We all have that one friend who loves DIY everything. Whether it’s making furniture or clothing, they do it all by hand. And deep down, we’re all envious of them because of their one-of-a-kind wardrobe. With fashion changing every season, it’s hard to keep up with trends: it is draining both for our brain and our wallet. So that makes me ask, how trendy is making your own clothes in 2017?
By Johanna Raudsepp
Read MoreB·COME is an ethical fashion studio and sustainable supplier agency located in Barcelona. We believe that sustainable fashion and green design is the future. We build strong professional relationships between suppliers, artisans, and brands. Our aim is to endeavor for ALL us to be the protagonist of the change. Our main job implies to discover. Discovering and travelling is, without a doubt, what we truly love.
- Alba Garcia and Anna Cañadell, B·COME Studio
How did you discover Treasury rugs? Describe your journey to India and discovering the rugs.
India is almost like our second home. Every two months we land into this wonderful destination filled with culture, colours and emotional sensations. Chance and luck often accompany us on our trips. During one of our trips, precisely, was where we found these treasures in the form of rugs. We were exploring the enchanting corners of Jaipur and we spontaneously decided to visit one of our supplier whom we had encountered at a fair in Delhi. Our first sensation when we saw the rugs was an instant crush, we felt "in love”. The harmony between the colour the detailed technique of each rug caught our attention. It was then when B ·COME´s first more personal project “A by B ·COME” was born.
What makes them unique?
The rugs are authentic and unique, as they are made by hand by passionate and loving artisans. Each rug has its own story and uniqueness to it. The subtlety of colors and the energy of the piece, reciting the country it comes from, is just fascinating. They aren't simply objects of home decor, but treasures from India that you could keep forever and, only by looking at them, instantly feel the energy of the country.
What are the main techniques used and what puts an artisanal quality stamp on it?
"A by B· COME " rugs are made by a traditional Indian technique known as block print. It is the earliest and slowest process of textile printing due to its detailed designs, which are often impossible to recreate with other printing methods. Yet, it remains one of the most vivid techniques in India today.
Originally from Rajasthan, India, the method consists of creating their own carved wood designs that are later covered with colour and printed onto fabrics and paper by hand. The result is an imperfect art endowed with intention, emotion, and virtue. Each piece of block-printed fabric reflects the rich history of an ancient tradition, as well as the unique style of the artisans who made it.
Why is the heritage of traditional skills, like block print, important? Why we should help to preserve and cherish these skills and traditions deriving from India?
For B ·COME, quality and design are as important as the way things are made. Our main objective is to strive and empower all to become protagonists of change. We admire the work of artisans all around the world.
Even though technology has opened a wide door to opportunities to create new solutions and facilitate the production process, we are captivated by the life and work of artisans. Their imperfect artisanal products that have a whole story behind surprise ourselves every time we travel. We are excited to get to know about unique textile techniques, especially when those techniques have a whole history behind, such as block print.
When you see HOW and WHY in the first person, you understand and respect craftsmanship as an art. You create a close relationship with the people who have made it, and when they so passionately explain how things are done, you cannot help yourself to fall in love.
What are the main themes and stories running through the artisanal, handcrafted rug line?
For us, the thread is driver of colour, the sensitivity in the use of it. There are styles for all, but all of the rugs breathe serenity, subtlety, and stillness.
Our short story of “A by B ·COME “. From the small corners of India, our treasury rugs learn to fly through the deep blue sea. Lola, their flying lecturer is a world-traveller seeking to find beauty in artisanal objects around the planet. The treasury rugs love her, they want to embrace her and never leave her. Nevertheless, they know they have to undertake a trip in order to accomplish their mission. Along their journey, the rugs were amazed by the wonders of the universe, they observed unknown destinations and fulfilled themselves with experiences.
Behind each rug is a hidden story full of extraordinary moments. From the way they were brought to life, to their flying experience, as of course they had to rest in order to recover and arrive to their destination. They are seeking to find themselves a place where they can feel as home and offer their love as they did with Lola. But from time to time, you must let her fly!
What spaces could benefit from having a Treasury rug? What are their place and meaning in the interior the way you imagine it?
We believe that the space is determined by the personality and taste of each individual. Each rug will attract a different person according to its character and taste. We believe that having a Treasury rug could benefit spaces where they go beyond being perceived as interior objects, but as pieces that can bring back memories, tradition and history.
We imagine the rugs in spaces with delicate lights, neutral or with color, kitchens, bathrooms, rooms, small and big, living rooms. We have different sizes for the rugs to adjust to everyone. The smallest one of 0,90 X 0,60m is a perfect measure to give a touch of color and personality to a room or a closet.
We also have a big size of 1,20 X 1,50m where we imagine wide spaces which help to create amplitude and contrasts. Finally, we have the large rugs of 3,00 x 2,00 meters that we imagine in large outer spaces and terraces.
We adore contrasts. Treasury rugs create story according to current events and serve as a product with ethical values that goes beyond pure aesthetics.
How do these rugs stand in line with B·Come's hard work so far advocating sustainability principles and transparency?
A by B·COME is completely aligned with B·COME´s philosophy. Since the moment we saw them, we understood and lived the art of block print in first person, namely, the conditions of the workers and the products used to make this art happen. The Treasury rugs are made with a noble cotton base, the color dye used is toxic free, and the technique is performed only in solar time, in fact, this technique is conditioned by atmospheric conditions.
Tell us a good reason, what makes an artisanal rug worth having in the first place?
As mentioned previously, block print is more than a technique, it's an art. We believe that having Treasury rugs for our project A by B ·COME is more than having an interior design object, but a story to complement your house, studio, your life.
Our mission is to transmit the essence of the country through treasures from India. In this case, the rugs become a piece of art or a memory, in which you know that every time you would look at it will remind you of the beautiful and fruitful county India is. We have selected different designs and patterns to allow people to choose according to their taste, personality and energy.
How can we get hold of one of your selected rugs?
For the moment, we are still looking and studying the best method to allow every person in the world to have access to our treasury rugs. For now, the orders can be directly done via mail to info@bcomestudio.com at B·COME.
We are in the process of selecting unique concept stores, who have a similar philosophy as B·COME.
We would love to mention Rita Puig Serra, a young and aspiring photographer based in Barcelona. As without her, her eye and camera we could not bring the essence and image of A by B·COME to live.
OOD handbags lookbook, SS17.
Words: Johanna Raudsepp
Established back in 2012, Italian fashion-forward accessories brand OOD proves that 'slow' in fashion is not all about dedication to radical ethical principles and conscious consumption, but also about innovation and thinking outside of the box.
Father-daughter-duo, Marcello and Marta Antonelli, were looking for an alternative, yet trendy solution to replace leather in accessories design. Drawing their inspiration from python skin, they found that wood was the way of future in crafting memorable pompous luxury items important in every woman's wardrobe. Thus, Ligneah was created — a versatile hand-made soft wood material used to make innovative textiles.
OOD handbags lookbook, SS17.
OOD specialises in using their own natural tissue, Ligneah, to create stunning bags and colourful accessories. Their latest collection is inspired by Greek mythology — a beautiful way to honour the material that has been a source of livelihood for mankind throughout the ages. Why wood, you ask? It is a resource that combines all elements a sustainable designer desires. Wood is eco-friendly, natural, biodegradable, cruelty free, and has a high-end look. It doesn’t matter which type of tree you use (selected by Greenpeace standards, naturally), the results are always living up to the moment.
OOD handbags lookbook, SS17.
OOD handbags lookbook, SS17.
Marcello and Marta follow every possible ethical principle du jour, when creating and designing for OOD, and paving way to the future of exciting, innovative materials. With a traceable and sustainable production process, they make sure every item is made with love and care. Although they can create 200 bags and 150 shoes from a single tree, the brand is dedicated to proving that ‘sustainability is not just a fashion word’. OOD is partnered with Tree-Nation and supports its reforestation projects by planting a tree for every item purchased. So you do not only make a unique, stylish choice when wearing OOD, but you naturally help to make a good deed, too.
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Emphasising functionality and wearer’s individuality, Noorism is a young NYC-based upcycle brand remodelling old, discarded jeans into unique, adhoc fashion items. The founder and FIT graduate Noor Zakka was fascinated by turning seemingly valueless rich shades of vintage denim leftovers into lavish luxury pieces that each have their own story to tell. We cannot wait to cocoon into Noorism label’s conscious statement denim this spring — a touch of denim never goes out of style, after all.
Noorism SS17.
What influences have come together in you latest SS17 collection?
I was inspired by the work of Marcel Duchamp and his 'ready mades'. The concept of taking something that is discarded and deemed valueless, and elevating it by turning it into a luxury item that is well-crafted fascinates me.
What brought you to the idea of remodelling old denim?
I wanted to create an ethical fashion brand and vintage denim was easy to find and relatively inexpensive to source. It's also a very classic and universal fabric that never goes out of style and has a such a rich history.
What makes it perhaps difficult to work with denim? What's the most interesting part?
Working with vintage denim can be challenging because each old pair of jeans is slightly different in size, colour and shape. We also have to watch out for stains and it is a labor-intensive process to take jeans apart and re-cut them into new styles. The most interesting part is finding all the different vintage pairs and also the beautiful shades and marks that show once we take off the original pockets and undo the hems.
Noorism SS17.
What inspires you in your creative direction?
I am inspired by traveling [I went to Italy and Puerto Rico recently], books I read [I just finished reading Just Kids by Patti Smith], living in Brooklyn, Museum exhibits and also by sustainability. I am constantly striving to discover more things I could be doing, such as the idea of zero waste fashion, and also by creating styles that use up my own scraps.
Describe the Noorism woman in a few lines?
The Noorism woman is independent and strong. She cares about the environment, loves denim, loves vintage, but wants high quality pieces that are special and will last a long time in her closet.
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What do industrial felt and fashion have in common? A beautiful harmony of effortless and durable design, as honoured by miDeer. Estonian slow fashion brand miDeer creates Nordic-style bags and accessories for every occasion. Their sleek designs are loved by men and women alike, serving as a seasonless and functional must-have for any urban fashion-lover. What’s it like in the world of miDeer?, we asked.
Words: Johanna Raudsepp
miDeer Felt Accessories, 2017. / Photo: Jake Farra.
How did the journey of miDeer begin?
miDeer stems from our goal to pay homage to Scandinavian simplicity and elegance. We make modern Nordic accessories, interior design elements and have also introduced a line for children. What first started as a hobby of designing meaningful items for personal use, quickly grew into an independent brand — a brand living its own rhythm and life. The whole process has been thrilling for us — a real dream come true! We were thrilled by the idea of curating our own designer label and sparking conversation through what we do. Aesthetics-wise, we’ve always been enchanted by the power of simplicity. The pure lines, clear contours… that’s why minimalism and functionality go hand-in-hand throughout our miDeer line.
Photo: Jake Farra.
The term ‘sustainable’ in design can be confusing. What’s your take on sustainable design?
For us at miDeer, practical, timeless, and slow fashion is super important. With this attitude and the aesthetics, we try to promote buying less, but good quality items that will last you ages. Our minimalist style enables our customer to mix and match with a variety of other styles as well.
How have you incorporated environmentally conscious principles into your work?
All miDeer products are hand-made in Estonia. It isn’t and will never be a mass-produced brand. We value collaborating with local artisans in our design process and embrace the tiny quirks of each single item. Secondly, we always pay attention to where our materials come from. Right now, we use excess pieces from a felt factory. This way we can reduce the amount of industrial material that ends up in the environment — by giving new life to the discarded leftovers. What makes our production unique is that we do not mass produce, but make just enough, so that we get to further reuse the materials by creating fashionable accessories. If we think about the future, then the miDeer’s shopping bags, in particular, can effectively replace plastic equivalents in a stylish manner.
How did you come up with such interesting name, miDeer?
We wanted to create something Nordic and minimalist, inspired by the Northern cold climate and the power of nature. To be honest, the logo came before the name. The deer’s horns are majestic, yet strong and powerful — perfect depiction of a unisex Nordic brand. Our name quite directly comes from ‘deer’. It’s something precious and unobtainable in nature, but you can grasp an equivalent feel via our products.
Unisex looks, felt and paper meet in your design. How did you decide to go down the route of such eclectic mix?
The main source of inspiration for the brand is felt, which already speaks to both men and women. A unisex-look wasn’t our goal on it’s own, it just accidentally turned out that way — our first [laptop] bag appealed to both [men and women alike], and then it clicked for us. Nowadays minimalism and unisex design are often seen side by side. The soft texture, yet stiff form of industrial felt make our products durable and help keep their shape. We felt that unisex was written in between the lines, as felt has both feminine and masculine qualities. We like to think that miDeer wearers are free-spirited, brave, fashion-forward people, regardless their age or gender.
Photo: Jake Farra.
What can we look forward to in 2017?
This year we will definitely focus more on fashion and accessories. miDeer will be creating new designs for people who lead an active lifestyle, yet value comfort. So there are great things coming up for the active urban dweller.
Despite being a small company, we want to become a player on the international arena. Clients in Berlin, London and Vilnius have shown keen interest, and we cannot wait to make our products more accessible all over Europe. We have a few exciting surprises in store, so stay in tuned and keep an eye on our website!
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NYC-based Starch Slides is a unique footwear brand that has mastered crafting the perfect slide-on shoe, whereas proudly pairing the sustainability element of up-cycling men’s shirts with vegan leather. At Starch Slides, individuality is the key — no other pair for ‘the girl on the go’ looks the same, ever. Savant talks shoes and sustainability with its founder Shannon Crowley.
Starch Slides 2016.
Particularly considering the environmental impact, what informed the creation of Starch Slides?
As I come from a retail buying background, I wanted to bring a brand to life that was eco-friendly without looking entirely “granola”. I woke up in the middle of the night with the idea of up-cycling men’s shirts as shoes, and I sketched [my vision] and took it from there.
What's your personal relationship with sustainability? How much does it reflect in your brand?
Starch Slides is very much my personal style — they are cool, effortless, comfortable and original. I have always been aware of green living, watching my waste and hoping others do the same. I think even doing little things make a huge difference over time, and not being sustainable is irresponsible at this point. Little things, like skipping the plastic produce bag when buying oranges, using a refillable water bottle, and washing and reusing plastic Tupperwares when ordering take-out can make a big difference.
Your design philosophy is to create a unique, one-of-a-kind pair of shoes that no one else has. Describe the woman who starts her morning routine wearing Starch Slides…
The Starch Slides girl is a girl of any age — our audience ranges from 17 to 60. The prints of a men’s button-up shirt resonates with all ages, as the shirts are so classic. A big trend has been for mothers and daughters to each get a pair (different styles, of course), the style of slides is so simple that the shoe really changes personality based on the shirt we used to make it. They are for the girl on the go — simply slip them on and run out. Also, they come in a reusable backpack and take up little room in a suitcase, so they are a perfect travel shoe. I bring at least 4 pairs to every vacation I take.
Starch Slides 2016.
Could you elaborate on the concept of 'vegan' leather?
Vegan leather is made of polyurethane — it is durable, playable and breathable. We use vegan leather because we want to have as small of a carbon footprint as we can possibly get. We bind the fabric from the shirt to vegan leather so your foot stays secure and the slide is very durable. Trust me, I am bashing through the streets of NYC and I have yet to wear through a pair, and I am not easy on shoes.
What's your opinion on the fashion and footwear industry exposing itself to a greater degree of transparency? Is there still a long way to go to acting completely green?
I think that consumers are doing a great job of asking questions, this is leading brands to expose the truth behind the process of their factories. I do think many brands are taking strides where they can to become green, which is a wonderful thing to see. We have a long way to go, but I think we will get there in time.
What do you hate the most about the mass production of shoes? What makes creating a sustainable shoe difficult?
I hate the cheap prices of mass produced shoes. It’s hard to work so hard to make sure your shoes all have their own, unique personality, then walk in a store and see shoes on sale for less than lunch. People need to continue to remind themselves, “who is getting paid?”, when they see prices that are too cheap to believe.
What's the type of shoe you hate to see or wear? What makes a shoe beautiful?
I have thought I dislike many styles of shoes, then I see a woman rocking them and looking totally cool. This has taught me not to judge. I definitely have my own style, it is rocker/boho. When I am not in slides I am in sneakers or motorcycle boots. I live in New York City and always need to be in outfits that transition from day to night, [that are] easy and understated. So Starch Slides are the perfect shoe choice for this girl on the go.
How to connect the dots between nature, sustainability and carpet making? By reinventing cherished childhood territories from leftover textiles of her family-owned factory, Argentinian rug artist Alexandra Kehayoglou gives an answer to this seemingly impossible equation. It’s in the Studio Kehayoglou, where the hands work hard and artisanal immaculacy bravely takes shape, stopping the passing of time in ethereal still-life carpet artwork.
Carpet artwork by Alexandra Kehayoglou
Your carpets are pure magic. How does the process of creating one begin?
Every piece has a story behind it and the whole process that leads to the final result is rather long and complex. [In my approach], the original techniques of tufting are combined with modern technology. I try to link both platforms — the industrial and the manual — to create more experimental artworks. My greenlands, paddocks, shelters and tapestries are made up from retrieved material of the factory owned by my own family. In a way, they contain my own life experience.
I usually have a previous idea of what I want to achieve [as a final result], but this always changes through the process. I first sketch on the canvas, then apply the tones and create textures inspired by landscapes I’ve seen. The textile is weaved with handtuft system — with a pistol that I manipulate on vertical racks to create the weft that will give shape to the final piece. Each of them is unique, with a certain texture, pattern, volume and unrepeatable palette.
When did you start connecting and exploring the symbiosis between landscapes and rug making?
I grew up among rugs. Seventy years ago, my Greek family brought the tradition of designing and producing the carpets to Argentina. After many years of research, I decided to transform my family history into an artistic expression.
Everything started with my diorama boxes in which I tried to freeze a scene. An artificial miniature beach landscape in which the spectator could submerge, but these were at first [merely a] model — they were small and packed in a box. When that tapestry unfolded on the floor, I realised I could create those landscapes, following the same idea of time being frozen, but this time in a human scale. Therefore I decided to keep my cherished territories from childhood safe from the passing of time by recreating my landscapes.
How is the sustainability element represented in your artwork? What other principles do you consider to be the cornerstone of your art?
Sustainability is present in each piece of work. I am deeply conscious about nature and that is why I hand-tuft my pieces with 100% natural sheep wool and all the materials are surplus from my family’s factory. The materials are selected carefully and then dyed to achieve the desired colours.
Alexandra Kehayoglou
How long does it take to create one masterpiece rug? What's the most complex project you have undertaken and completed?
Depending on the complexity of the piece, the production time can take from one to several months. I pay a lot of attention to details and I am extremely tedious with each and every stitch. The most complex project I worked on was a custom-made carpet designed by Olafur Eliasson and crafted by Alexandra Kehayoglou’s Studio. It consisted of a 3D carpet, which we had to adapt to a wooden topography to create a reading space in the Art Kunz Library of Berlin. This was truly challenging, because we had to develop a new method for the carpet installation. All in all, it was a great experience; we spent almost three weeks at the Studio. We worked a lot!
What makes a particular landscape inspiring enough for one of your rugs? What else inspires you throughout the process?
I guess the contemplation of the landscapes I love is the first step for the development of my work. Also, Argentinian geography has been very inspiring for me because, in a way, my personal history is tightly related to the history of that land. Walks through my parents garden with my son, road trips, sunsets, aerial views, the sea, the beach, my family, my grandmother, are part of this dialogue between nature, tradition and art.
You also have an inspiring Instagram account. In your view as an artist, is it important to promote yourself more as a 'brand' nowadays? Don't you feel that it has made your work more commercial?
I believe all art is very much about freedom. In a way, Instagram is a great tool for any visual artist, because it allows us to choose what we want to share about our daily work at the studio — it’s sort of a visual diary. During the last few years, artists have found new ways of creating the ‘buzz’ and circulation, it’s not merely about being a part of a gallery anymore. Even though my work is sometimes related to important brands, I really don’t find my work commercial at all. In fact, it is well known that there are new models of art business arising and concurrently with them, new ways of being an artist.
Alexandra Kehayoglou
Describe the relationship between fashion and your rugs. There was a runway setup project you've done for one of the major fashion brands. Are there any other fashion collaborations you’ve executed?
In 2014, Dries Van Noten contacted my studio through a fashion producer called Villa Eugénie, who had seen my work online. They asked for a rug of 50 meters based on the same nature concepts that I work on. The design of the carpet was a pastizal (grassland/pasture). We travelled to Paris for the installation of the piece. It was a great experience because, even though the process was very intense and it had to be developed in a very limited timeframe, a new way of thinking my work appeared [as a result].
How can we be more environmentally aware and shape people's mindsets through what we put out in the world?
I think we should start with small actions. Every day is a chance of making things better. If we finally understand that we are not the centre of the Earth, but just a tiny part of it, as well as the trees, the animals, the rivers and seas and the mountains, our decision-making and behaviour will lead us to living a more environmentally-conscious life.
What's your relationship with nature?
I was raised in a house with a big garden, so my approach to nature is quite sincere and spontaneous. As a child I used to explore the different colours, shadows, smell of the grass, the flowers and plants. Everything was special and new, my point of view was not contaminated by life experience. I remember making up stories for hours, nursing the birds, playing with mud. The feeling that time was frozen in a special moment is something I’ve been trying to transmit with my work as part of that first intuition.
The process of creating a masterpiece: Artist Alexandra Kehayoglou
In what ways has Argentina played a role in shaping you as an artist?
Argentina offers many kinds of climates, landscapes and cultures. I decided to embrace this diversity because it’s also a part of my own identity. The scenes I create are part of native territories that carry ancestral information and I think that my job as an artist is to transmit their message through the best language I know, art.
Meet Miss Charlotte Posner — London’s contemporary bespoke illustrator whose glam Pop Dolls have conquered the city’s galleries and conceptual shopping spaces. Whether it’s a proud row of sophisticated fashion Pop Doll icons, or elegant eye candy for the foodies, the funky hand-painted illustrations, mimicking commodity culture, branding and fashion’s exuberance in a stylish and satirical way, are simply a joyous celebration of the (otherwise) mundane everyday objects. All around us.
Recently: C. Posner brought the era of fun, customised illustration back at Daisy Green Food, Seymour Street, on May 11th, and even three splashes of sticky prosecco accidentally poured over couldn’t stop us from admiring the majestic Pop Doll artwork, paired in perfect harmony with the trendy Peonica London summer collection handbags (above).
C Posner Art
At Savant, we always love personal stories the most. Tell me more about your artistic background and key influences. How did your journey of becoming an illustrator begin?
'Hello Sweetie' by C Posner
For as long as I can remember, I have always had a passion for expressing myself through creativity. My academic capabilities were not always my strongest asset and being artistic allowed me to strive and achieve in the one area that bought me happiness. From the age of 14, Mr. Jepson, my art teacher, taught me how to create using oil paint, which is where my love for art grew deeper. I spent 4 years studying at Chelsea Collage of Art and Design, which also included a semester at Emily Carr in Vancouver.
For the past 6 years I have worked on my paintings from Limehouse Art Foundation Studios in East London, competing in competitions and exhibiting my artwork nationally and internationally. I’ve had my work accepted for the Royal Academy Summer Exhibition, I participated at the Tate Modern. I also won a Saatchi drawing prize, and have been featured on the BBC Culture Show. Three years ago I decided to quit my part time job to become a full time artist. ‘If i don’t do it now i never will.’ I haven’t looked back since…
What trends and techniques are prevalent in your field of illustration today?
The main technique I use for my illustrations is pen and ink drawing, starting my work by sketching first in pencil, I then use dip pen and black ink going over the rough sketch with solid neat lines. I then paint in the colour with acrylic or watercolour and touch up in pen again. I also use collage and jewels to accessorise the paintings. I want my paintings to be stylish, bold and easy to live with.
“Three years ago I decided to quit my part-time job to become a full-time artist. “If i don’t do it now i never will,” ran through my mind. I haven’t looked back since…”
How long does it take you to complete an illustration? Have you also experienced the so-called 'creative block' periods when you are unable to produce new art at all? How do you overcome such periods?
The process of creating my painting from start to finish depends on the size of the painting. They range from a day for the very small drawing or sketch to two-three weeks for the very large. I occasionally get the creative blocks, but I find that less thinking and more doing helps! Working on a few paintings at the same time keeps my imagination flowing and keep me interested in my work.
It seems like you get the inspiration from the most unexpected places - like the row of Magnum dolls, and many other commercial brand and figure led influences. How did you get into this niche?
Everything around me is influential, I really stand by the quote, ‘you are what you surround yourself with’. All my artwork is based on current trends, life events and all my travels.
The first ‘Pop Doll’ painting I ever created were the ice cream girls. I posted the dolls on social media and I received more ‘likes’ than I have ever had! From then on my ideas grew and little did I know I had my theme. From ‘foodie dolls’ to ‘designer dolls’, my work was slowly but surely taking off. I started to receive interest from brands, such as Magnum, Coke, Walls, Kellogg, Nails INK, and Magnum UK featured me on their summer campaign.
My vision for the future is to stick to the same theme, whilst growing my style and keeping my work fresh and interesting.
'Magnificent' by C Posner
Why should we appreciate bespoke illustrations today?
Making art is being totally in the present. It is a full process of taking your time, concentrating and using your imagination. Everything is becoming much more digital and easily accessible today. I believe that, ‘Good art is like a designer bag, you keep it and it never loses it value.’ My paintings are only increasing in value as my work has become more popular.
What's your opinion on promoting your work at concept store events, such as the Fofolles Popup on Kings Road, Chelsea, in perfect harmony with other ‘brands’, be it artists or fashion makers? Could it be that it creates a better connection with your art when exhibited in a conceptual space?
I think all exposure is great, having a pop-up store on the Kings Road was fantastic for brand awareness and getting my art seen by a young, trendy audience and surrounded by other luxury brands.
Why is it that many artists today decide to sell their work only through social media, and not in galleries anymore? In this case, what could be our potential loss as artists and consumers of art?
I believe the reason for this is that the rentals for gallery space in central London are financially prohibiting. I would agree that a gallery is the best place to exhibit you artwork because this is the only venue that encourages the speculative purchaser that buys on impulse.
'Saucy Ladies' by C Posner
Who are your favourite illustrators?
My favourite illustrators are Harry Clarke, Léon Samoilovitc Bakst and Richard Dadd.
Who would you expect to have their home decorated with your wonderful illustrations?
I am extremely fortunate to have acquired such a wonderful audience of all ages. My clients leave it up to me to design what I feel, for commissions they give me the theme and idea and I go ahead and create. I like having the freedom to experiment with colour and style, to give the client the painting they want. My work is hanging all over the world - starting from London, Paris, New York to Brazil! Art is an international language and thereby appreciated all over the world.
Find the above and other bespoke, limited edition Pop Doll prints -
