrics but rather beautifully only changes appearance through constant wear through a lifetime. This cannot be said for clothing, which might now change with every season.
What are your plans now?
To keep learning and growing within the magical fine jewellery industry…
0770 959 66 22
1Granary gleefully presents Grayson Perry Project, especially shot for I-D Online.
Central Saint Martins’ 2nd year Fashion Print students, for the eighth consecutive year, had the joy of upgrading the wondrous wardrobe of Britain’s most celebrated artist, teddy-loving transvestite and University of the Arts Governor – Grayson Perry. The project started in 2004 when “Claire” – Grayson’s inner girl, went for shopping and run into Natalie Gibson – our beloved print tutor and lover of all pink, on the bus.
On the last day of school, 15 Print Kids, hopeful to please their superstar customer, offered desired variety of outfits: from girly dresses, a kimono, coats, knitted à la parisienne costume, a bike jacket to elegant evening frocks, some quite theatrical. The prints varied from architecture, puppies, abstract, skeletons to apocalypse, but mostly featured Alan Measles ‘A♥M’ – Grayson’s teddy-god, in quirky situations: in a womb, crucified and adored by angels, as Marie Antoinette and the A♥M LV-ish monogram – very commercial for CSM indeed!
Everyone did a great job, but there are always winners. Grayson presented the exquisite trophies by saying, “ The ‘Claire’ goes to…”:
GOLD: Stephanie Imma Cristofaro
SILVER: Richard Quinn
We would like to thank Grayson Perry for tirelessly being our muse year by year, for a great interview and, most importantly, for being fabulous! Special thanks to our tutors: Natalie Gibson, Lindsay Taylor, Judith Strong, Patrick Lee Yow and Esme Young, who guide students through the creative chaos towards the light and meeting of deadlines! And we wish awesome summer holidays to 2nd year Print students, well done to all!
All photography: Kirill Kuletski
Grayson Perry’s Interview:
Who art you?
I am Grayson Perry the artist.
Please tell us about the “Grayson Perry Project”. How did it all began and what has it become over the years?
It started in 2004 when I bumped into Natalie Gibson, who ran fashion print at Saint Martins, on the bus when I was going for a shopping trip in the West End dressed up. She thought it would be great if the students designed and made me a dress. So the next year the project was born and it has been running now for eight years as the final project of the second year students. We have refined it each year to get the best out of the students and so they have a good time too hopefully. This year featured the usual ups and downs. The ups are enthusiasm and amazing designs beautifully made, the downs are laziness and lame ideas that go badly wrong! Every year I make trophies called ‘Claires’ like the Oscars only for second year print students. The three prize-winners this year were Stephanie, Richard and Darren who all made fab outfits.
Would Claire want to study design at CSM?
Claire would definitely do Fashion Print because she loves drawing stories and designing dresses. In another life maybe.
In your opinion, do all CSM kids have the same style/are alike?
CSM kids look like art students because that is what they are. The fashion ones are the best dressed naturally. I like to see young people making an effort to stand out, not enough people do that in the age of brands.
Is Central Saint Martins a special place?
CSM is one of the most famous art schools in the world and has a host of talented and famous alumni. It attracts great students from all over the world. The staff I work with are brilliantly experienced and sometimes, I don’t think the students really appreciate what an opportunity it is too work here.
What do you think about the Central Saint Martins’ new 1Granary building?
The new building is very impressive. It has had some teething problems. I think it will get better and better to work in as everyone gets used to it and more relaxed, an art school needs to feel lived in, a bit grubbier. I do miss Soho for the lunchtime restaurants, though the canteen is pretty good.
Recently, you have done wonderful series with Channel 4 on British taste and, as a result, have designed six beautiful tapestries. Would you do anything about your experiences at CSM?
I would like to make a TV program about the course at Central Saint Martins. The students definitely have a huge effect on how I dress up and design for myself. They have freed me completely from typical tranny habits. Each year the outfits become more diverse.
We read that you once squatted with Stephen Jones and used to compete with each other by wearing outrageous outfits to The Blitz?
There was a whole group squatting in Fitzrovia including Stephen Jones, also the Body Map people, the film maker John Maybury and the artist Cerith Wyn Evans, all scarily stylish to a yokel from Essex. People had no money, so wore things like outfits made of corrugated cardboard found in a skip or just bodypaint in the nude. Boy George had a phase dressing as a sort of Brittania figure.
What music do you listen to?
All sorts, country, classical, pop. My 20 year old daughter has downloaded a lot through my laptop, so I get to like her taste. She introduced me to Frank Turner, who I like a lot. I’m doing an hour on BBC radio 6 music soon as a DJ!!
What is the world without art to you?
It would not be human, we are meaning makers and art is a search for meaning.
Special thanks to i-D online
Art direction and text: Altynai Osmoeva