13 August 2014

Create Insights: Being a fashion journalist with Vogue's Lauren Milligan

'Create Insights' are monthly talks put on by the Create team to give young people a free insight into working in the creative industries. For July's session, we were lucky enough to have British Vogue online's news editor Lauren Milligan come to talk to us about careers in fashion journalism.

Lauren is a great example of how it's possible to end up in the career you want through alternative or non-traditional routes. She described how she had always been 'genuinely tragic' when it came to fashion, giving us an anecdote about her bedroom 'supermodel shrine', yet went to university to study English. Having worked in fashion retail during her degree, after graduating Lauren took an opportunity to become assistant manager at Armani in Glasgow. From there, she met the CEO of All Saints, who took a liking to her confident and enthusiastic attitude and invited her to head office. She was soon appointed web manager, where she says she learnt everything she could as fast as possible in order to perform her best in her new role. After the PR Manager left, she stepped into that role; again, learning on her feet. Eventually, she left her job to freelance, and one day accompanied a friend to the leaving party of the then-News editor at Vogue. Deciding to pitch for the job, she sent in her eclectic CV and writing samples, and landed herself the position she's now been working in for over five years.

Lauren spoke about the enthusiasm and dedication needed to make strides into the fashion industry. She touched on internships, generally seen as an essential step on the fashion career ladder - as important as these experiences are, many are unpaid, something which she acknowledged makes them impossible for some people if they aren't financially well off or their parents cannot support them. Instead of giving up if unable to afford to intern, aspiring fashion journalists should be writing in their own time, showing they can cater to different audiences, producing pieces and pitching them to magazines and learning whatever they can about the industry. Also important is appreciating differences in print and online work - on the Vogue website, pieces are shorter and snappier, whereas print is ideal for longer features. She noted that a fast turnaround is essential to web content, and the fact that she was the only candidate to return writing samples on the same day was one of the reasons she was hired for the Vogue role. Her honesty about the pay rate of the fashion industry was refreshing, too; as with most arts-related careers, most people won't be making a fortune, but loving your job can be much more satisfying than a hefty pay check.

Particularly interesting was her citation of the book 'Lean In' by Sheryl Sandberg. In a room full of girls aspiring to work in the fashion industry, she made the point that girls and women are often less likely to speak up in the workplace due to differences in the societal expectations of men and women. For example, studies suggest that in men, ambition is often seen as a positive quality; but in women is seen as something more negative. Lauren encouraged us to speak for ourselves and advised us not to be afraid of 'looking silly' or being rejected; instead, to be confident in our abilities ("if you believe you can do it, other people will too") and if necessary, some 'slight blagging' sometimes helps! Lauren also kindly took the time to speak to each of us individually about our plans and career paths, which was a fantastic opportunity.

See Lauren's work at Vogue Online
Read an interview with Lauren here.
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August's Create Insights will be held on Friday 22nd August at 18:30. Gavin Grindon and Catherine Flood, co-curators of the recently opened Disobedient Objects exhibition at the museum, will speak about the challenges of being a museum curator and what it's like to stage a major exhibition (more information here)

September's Create Insights will be held on Friday 19th September at 18:30, where we'll be hearing from one of the designers participating in the world-renowned London Design Festival, which is based at the Museum each year (more information here)

Words & image: Laura Blair

05 August 2014

Making it Happen

In November 2013 we worked on a project - Making it Happen, which involved discussing various issues that young people in the arts face across the globe. The project was in partnership with young people from Bradford, Dundee, Rio de Janeiro, Birmingham and London. The project was also a part of our larger event, Making It: Careers in Art & Design, which ran at the museum in the same month. For our previous blog post about Making it Happen, click here!

Carlos Jimenez, a photographer who also works for the museum, followed us through every step of the project and put together this short film, which was also supported by London Area NADFAS.

Hope you enjoy it.



Words by Yashraj Jain

22 July 2014

Making a fashion statement in Italian style


The Glamour of Italian Fashion exhibition takes us through the impact of Italian fashion from 1945-2014. I felt privileged to attend the press preview representing CreateVoice, witnessing how Italy became one of the leading countries in fashion design during this period. Not only does the V&A exhibition showcase a collection of over ninety glamorous garments, but we are given an educational trip about how to rule the fashion industry - Italian style.

When there is bad news, make it good news

The Second World War has just ended, Italy is stricken with poverty, and the world is seeking something new and exciting for Fashion after Dior’s New Look from 1947. Italy used fashion as a means of recovery during this period, climbing to the top of the trend setting ladder and becoming one of the most influential countries in regards to style worldwide.

It’s ok to start small

It’s hard to believe Italy’s fashion empire began with Giovanni Battista Giorgini’s first fashion show in Florence, 1951. He held the show in his own home and convinced designers across Italy to showcase their pieces alongside his own, with all parties benefiting by contributing to this new emerging culture. Designers involved who made a name of themselves included The Fashion House Vanna, who were known for their tailored women’s suits; Capucci, who became known for his inventive sculpture style and Germana Marucelli who became known as the ‘cerebral seamstress’.

Connect and Network

Giorgini started to receive attention from the US and across Europe including Paris, London and Berlin but this attention did not happen overnight. Giorgini was a true believer in what we would now call marketing, he wanted the world to know what Italy could do. The exhibition captured the value of hard work to Giorgini, displaying letters which he sent, including one to journalist Irene Brin and a letter to a department store notifying them of his events. He also formed personal relationships with clients, organising parties and events to create a name for himself prior to his fashion shows.

Reach the World

It was only a matter of time before Giorgini’s fashion shows attracted global audiences. Carmel Snow, editor of Harper’s Bazaar and Irene Brin, the American fashion magazine’s Rome Editor brought Italian fashion into a larger readership by featuring the work of Italian designers in their well read publication.

Some of Hollywood’s biggest films from this period were also shot in Italy, and the costumes were made by Italian designers. Loyal clients from this time included Elizabeth Taylor, Ava Gardner and Maria Callas. It seemed Italy could not escape the public eye.

Another significant event from this period, was American author, Truman Capote’s Black and White Ball, where many of the outfits worn were made by Italy’s couturiers. Mila Schön, who created garments for this event, has two of her pieces exhibited. These are precisely decorated with sequins and beading which gave an elegant evening look.

Gowns by Mila Schön from 1966, at the V&A’s The Glamour Of Italian Fashion

Leave a Legacy

Today Italy is known for its manufacture of top quality fabrics and material; including wools, leathers and silks. Made in Italy has become a stamp for quality fashion. Italy continued to leave prints on designers, influencing even today’s top fashion houses including Armani, Mani, MiuMiu and ­­­­Cavalli. As a whole this exhibition demonstrates the making of a legacy.


The Glamour of Italian Fashion 1945-2014 runs until 27th July 2014

Find out more about this exhibition on the website and the exhibition blog.


Words by: Piarvé Wetshi 
Images courtesy Victoria & Albert Museum

13 June 2014

Prix Pictet: In Conversation

Prix Pictet display 2014 © Victoria and Albert Museum


Prix Pictet is an annual photography and sustainability prize funded by the Swiss Banking firm; Pictet Group. The award is in its tenth year and for the first time this year it was hosted at the Victoria and Albert Museum. The exhibition includes the work of Michael Schmidt -this year’s winner for his “Lebensmittel” as well as the ten shortlisted finalists; Adam Bartos, Motoyuki Daifu, Rineke Dijkstra, Hong Hao, Mishka Henner, Juan Fernando Herran, Boris Mikhailov, Abrham Oghobase, Allan Sekula, Laurie Simmons.

Prix Pictet: In Conversation was a panel discussion at the Museum on the 22nd May, which enabled the public to gain an understanding of the prize’s objectives and the poignancy of this year’s theme “consumption”. Each of the shortlisted artists had approached this theme so differently that the panel discussion really highlighted the many ways in which photography can be used as a medium and the diverse interpretations of this year’s theme.

The panel included Professor Sir David King, Chair of the Prix Pictet Consumption Jury, Hong Hao, shortlisted for the Prix Pictet Consumption for “My Things”, Mishka Henner, shortlisted for the Prix Pictet Consumption for “Beef and Oil” and Bergit Arends, a contemporary art curator.

The focus of the discussion was an exploration of the theme “consumption” and the contexts in which it can be viewed. Professor Sir David King spoke of “the devastation of our world due to the consumer’s desires” and praised this year’s winner, Michael Schmidt for his ability to produce familiar images yet present them in such a way to make them appear extraordinary. King discussed the work of Schmidt explaining that “Lebensmittel is an epic and hugely topical investigation into the ways in which we feed ourselves,” as Schmidt’s imagery challenges the viewers to think about their own physical consumption - through both its process and origins.

Hong Hao described his entry to this year’s prize, “My Things,” explaining how it derived from an observation of the social constraint in his life caused by both people and objects. By scanning images he made a collage which he referred to as a “timeline of his life in pictures.” Through the technique of scanning he established a way to break free from traditional methods of photography, explaining how scanning provided him with “objectivity” because one can see everything in a scanned image. By creating a 2D image via scanning, the depth of the image seen in traditional photography is also lost. The use of scanning can enable clear lines to emerge within the composition, as objects are not blurred or pixelated like they can be with traditional photographs.

Mishka Henner went onto discuss the paradoxical elements of his submission for this year’s prize. He explained how making pictures had created a skepticism within him – yet despite this he continues to believe in the power of one image. Henner also breaks free from traditional photography methods in his work, using google maps to take multiple zoomed in screen shots. This process has allowed Henner to start to see larger systems for living and dying within his work, which in turn made him consider the bigger cultural issues attached such as agricultural gagging laws (which prevent people from taking photographs in order to protect industries.)

The work of both of these artists and more can be seen at the Prix Pictet display at the V&A until the end of Saturday 14 June. The exhibition free and no booking is required.  

Grace attended the Prix Pictet: In Conversation panel discussion as a member of CreateVoice. To find out more about the opportunities with the V&A youth collective email create@vam.ac.uk

Words by: Grace Radford
  

13 May 2014

CreateVoice goes contemporary

Living in London can often make one overlook other cities – I know I am often guilty of this myself. It is easy to become so engrossed with London that one forgets there are many other culturally significant cities and towns throughout the UK - Margate is certainly one of them.

Situated in the district of Thanet, East Kent, Margate is so much more than a seaside-town. Originally it was known as a retreat for Joseph Mallord William Turner (1775-1851) where he produced many principal works throughout his career including, Margate from the Sea, Whiting Fishing (1822), Margate (c.1832) and A Rough Sea Beating against Margate Jetty with Margate Pier Beyond (c.1840). It was later recognized for being the birth place of contemporary artist Tracey Emin CBE, RA (b.1963). With its colourful artistic history, Margate was also infamous for gang violence between mods and rockers in the 1960’s and mods and skinheads in the 1980s. Today, it is perhaps best known due to the recently established Turner Contemporary (2010) a gallery aiming to provide “world-class exhibitions of contemporary and historical art”.


CreateVoice spent a sunny March Saturday at the Turner Contemporary exhibition, Making Painting: Helen Frankenthaler and JMW Turner. After being taken on a tour by Gallery Navigator Nova Marshall, CreateVoice were split into groups to complete some arty icebreaker activities which asked us to “to look at colour emotively” by categorizing colours as hot, cold and isolated. We were given cards with paintings on them and asked to put the cards in order from hot to cold.

After much colour debate we viewed the exhibition. What made the exhibition so unique and engaging was the fact that the two artists from such diverse schooling, Turner being a 19th Century Romantic Land and Seascape painter and Helen Frankenthaler (1928-2011) being a 20th Century painter known for her involvement in the Abstract Expressionist and Colour Field Painting movements, could have so many similarities. Despite Turner and Frankenthaler painting almost a century apart, there are many “visual correspondences and similarities” - (Sarah Martin Head of Exhibitions, Turner Contemporary) within their bodies of work. Throughout the exhibition it is clearly demonstrated how passionate about colours and the representation of the natural world both artists were.

Works such as Turner’s The Evening Star (1856) and Frankenthaler’s Barometer (1992) can be viewed in conjunction due to the energetic methods of paint application and use of misty whites and grey tones. 

Turner’s later work has often been characterized by critics as a fore-runner for abstract movements. Turner had not intended to exhibit his The Falls of the Clyde (1840), created solely as an experimental investigation of light against nature. This piece works so well with Frankenthaler’s Overture (1992) due to the colour contrast and her utilization of heavily spread paint.

Viewing the body of work in the context of Margate is particularly significant as much of Frankenthaler’s work considers seascapes. Yet it is especially meaningful due to being situated in the physical scenery of the place which Turner artistically explored. After experiencing such an insightful and thoughtful exhibition I urge everyone who can to venture to Margate to view Making Painting: Helen Frankenthaler and JMW Turner, before it closes on 11th May 2014. It is a fantastic opportunity to see a comparative retrospective of two undeniably influential artists. So please don’t deny yourself of such an occasion!

Words by: Grace Radford  
Photographs by Daria Zhivaykina

04 May 2014

CreateInsights: Being a Fashion Designer



Juliana Sissons' armour-inspired knitwear pieces from her 2010 Residency, displayed at the London Design Festival 2012

Fashion Design today is often associated with slim models, bossy directors and perfection. It is easy to forget that pattern cutting is at the heart of designing a garment. Before a garment gets to the catwalk, it doesn't simply jump off the paper; a lot of skill and precision is needed to make it as close to the image as the designer envisioned it (believe me, I know, as I have been experimenting with fabrics and my mannequin for years!) It was refreshing to have an insight from Juliana Sissons, former Artist in Residence at the V&A on 22 November 2013.

Juliana is not only a Fashion Designer, but also a pattern cutter and has worked with the late Alexander McQueen, Shelly Fox and the BBC. She describes pattern cutting as a process which is not always straight forward. It is easy to assume that creating a garment comes straight from the paper, but she explained that experimenting with the fabric and sometimes redesigning a pattern is also part of the process, giving flexibility a creative flow to pattern cutting. The process does also vary depending on the designer and type of garment. 

She explained how in the 80s she and a bunch of friends would stay up all night for a next day deadline (I'm sure any student can relate to this). The main difference between those times and today  is that there is now more of a structure as to who does what and when. Fashion back then seemed to be a way of life and a source of fun, but has now developed a more professional and corporate approach.


Knitwear swatches from Juliana Sissons' experimentation inspired by armour during her 2010 Residency

I loved the passion with which Juliana expressed herself as she reminisced about the chaotic fashion industry in the 80s, when she started out as a pattern cutter.  I loved listening to her stories about the community of designers and artists she was a part of, how everyone knew each other. As costs were a primary factor, it was about who could do what and who could help whom. Often Juliana and her friends would collectively work on projects as a solution.

In the 80s expressing yourself was important in clothing, with people creating a spectrum of different looks inspired by a variety of sources including androgyny, punk and oriental Asia. Juliana explained that everyone had their own look, distinct from one another, and originality was greatly favoured. From her stories, the differences between how we dress now and how they dressed then were clear. Wearing dark wedding dresses was considered normal, and instead of the Essex girl tan, they would have painted their faces white, with the biggest inspiration being the oriental doll look.

Juliana brought fashion back to what it was about rather than what it has become: if  for some fashion is a means to make money, to others it is an art that uses the creation of a look as a means of expression. The talk with Juliana was inspiring and made me think of how fashion constantly recycles itself in new ways. As Juliana has been in the industry for years, she has seen styles that she saw in her early days coming back in emerging designers' portfolios. This shows the legacy which clothing can leave behind for generations. 

Words by: Piarvé Wetshi 
Images courtesy V&A Museum

18 February 2014

From Vision to Exhibition

Ever looked at an exhibition and wonder who makes it happen? The V&A has been home to some unique and inspiring exhibitions - Tomorrow, Club to Catwalk and Memory Palace, just to name last years personal favourites - and I'm left wondering how the initial idea for these exhibitions became a physical reality.

January’s CreateInsights session welcomed Dana Andrews who gave us a peek into her role as the Exhibition Coordinator at the V&A. Every exhibition starts out as an initial proposal (generally from a curator), Dana explains how her job is to help make that concept become a reality, giving us examples from two successful exhibitions she has worked on at the V&A: including the fastest selling ‘David Bowie Is…’ and the Xu Bing installation ‘Travelling to the Wonderland’ currently on display in the V&A garden. Dana took us through some of the truths and myths surrounding her role, making it clear that her job is to work with a large and varied team to plan and deliver the exhibition within a certain time frame. She admits her job involves deadlines, lots of liaising, decision making and travelling.

Major exhibitions can involve hundreds of exclusive artworks on loan from multiple locations and Dana and her team find and arrange for the best examples to suit the exhibitions theme, which includes some research. The team have to consider which items are relevant in order to create an engaging story without simply stating the obvious.

With the David Bowie Is… exhibition, the team worked with Bowie's agents to bring together the best pieces, much of it from his private collection. In the end they used over 300 items for the exhibition, including clothing, song lyrics, footage and photography.  As expected a large team is required to set up an exhibition, and as the Exhibitions Coordinator, communicating with all these people is a major part of your role.

John Madejski Garden installation 'Travelling to the Wonderland' by Xu Bing 2013© Victoria and Albert Museum, London

Designers, Technicians and the Curatorial Team are just a few groups which are involved. Although there is a set team of familiar faces, external workers with specialist skills are also required, so Dana emphasised that great people skills are necessary for her role.

With so many people and often so little time, maintaining a positive attitude is vital, and working under pressure and multitasking must come as second nature (let’s not forget Exhibition Coordinator’s will often work on more than one project at a time). Interestingly there are more women than men currently involved in the Exhibitions Department. Although not a bad thing, Dana admitted it would be nice to see more of a gender balance within her team.

Clearly as so much work goes into creating a successful exhibition, hard work equals great rewards. Dana gave us a look at some of the places her job allowed her to travel to, including a project in India and China

David Bowie is exhibition, 2013. © Victoria and Albert Museum, London

The job involves lots of travelling to exciting places across the world (as well as within the UK itself). Plus surprises are always around the corner, especially since the themes of exhibitions you work on can vary hugely. Nonetheless Dana did express her personal love for working on Fashion exhibitions.

Seeing the journey of an exhibition from an initial idea into the final show is an achievement in itself. However, if you’re a glory hogger, this role may not be for you, Dana jokes. But if you are happy to be presented with a concept (without the pressure of creating it from scratch) then this is a role which allows you to be an integral part of a fantastic journey without being shoved in the limelight.

Words by: Piarvé Wetshi  Photographs from the Victoria and Albert Museum