Lawfully Chic is delighted to see the Middleton sisters hitting the headlines this month by supporting ethical fashion. Catherine, the Duchess of Cambridge, chose a red Sarai dress from eco-conscious British fashion brand Beulah London to an event at Clarence House hosted by 100 Women In Hedge Funds last Thursday, while her sister Pippa chose a pair of earrings from the ‘Laura Bailey for Made’ collection to wear at the Too Many Women charity event on the same night.
Beulah London employs girls who have been sex trafficked in India in part of the production line, and aims to equip women with sufficient training skills to give them an alternative, sustainable livelihood. The women produce a canvas bag, which accompanies every Beulah purchase.
Meanwhile, Pippa’s cast recycled brass earrings were designed by Laura Bailey for Made, a fair-trade fashion accessories brand which Lawfully Chic first highlighted in a blog “Made: By the people for the people” (28 February). Made creates hand-made products in their African workshop, teaching their Kenyan employees new skills and providing them with sustainable opportunities.
Made’s Flo Hill said: “It’s great to see the girls flying the flag for ethical fashion. They both look stunning and it will encourage women to think about the story behind their clothes and accessories.”
If you haven’t yet visited the IOU Project website, you’re missing out on a whole new shopping experience and the chance to be part of a growing community of conscious consumers.
The recently launched brand combines traditional Indian craftsmanship with modern European design, elevating artisans and celebrating the beauty in handmade clothing.
Enrique Posner @ The IOU Project
Every IOU garment has a unique code that enables the buyer to follow the process of its conception as well as to meet the craftspeople behind it. From the creation of the cloth in India, where “over 20 million families depend on handloom weaving”, to the cutting tables at Manifatture Di Padova in Italy, IOU provides complete traceability.
Enrique Posner @ The IOU Project
Upon purchase, you’re invited to become a part of the process by uploading a picture of yourself wearing the stylish finished product and joining like-minded apparel activists in a rebellion against machine-made, mass-produced goods. Enrique Posner @ The IOU Project
Founded by three serial entrepreneurs, the IOU Project has already had a product recommended by Oprah (the Madras scarf is rather special). They’ve also collaborated with internet start-up 1band 1brand and recording artist Terra Naomi. For three minutes of pure fashion inspiration, watch the introductory film here:
Lawfully Chic is looking forward to joining Bib&Sola, social entrepreneur Kira Heuer’s glass artworks company, and private members fashion boutique Rous Iland for a fundraising evening in support of Somalia on 25 October.
Ten per cent of profits from the sale of Rous Iland’s clothing range and Bib&Sola’s gorgeous carafe set – Elle Décor magazine’s ‘Buy of the Month’ for November – will go to the United Nations High Commissioner for Refugees. Mond Nyberg, a UN-HCR representative, will attend the event at Rous Iland’s showroom to chat about the realities of life in Somalia.
In addition to humanitarian and political crises, Somalia has been severely affected by drought. Settlements do not have enough drinking or sanitisation water, with many women and children forced to walk long distances to collect it from wells, exposing them to the risk of violence.
To remind them of the luxury of having clean and safe drinking water, guests will also have the chance to sample Kangen water, which is ionised and alkalised in a process perfected by Japanese company Enagic.
If you are interested in attending the event, please contact Kira Heuer at kira@bibandsola.com.
An Australian initiative is striking an eco-conscious chord with shoppers around the globe. A growing movement of people are committing to giving more thought to consumption and purchasing less – not only saving money but also reducing their environmental impact and re-thinking their personal style in the process.
It’s Buy Nothing New Month this October and I’ve pledged to take part by buying only essentials. It’s time to re-cycle, free-cycle and up-cycle (that’s a lot of ‘cycling’ but trust me, it pays off) and when you add ‘swishing’, swapping and styling into the mix, it becomes fun and invigoratingIt’s horrifying how much ends up in landfill. New items can end up discarded in an incomprehensibly large pile, proving they were never really needed in the first place.
With the Christmas build-up already evident on shop shelves, I recommend watching this clip. It’s aimed primarily at Australians and in parts reminded me of an early ‘Neighbours’ episode, but it’s very relevant to all of us.
Buy Nothing New suggests you ask yourself a few questions before handing over your hard earned cash:
Do I need this?
Why am I buying it?
What else could I do with this money?
What is its lifecycle and embodied energy?
What are the alternatives?
Can I get it secondhand, rent it, borrow it?
Where did it come from?
Where will it go when I’m done with it?
What is its environmental and social impact?
Who benefits from the purchase?
What will it do for me?
You might find that buying nothing new for a while means you detach yourself from constantly changing trends and end up with more money for the important things.
Phoenix-born artist Ed Mell effortlessly captures the timeless beauty of the American Southwest. In “Red Desert Sunset” (1995) and “Canyon Expanse” (1996) the movement of clouds in a vast, unending sky emphasizes the almost unearthly stillness of the desert below. Mell achieves this by using a palette of bold, contrasting colors and by juxtaposing light and shade. “It’s a slow evolvement”, he says of his art. “There will be some traditional landscapes and more abstract themes, and moving back and forth between those two.”
“Canyon Expanse” (1996) and “Red Desert Sunset” (1995), Oil on linen, Courtesy of The Ed Mell Collection
“Diamond Bloom” (1998) veers more towards the abstract but reveals a similar approach: contrasting colors and an expert use of light and shade which makes the white petals seem translucent against the dark purple background. Whereas the artist’s landscape and floral paintings capture the stillness of the desert, his lithographs and bronzes convey the energy of its inhabitants.
Ed Mell, “Diamond Bloom” (1998), Oil on linen, Courtesy of The Ed Mell Collection
Mell’s training as an illustrator and early career as an art director influenced his works: it can be seen in the smooth, precise quality of his lithographs. “Full Speed Ahead” (1982), depicting a horse and rider, conveys a stylised sense of movement and speed reminiscent of Art Deco designs. In the 1980s, flying over the south-western region in a number of helicopter trips impacted Mell’s three-dimensional perspective and inspired him to start working in bronze. Using clean lines to capture the energy of the horse and rider in “Jack Knife” (1992) results in a powerful, almost cubist work.
Ed Mell, “Full Speed Ahead” (1982), Lithograph on paper, Courtesy of The Ed Mell Collection Ed Mell, “Jack Knife” (1992), Bronze, Courtesy of Mr and Mrs Christopher Forbes
Although Mell’s talent lies in his ability to master any medium, technique or style he chooses to work in, his landscape paintings are my favorite. Having traveled to Arizona a couple of years ago, I was in awe of the canyons and their surroundings – of which I was pleasantly reminded when viewing Mell’s paintings. To be able to convey the grandeur of this ageless landscape with such ease is impressive.
The exhibition, Ed Mell: New West Visionary, can be seen at The Forbes Galleries, 62 Fifth Avenue at 12th Street, New York 10011 from 10 September until 26 November 2011.
There are the paparazzi and then there’s Dafydd Jones. As one has become increasingly shameless about the quality of its subjects, and the lengths they’ll go to to snap them, the other has gone down a more selective road.
In his own discreet way Dafydd has been capturing off-beat moments between some of the most colourful personalities at the most exclusive parties, predominantly in London and New York, for three decades.
Catching his lucky break in the early Eighties, the softly-spoken photographer found himself capturing off-duty rock stars and models for cult style magazine Ritz Newspaper and equally badly behaved toffs and Sloanes for Tatler.
But it has been the art world that has fascinated Dafydd the most. In the early days, when he used his quiet charm to wangle his way into events and art establishments that no one else had managed to, artists like Lucien Freud – who once physically jumped in surprise when Dafydd pressed the shutter – were a rare thing at social gatherings.
Apart from the odd debauched evening such as the Chelsea Arts Club Summer Ball in 1981 which featured topless dancing girls, art happenings were usually rather stuffy affairs. But then, as alcohol and sponsorship were introduced at private views around the mid-Eighties, all that began to change. Suddenly, wherever Gilbert & George, David Hockney or Keith Haring went a gaggle of art groupies would follow, ready to party.
An exhibition of Dayfdd’s images at Idea Generation Gallery reminds us that, with the emergence of YBAs in the mid Nineties and the volatile love affair between art and money that continues to this day, artists and their entourages have been having all kinds of fun. From the launch of the Tate Modern to Damien Hirst’s infamous shows at White Cube, and from the Serpentine Summer Party to Frieze Art Fair Dafydd’s lens hasn’t missed much.
As the photographer himself says: “The art world knows how to party and make the most of having a good time. A bunch of rich bankers would be dull. But the mixture of suits, collectors, socialites and artists always makes for a good bash and a great set of shots.”
Dafydd Jones: Scenes from the Art World runs from 6-16 October at Idea Generation Gallery – www.ideageneration.co.uk
Men, you no longer have an excuse for not looking your best. Style Pilot, the first online personal style engine built exclusively for men, was launched this week by young entrepreneur Jim Cruickshank.
Style Pilot is an automated stylist that provides men with personalised recommendations based on their physique and preferences. The site searches through thousands of online male brands and retailers to help men navigate fashion and figure out what works well for them personally.
A team of stylists and developers have computerised hundreds of rules that stylists use in personal style consultations, including those relating to colouring, body type, styles and occasions. Customers set their “Style DNA” to get instant recommendations and then continue to “tune their engine” by indicating items of clothing they dislike – their preferences are stored and added to their Style DNA so that recommendations become even more tailored.
Once an outfit has been selected, the customer can click through to the preferred retailer website to complete the purchase. Users can store their DNA and chosen items on Style Pilot to create a virtual wardrobe over time.
Founded in 2006, Goodone is no new kid on the block. But as the much-needed ‘up-cycling’ trend grows internationally, we wanted to show our appreciation for one of London’s original ‘reclaimed to wear’ labels.
Goodone had already collaborated with the subversive fashion designer Noki, launched a manufacturing partnership with the HEBA Women’s Project and was in demand as far afield as Tokyo, when they were shortlisted for the RE:Fashion New Designer of the Year Award in 2008. It was then that I had the pleasure of meeting the independent label’s creative director and founder, Nin Castle. Her edgy figure-flattering designs proved that conscious couture had no excuse for compromising on style.
During the Anya Hindmarch “I’m Not a Plastic Bag” craze, Goodone released its edgier “Do I look like a f@cking plastic bag?” version. (I still cherish mine and it’s always good for raising an eyebrow or two at Waitrose). Since then, Goodone has launched a capsule range for ASOS, designed a limited edition bag for Puma, created a recycled collection for Tesco and made high street fashionistas ‘hot up’ over reclaimed to wear from the rails of Topshop.
The heart behind the label, which keeps both environmental and social impact high on the agenda, powered an impressive collaboration with Liberty, Amnesty, WWF, Greenpeace, Shelter and No Sweat, upcycling old campaign t-shirts. This was followed by the production of a limited edition dress for the Fashion Targets Breast Cancer campaign.
Nin and her co-designer/sourcing director, Clare Farrell (since 2009), now teach sustainable fashion at St Martins. They’re clearly succeeding in their mission “not to stand apart from the mainstream fashion industry, rather to achieve positive change from within.” The designers follow a method that is “informed by the use of recycled fabrics, but not restrained by it”. I think every conscious stylista will agree that these leading ladies deserve to be celebrated.
Check out the Goodone AW11 collection, featuring reclaimed silks and leather, here.
As London Fashion Week kicked off, the FH team were out and about with the best of them and Saturday night saw the U.K. launch of Beyonce’s clothing line, The House of Deréon. Taking place in London’s Selfridges car park, the FH girls, Sam and Ella, were lucky enough to attend catwalk show…
Set against an apocalyptic background, the models worked the global nomad theme in animal print, feather head-dresses and tribal make-up. On the front row sat a host of A-listers including Paloma Faith, Eliza Doolittle, Alexandra Burke, Ellie Goulding, Chipmunk, The Saturdays and FH’s very own client, American fashion designer Kenneth Cole. As we sipped on our oh so cute, miniature bottles of Pompery champagne, we were blown away as Beyoncé and Tina Knowles came down the runway to close the fabulous and fierce show.
After the show, Sam and I were whisked away backstage with Eliza Dolittle and Kenneth Cole. Even with the show finale and the hustle and bustle of photographers and press, Beyonce had time to chat to us and was more than happy to oblige when we asked her for a photo with a very dapper looking Kenneth.
After recovering from our star-struck state, we jumped in our waiting car to Nobu where Eliza Dolittle and her team joined us for some mouthwatering dinner and fabulous wine.
We then made our way to Battersea Power Station for the hugely anticipated Roberto Cavalli, ‘Gala Dinner and Party’. It was beyond expectations. We arrived to a flame lit entrance, engulfed in Cavalli’s signature animal print, and then made our way down the red carpeted corridor which lead to what had to be the most extravagant setting in London. Giant platters of fruit and wheels of parmesan by Locanda Locatelli were on offer while the bar served a bevy of wonderfully lavish cocktails.
The party did not disappoint celeb-wise, from Graham Norton and Lara Bohinc to the amazingly beautifully Rosario Dawson – it was a completely star studded event. Kelis came out to perform a power-charged set of all her mega hits, which completely knocked our designer shoes off! Sipping our champagne, the perfect end to the evening was chatting to Sir Philip Green who was absolutely charming – the perfect end to a brilliant night.
The excitement didn’t stop there for Sam, as on Monday she arrived at Kensington Gardens where a marquee overlooking the Royal Albert Hall had been constructed for the prestigious SS12 Burberry show. Celebrities turned out in force to watch the show, with Sienna Miller joining Kanye West, Anna Wintour and Andy Murray on the front row. Models descended onto the runway in a mixed palette of mustard, navy, plum and green tones. Shoulder panels and belts featured wooden embellishments, while patterned skirts and bright cardigans joined African prints on graphic dresses, skirts and jackets. A sumptuous leather trench in a vivid turquoise was Sam’s favourite look. The show came to magnificent finale as gold leaves, each one spritzed in the Burberry scent, showered down from the ceiling.
Jack Bell’s new West End gallery establishes itself as a hub of London’s growing African art scene with the latest exhibition, Les Fantomes. The group display of painting, photography and sculpture from West and Central Africa features several artists – Aboudia, Leonce Raphael Agbodjélou, Paa Joe and Hamidou Maiga – exhibited in his previous gallery in Victoria, along with newcomers Afedzi Hughes and Bandoma.
Aboudia is noted for his large-scale, heavily layered, brutally energetic paintings that combine an innocence and spontaneity with the portrayal of a dark interior world. His urban landscapes are haunted by armed soldiers, ominous skulls and a populace hemmed in by violence and danger. While the vitality of his style recalls Basquiat, the darker undercurrents and themes describe a battlefield straight out of Goya.
All Rights Reserved, Jack Bell Gallery
Leonce Raphael Agbodjelou shoots traditional vodou rituals, rites, ceremonies, and festivals local to Benin, West Africa. His vibrant daylight images present masquerade as a complex, mysterious and profound tradition in which participants transcend the physical world and enter the spiritual realm.
Ghanian artist Paa Joe blurs the line between art and craft, sculpting coffins to reflect the ambition of the person for whom it was made. They are not dead things but are instead a manifestation and affirmation of life. They link back to pre-colonial West African sculpture but also recall the contemporary Western art practice of Jeff Koons.
All Rights Reserved, Jack Bell Gallery
Hamidou Maiga’s distinctive outdoor studio portraits eloquently portray Malian society in its era of transition from a cosmopolitan French colony to an independent African nation. Balancing a strict sense of formality with a remarkable level of intimacy with his subjects, Maiga evokes stylistic traits simultaneously mastered by Irving Penn in the seminal Worlds in a Small Room.
Congo born Bandoma uses watercolour, ink and clippings from contemporary glossy publications to produce a series of genetic mutations, often fragile, funny and at times grotesque. His work interrogates globalisation, materiality and postcolonial identity.
The paintings of Afedzi Hughes draw parallels between violent colonial histories and contemporary social conflicts. Signage, symbols and text often combine to create tensions between seemingly unrelated forms.
The exhibition runs from 22 September – 29 October 2011.
Jack Bell Gallery
13 Mason’s Yard
London SW1Y 6BU
Contact details: +44 (0)207 930 8999 / info@jackbellgallery.com
