1Boud

icca

/ M

iriam

Rib

ul /

J Por

ola

/ May

a &

Reu

ben

Fow

kes /

Jane

Bow

ler /

Pan

optic

um /

Mic

hiko

Nitt

a / J

oao

Cos

ta /

12

Issue One

2

Image Abigail Corbett

3

4

Editor in Chief & Art direction - Abigail Corbett Contributing editor - Rachel Miles Contributors -Peter Ainsworth Esther Alice Coombes Bonnie FriendHarry JonesMillie LiveingShannon May Powell Vanessa Rouse

Projects -Nefeli Sidriopoulou / I am the space where I am Hannah Lee Turner/ Reintegrated Scraps

Special Thanks - Robyn Davis Fillipo Guillani Rob De Niet Brenda Polan Antony Price Sacha Lynch Robinson Catherine Taylor Joanne Wills Mark Wells www.halfmagazine.co.uk

Cover image - Shannon May Powell Sapa, Vietnam.

5

CONTENTS

Manifesto 6 The Ethical Truth 10

Eco Glossary 12 Going for Broke 17 Peter Ainsworth 22

Plastic Paradigms 26 Miriam Ribul 32

J Porola 34 Collecting rather than Consuming 36

EcoCanvas 40 Michiko Nitta 52

Michiko Nitta’s APS 56 ‘I am the space where I am’ 58

Panopticum 62 Reintegrated Scraps 66

Maya & Reuben Fowkes 70 Joao Costa 72

6

1/2 evolves from our current environmental situation, Offering an analysis on how we view and perceive these issues today, and how we can overcome them. 1st 1/2

IN WHICH WE HIGHLIGHT THE ABSURDITY OF THE ENVIRONMENTAL SITUATION

With recent oil catastrophes, tsunamis and nuclear threats, we are more than aware of the environmental issues that are looming over us as a society. We want to look beyond the gloom and place hope within the future, through the creative world. We want to look beyond the news and the apocalyptic reporting. We are critical of the information which we have been given. We have conversed and debated over the issues that surround us. Yet what did we achieve? It has become a paradox, one which we need to address. Although some voices cry loud and attract a more unified purpose , this results in negative consequence. They rile the conflicting monsters which stifle confusion of the original message. We cannot solve the problems with the same thinking that created them.

There is a new mood rising out of the cliché that has for some years defined environmentalism. We want to question, we want to explore, and to tackle the issues with our inquisitive minds. We want to engage with the subject again. I personally feel that we all as a society have begun to censor (either consciously or subconsciously) coverage of green issues . These self-constructed ‘blinkers’ have meant that green issues no longer resonate as strongly as they perhaps did, say three, maybe four years ago. There is no shock value. Therefore, in order to bring the foreground certain environmental issues, it is necessary for the arts to utilise every new and exciting medium available to maximise coverage and ultimately, public interest. We do not have control over the environment, and in a sense the environment does not have complete control over us. We are the co-creators of our environment, yet we do not fully recognise ourselves as such. In which we highlight the absurdity, we re-evaluate the eco language (pg 10), explore ethical accreditation (pg 12) and review the disposability of fashion (pg 17.)By exploring the term ‘environmental’ in the most literal sense. The social and cultural forces which shape our lives 1/2 focuses on factors which contribute to all we will see, and all that we have observed.

7

2nd 1/2

IN WHICH WE PROPOSE A NEW WAY OF THINKING

We are in a place to stop, slow down and re-invent. In light of the fashion system, we can no longer keep silent and watch as this industry contributes towards destruction, in the continious battle of need VS greed. Need is eventually the forerunner. In our new fashion system, it isthe concept that is as important as the design. We propose a re-think. A re-consideration of our contemporary situation. It is a time to reflect and simulate change, promoting independent thought and enthusiasm. We focus on the compelling fragments which are piecing together this new mood. From an exploration into air as a material, (pg 32.) to a proposal for an animal posting service (pg 56.)

An escaped reality for everyday life, and solutions to future problems. The practice that is happening now and will develop.It is time for change, we are a platform for those who lead by example. The individuals whom are creating real change within the creative sector and subtly stating so. No greenwashing, no bullshitting.

As Judith Nesbit states ‘We need imagination, not just information, to face the impending challenges that lie ahead of us as a society. ‘ It is uncertain in our current times how the environment will react,but we can speculate and we can adapt and respond to this.

With a focus on this freshly regenerated idea of ecology is interwoven within the future of design. It is through this specialisation, by which we will lead confidently into the future, with a shift in perceptions and a shedding of the stereotypes.

8Harry Jones - Scotland

9

1. I

N W

HIC

H W

E H

IGH

LIG

HT

THE

ABS

URD

ITY

OF

THE

SITU

ATIO

N

10

If there is one buzz word for the Noughties, it would have to be ‘ethical’. Whether it is your food, your clothes, your travel, or your organically reared, oatcake eating, so green they practically constitute a fungus, children; everything has the capacity to be so compost-able it’s cool, and none more fashionably so, than business.

The thing that remains elusive however is what this all-encompassing term really means – does ethical depend on the origins of a product? The sustainability of the resource? Whether the materials are recycled or recyclable? The working conditions of the manufacturers? How much the company gives back? Or all or any single one of these?

It is a problem facing businesses themselves – after all, no PR could be worse than the revelation that a company, leveraging off its ethical backbone, turns out to be slave-driving fraudsters using endangered animal hide to gift wrap their produce. After all, they were sure they were constrived ethical as they had worked so hard to ensure it was recycled animal hide. In the UK, the Ethical Companies Organisation runs the UK’s Ethical Accreditation Scheme, and their stamp of approval is recognized by the Ethical Awards shopping bag icon that favoured companies display. They state that an in-house research team looks into applications, and selected candidates will only be awarded ethical status if they achieve ‘positive initial research results’. There are a wide number of areas to be considered – from the environment, animal testing, working conditions and a miscellaneous category described as ‘extras’, leaving the judging criteria somewhat ambiguous, and for someone like myself who is a fan of clear lines, and putting things in boxes, it represents something of a conundrum.

However, even in my compulsive and controlling state, I am willing to concede that this opacity has both plus sides and down sides: on the one hand there are lots of ways a company can be considered ethical with more ideas and opportunities emerging by the minute, so why should they be boxed into certain criteria? Moreover, if a company is compliant with nine out of ten areas of Ethical Accreditation, but doesn’t have an A* in one category, should they be penalised for all the hard work they are expending? On the flip side, it also means that there are an awful lot of ifs and buts when it comes to Ethical Accreditation, which gives a sense of undermining the status – I mean, how are we supposed to take the accolade seriously, if the awarding body itself is unable to define exactly what it means?

THE ETHICALTRUTH?Bonnie Friend investigates the problem facing ethical companies and explores the loopholes within the ethical

branding system.

11

Out of Peru is a silver jewellery company in the UK which prides itself on its ethical roots – CEO Simon Ogilvie-Harris has visited all the workshops, knows exactly where the raw materials were mined, and knows that everyone involved from source to sale has been appropriately looked after and compensated for their hard work. However, he was at one point challenged when a rival company questioned his ethics saying that all this counted for nought because their materials were not recycled. Ogilvie-Harris counter argued by saying that the problem with recycled materials is that you have no idea where or how they were sourced, so cannot guarantee ethical production. Thus the argument is cyclical – surely both companies are ethical, but are simply defining a term with as many reflective surfaces as a prism, from different angles. A growing trend in ethical business is Do-nating – where companies donate a percentage of the profits from each sale to a cause of their choice. This seems to be a fairly fool proof way of showing the world that your company is giving back and is thus ethical, with brands such as Innocent Smoothies, and increasingly, by contributing the RED campaign raising funds for anti-viral drugs in Africa, Nike, Starbucks, and Apple participating.

In amongst the corporately responsible is Ben and Jerry’s whose mission statement shows their “continued commitment to incorporating wholesome, natural ingredients and promoting business practices that respect the Earth and the Environment.” The environment of course is a key component for ethically aware shoppers – after all, that hole in the O-zone isn’t getting any smaller, but is that ethical? Or just environmentally friendly? Do they constitute part of the same thing or are they entirely separate?

The funny thing is, that from a shoppers perspective, as long as we see some semblance or label that says that this product has not hurt or damaged anyone, then we do not consider it necessary to look beyond surface level assurance. Thus, the upshot is that even well into the 21st Century, where we have more bins in our kitchens than you can shake a genetically modified stick at and are more worried about the number of parabens in our shampoo than the number of disaffected youths in a General Election, we ask very few questions of the ethical standing of products, and the criteria for what makes an ethical business remains surprisingly vague. But then, perhaps that is for the best? Perhaps as a society we are still learning what ‘ethical’ really means? Perhaps it is important to keep it open ended as in fact it is a subject with many grey areas, or green ones I suppose.

“We do not consider it necessary to look

beyond surface level assurance”

12

G R E E N W A S HThe full definition of the term in the Oxford dictionary defines: “Disinformation disseminated by an organisation, etc., so as to present an environmentally responsible public image; a public image of environmental responsibility promulgated by or for an organisation, but perceived as being unfounded or intentionally misleading.” Not very concise? Surely this definition can be seen as a reflection of the typical greenwash strategy, blind us with words, present concepts which no longer mean what they should. However, greenwash is not a relatively new term, we are more aware of it today as it has multiplied and spread into the mainstream. The term was added to the dictionary in 1999, and was first noted by David Bellamy, in the magazine Sanity in 1990, over twenty years ago. We are aware of the media, advertising and corporate greenwash that we are presented with, to convey an image of the environmentally aware. Only 10% of us trust the green information we receive, from businesses and the government according to a recent survey by the ACI. To the extent that we have become so desensitised, we don’t question, we don’t respond. We are at a stage where organic now has a legal definition, and fair-trade is copyrighted, to stop misuse. Which leads us to ask the question, what is the truth? How can we sift through the mass mislead? At ½ we imagine we have just been presented with these environmental terms, with no stereotypes, mixed meanings or predetermined ideals. An eco glossary before overexposure, what the terms could of meant.AC.

13

fam

ily w

ho a

re co

mpi

ling

an a

lbum

of r

are

arch

ive

reco

rdin

gs a

nd o

rigin

al so

ngs.

Lato

ya Ja

ckso

n re

cent

ly u

ncov

ered

P.E.

T, th

e or

igin

al v

ersio

n of

Mic

hael’

s hit

reco

rd P

YT

– pr

etty

you

ng th

ing.

P.

E.T

was

cons

ider

ed to

o co

ntro

vers

ial f

or re

leas

e w

hen

it w

as fi

rst r

ecor

ded

in 1

979,

‘Pre

tty

Envi

ronm

enta

l Thin

g’ w

as Ja

ckso

n’s re

spon

se to

the

hipp

ie c

ultu

re o

f the

70’s

and

the

raisi

ng

awar

enes

s of t

he is

sues

whi

ch th

e pl

anet

face

s.

Recy

cled

- T

o ta

ckle

the

obes

ity e

pide

mic

whi

ch is

cur

rent

ly a

ffect

ing

yout

hs, t

he B

ritish

go

vern

men

t hav

e in

trod

uced

dua

l spo

rt/e

duca

tion.

The

first

subj

ects

to m

erge

toge

ther

are

re

ligio

us e

duca

tion

and

cycl

ing

to fo

r R.E

cyc

le. Th

e st

uden

ts le

arn

abou

t a w

ide

varie

ty o

f re

ligio

us a

spec

ts w

hilst

on

a bi

ke.

The

curr

icul

um p

revi

ously

incl

uded

a d

ress

up

stag

e, ho

wev

er

this

was

abo

lishe

d as

a y

oung

boy

from

Ess

ex g

ot h

is flo

win

g Je

sus r

obe

caug

ht in

the

whe

el o

f his

bike

and

was

hos

pita

lised

for a

brie

f per

iod

of ti

me.

Rene

wab

le re

sour

ce –

The

Wig

an H

einz

fact

ory

was

thru

st in

to th

e m

edia

spot

light

in Ja

nuar

y th

is ye

ar, d

ue to

thei

r new

inve

ntio

n of

self-

refil

ling

sauc

e. Th

e te

am at

Hei

nz w

orke

d cl

osel

y w

ith

a se

lect

team

of s

cien

tists

to d

evel

op th

is ne

w te

chno

logy

that

clai

ms t

o ‘re

volu

tioni

se th

e w

ay

we

dine

and

shop

fore

ver.’

Curr

ently

avai

labl

e in

the

Rene

wab

le R

esou

rce

colle

ctio

n ar

e ke

tchu

p an

d sa

lad

crea

m. A

rene

wab

le B

BQ a

nd m

ayon

aise

are

cur

rent

ly u

nder

way

, and

shou

ld b

e hi

tting

su

perm

arke

t she

lves

late

201

1.

Verm

i com

post

ing

– Th

e ac

tivity

of a

smal

l ins

ect w

hich

are

invi

sible

to th

e un

trai

ned

hum

an

eye.

Thes

e cr

eatu

res t

end

to fr

eque

nt g

arde

n al

lotm

ents

, veg

etab

le p

atch

es a

nd fl

orist

s, ba

sical

ly

anyw

here

ther

e is

good

qua

lity

soil,

to p

ot p

lant

s and

gro

w in

. Ver

mis

are

cont

agio

us.

Nuc

lear

– T

o fu

rthe

r her

fash

ion

care

er B

elgi

an su

perm

odel

Ano

uck

Lepo

re, h

as a

dopt

ed

envi

ronm

enta

l iss

ues a

s her

mai

n co

ncer

n. S

he a

ims t

o sp

read

awar

enes

s of t

he g

reat

coal

/nuc

lear

fu

el d

ebat

e, th

is ha

s con

siste

d of

her

mod

ellin

g th

e no

w in

fam

ous ‘

inse

rt so

met

hing

witt

y ab

out

coal

’ t sh

irts,

and

offici

ally

and

lega

lly ch

angi

ng h

er n

ame

to A

nucl

ear L

epor

e to

hig

hlig

ht th

is iss

ue.

O Z

one

– Th

e sp

ecia

list b

ank

of m

illio

naire

s. Th

e w

ealth

y el

ite a

re se

greg

ated

and

cat

egor

ised

due

to th

e am

ount

of z

eros

whi

ch ap

pear

in th

eir fi

nanc

ial a

ccou

nts.

Succ

essf

ul e

ntre

pren

eurs

mix

w

ith o

ther

ent

repr

eneu

rs o

f the

sam

e ilk

. The

O zo

ne is

a fo

rm o

f mill

iona

ire so

cial

cur

renc

y.

Pollu

te –

An

exot

ic m

usic

al in

stru

men

t. A

rare

mus

hroo

m fo

und

only

in th

e In

dian

oce

an, w

hich

is

poiso

nses

s to

the

hum

an so

ul. A

per

fum

e. Th

e LV

MH

gro

up h

ave

rece

ntly

laun

ched

an

amal

gam

atio

n of

all

thei

r fas

hion

and

leat

her g

oods

, lab

els s

uch

as G

iven

chy

and

Cel

ine

for

inst

ance

. The

frag

ranc

e ‘ex

pres

ses t

he u

nder

lyin

g va

lue

of th

ese

desig

n ho

uses

and

the

ince

nse

of

luxu

ry a

nd e

xces

sive

was

te.’

(ther

e is n

o co

rrela

tion

betw

een

the t

hree

.)

Smog

- A

kitc

hen

appl

ianc

e, w

hich

was

ext

rem

ely

popu

lar i

n 19

50’s

Brita

in. W

hich

invo

lved

a

gust

a e

xtre

mel

y ho

t air

(sm

og) b

low

n ar

ound

a c

upbo

ard

with

a st

rong

fan.

‘S

he p

lace

d th

e pie

into

the s

mog

to a

llow

it to

bak

e.’

Biod

egra

dabl

e –

A p

sych

olog

ical

cond

ition

. A la

w o

f nat

ure.

Clim

ate

Cha

nge

– A

van

ity p

robl

em. Th

e cl

imat

e is

noto

rious

ly k

now

n to

chan

ge o

utfit

s six

to

seve

n tim

es in

one

day

, the

clim

ate

is sh

allo

w a

nd is

onl

y co

ncer

ned

with

the

appe

aran

ce o

f its

elf,

and

the

appe

aran

ces o

f oth

ers.

Car

bon

Foot

prin

t – G

erm

an fo

otw

ear d

esig

ner L

eade

nhow

er, w

as in

spire

d by

the

late

fore

ign

min

ister

Her

man

n M

ülle

r w

ho re

fuse

d to

sign

the

Tre

aty

of V

ersa

illes

with

his

hand

s. In

stea

d he

relu

ctan

tly si

gned

the

pape

r with

his

feet

, whi

ch h

e st

rapp

ed p

enci

ls to

. Lea

nden

how

er’s

a/w

11

colle

ctio

n fe

atur

e bo

ots w

ith a

thic

k le

ad so

le, w

hen

used

(par

ticul

arly

on

clea

n su

rfac

es) t

hese

sh

oes l

eave

trac

es o

f wha

t we

call

a ‘ca

rbon

foot

prin

t’.

CFC

– C

ocai

ne F

ello

wsh

ip o

f Col

umbi

a

Con

serv

e –

The

inte

r-pr

ison

busin

ess,

whi

ch fo

cuse

s on

serv

ing

conv

icts

, or c

on’s

for s

hort

. Th

e bu

sines

s con

sists

of a

birt

hday

din

ing

serv

ice,

whi

ch p

rovi

des t

he m

eal o

n re

ques

t, th

e w

aitin

g st

aff a

nd a

per

sona

l din

er (t

he h

ead

office

r) to

pro

vide

acc

ompa

nim

ent.

Con

serv

e al

so p

rovi

des

a po

rtab

le sh

op, w

hich

stoc

ks th

e la

test

bes

t sel

lers

from

Ric

hard

and

Judy

’s bo

ok cl

ub a

nd 1

9th

cent

ury

liter

atur

e. A

ll ite

ms a

re se

curit

y ta

gged

.

Def

ores

tatio

n –

In it

s’ w

ider

sens

e is

the

idea

of r

emov

ing

ever

y fo

rm o

f pla

nt, t

ree

and

the

use

of

the

wor

d fo

r. C

ham

pion

ed b

y a

Can

adia

n ci

tizen

Jeff

Hug

hes,

he st

ated

“I h

ave

had

enou

gh o

f the

w

ord

for,

it ha

s no

purp

ose

and

I am

cam

paig

ning

to g

et th

e w

ord

‘for’

abol

ished

from

the

Engl

ish

lang

uage

and

dic

tiona

ry.”

Jeff

’s ca

mpa

ign

seiz

ed to

a h

alt i

n Au

gust

201

0.

Emiss

ions

– A

pub

lic sp

okes

man

for M

15 h

as co

nfirm

ed th

at E

-Miss

ion

is in

fact

und

erw

ay. “

It is

a ve

ry d

elic

ate

and

tech

nica

l ope

ratio

n, b

ut w

e as

sure

the

Uni

ted

Kin

gdom

that

we

have

our

hi

ghly

spec

ialis

t e-o

rgan

isatio

n de

alin

g w

ith th

is pr

oble

m. “

The

http

team

are

cur

rent

ly in

side

the

inte

rweb

sour

cing

doc

umen

ts a

nd co

llatin

g lin

ks to

com

plet

e th

is in

tera

ctiv

e m

issio

n.” Th

e co

ver

was

nea

rly b

low

n, w

hen

a sp

y w

as sp

otte

d by

Tra

cy L

aCha

rles a

ged

19 fr

om T

exas

, who

clai

med

sh

e sp

otte

d a

spy

on h

er Y

ouTu

be.

Gre

enho

use

effec

t – A

smal

l vill

age

in e

aste

rn R

ussia

has

enc

ased

itse

lf in

a g

lass

bub

ble

to av

oid

the

extr

emist

vie

ws b

ased

aro

und

clim

ate

scie

nce.

Haz

ardo

us w

aste

–A

ll w

aste

is h

azar

dous

, and

eve

ryth

ing

whi

ch is

haz

ardo

us m

ust b

e se

en a

s w

aste

.

Org

anic

– A

tren

d in

ear

ly v

icto

rian

Brita

in, s

tree

t thi

eves

and

pic

kpoc

kets

mov

ed o

ff th

e st

reet

s an

d in

to th

e m

orgu

es to

stea

l vita

l org

ans f

rom

fres

h co

rpse

s. Th

ese

orga

ns w

ould

be

then

bou

ght

and

sold

for a

hig

h pr

ice.

Hen

ce th

e co

lloqu

ial p

hras

e ‘or

gan–

nick

.’ ‘H

e was

put

in ja

il as

he g

ot ca

ught

on

the o

rgan

ic’

P.E.

T –

Sinc

e hi

s dea

th, t

he M

icha

el Ja

ckso

n ar

chiv

es h

ave

been

raid

ed b

y hi

s exm

anag

er a

nd

14

Vanessa Rouse

15

Colloquial Tree names

Baldcypress

Flowering dogwood

Sweet buckeye

Black locust

Cucumber tree

Paw Paw

Rusty Blackhaw

Bigtooth aspen

Alligator juniper

Bombax

Jellyfish tree

The Devils walking stick

16

Harry Jones - Scotland

17

/ GOING FOR BROKE /

Esther Coombes relays the rise and fall of fast fashion.

It really is the most addictive rush. Standing in the queue on a balmy Thursday evening, grasping that perfect new dress – you know – the one that will make you slimmer, prettier, more youthful, the perfect date. The

assistant tucks it into a pristine carrier bag as you mechanically punch in a PIN number; the key to tomorrow night’s happiness wrapped up in a single shift. If you buy this dress your life will be better. The fashion industry has long peddled the notion of the ideal woman, but with airbrushing and advancements in cosmetic surgery, standards have been raised tenfold. It’s a dangerous game, and in the dawn of the digital age consumers can get this very rush at the tap of an iPad. Internet shopping dictates that the next great purchase need only be a click

away. Opening my wardrobe I am confronted by purchases of yesteryear: that time I was doing Edwardian chic; the four Breton tops I just had to have for Reading festival. My fashion choices play out in front of me like a sartorial This Is Your Life. Move too fast and you face a cotton avalanche. Nowadays the rise of micro trends hyped in weekly magazines mean fashion’s flavour of the month changes four times as fast. Embellished gladiator sandals one week, tasselled loafers the next. Whatever Grazia says goes. It is estimated that the average Brit will spend at least £625 a year on clothes, accumulating 28kg of clothing. This contributes to 1.72m tonnes of new fashion being consumed every year in the UK alone. As tastes become increasingly homogenised consumption of fast fashion is bound only to increase. It’s a vicious cycle of rinse and repeat. Old habits of spending only within one’s income – washing, darning and caring for clothes – seem prehistoric; The Way We Wore. In 2011 fast fashion dictates the rapid wear and tear of bargain-basement clothing is almost a pre-requisite, an excuse to bin that month-old dayglo tee and replace it with a diamanté one. When cheap fashion tears or stains the wearer can

merely dispose of it – ‘after all, it was only £6’. The new millennium ushered in a new business model for selling clothes; under Kaiser Philip Green, stores became a destination point for anyone wanting to buy into the shimmering celebrity dream. Magazines took looks from runway to real life, showing readers how to get the couture look on a shoestring. Who rocked it and who shocked it? You could learn from their mistakes and live the wardrobe life of a WAG, changing outfits four times a day to be Sienna Miller, Blake Lively, Lindsay Lohan, Cheryl Cole. Buyers became more consumer-savvy, scouring blogs and frequenting festivals to discover the underground trends before they materialised on the mainstream. High-street fashion was on high alert to the cultural zeitgeist, ensuring time to market became ever quicker to satisfy shopper lust. Skype and wireless Internet enabled fast communication from designers to the countries halfway across the world where garments were produced. Companies could send adjustments and tweaks at all hours of the night as production motion soared to dizzying rates. Supply and demand accelerated as consumers weren’t just shopping for two seasons a year. There were cruise collections, pre-fall, holiday shops,

limited editions. The Spanish store Zara took this idea and spinned it into a USP. They manufactured tiny quantities of each style, with only a fortnight to make an impression on the shop floor. Shelf life was short – if a

shopper wanted a garment they had to strike fast. This inspired a tantalising hunger in the consumer; the concern that a minute’s doubt would mean you lost out on that silk blouse forever. With short lead times,

multiple seasons and rapid delivery rates, Zara revolutionised the retail industry. And then along came Primark. The trailblazing bargain basement inspired the cheapskate in all of us – how many cotton tees could you buy for a tenner? Too busy to try on? Hell, I’ll take it in every size. With the affectionate alias of ‘Primarni’ the British Walmart was now an acceptable place to pick up basics at cheaper-than-chips cost. It became cool to parade about in worthless fashion, almost a badge of honour to declare your entire outfit had set you back just £5. Even Victoria Beckham was singing the praises of ‘the high-low mix’ in an interview with Vogue. The ethical impact of this movement was conveniently swept under the carpet – sweatshops were out of sight, out of mind. Low and exploitative wages combined with poor working environments meant CMT workers were suffering for our art. But then something shifted. Soon high fashion wasn’t so favourable. Cotton prices soared and the rise in VAT meant every purchase mattered. Customer demand for shoddily produced stock was falling, with the owner of Primark reporting a lower-than-planned profit margin for the second half of this year.

The consumer became wise to the investment piece – a smaller capsule wardrobe with coordinating basics in timeless styles. You could earn your fashion, saving for a Celine blazer or that Mulberry bag that would go the distance. Compulsive shopping seemed trashy, insincere. Stealth wealth became the new black.

Esther Coombes is a freelance journalist and stylist.

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Harry Jones is a fine art photographer currently located in London. He is currently working for The Saatchi Gallery and Carter Presents. For his current project Harry isolated

himself in the wilderness of Scotland. ‘I went to the forest and saw a rabbit with a candle making human shadows,’ explores the relationship between art and ecology and the perceptions of the sublime.

www.harry-jones.com

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All Images - Harry Jones - Scotland

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PROPOSED CHANGES TO THE ECO-LANGUAGE

ECO, what does the term mean to you? As language is here to clarify our current situation, is the current environmental situation defined by this one term?

The term eco is a signpost for environmental issues. Due to a lack of discussion, and questioning has allowed us to place eco on the front of any word to create an Eco-word. This eco-sentence makes an eco-point, the eco-meaning has been eco-lost. The social relevance of the eco-term has been so overexposed we have become de-sensitised, and we could be presented with products such as eco-eco and we wouldn’t even raise and ecobrow. My point is that literally anything can become environmentally friendly with a little addition of ‘eco’ infront of it. Eco offers an immediate transformation, as if a word or product was featured on a ‘mid-morning makeover show’ eco makes the word, slimmer, more flattering and in addition the word gains the added bonus of our presupposed idea of environmental awareness.

The main culprit for this form of eco-trickery is fashion. Fashion branding, fashion journalism and marketing struggle to define anything without the added eco thrown in for good measure. As Sue Thomas states in her essay Green Blur, “Fashion writing, in turn, has tried to acquire or construct a meaning from existing terms and its new locale. Ecofashion has been a type of collage, but not a sustained definition or contextualization” Thomas highlights the phenomenon of a green blur, a term originally coined by Cotton Incorporated in 2007, by which the audience is lead into a state of confusion, we follow the eco-trail to eco-consumerism We are unable to differentiate between one eco category and another.

You may be thinking that this doesn’t affect you. That you are old enough, wise enough and smart enough to realise this form of greenwash. However, even if this may not affect you consciously, it has affected us all subconsciously, there is no dodging the eco-bullet. Even if we are now unaware of the eco-tool that is aimed directly at us, we may have just reached the level where we no longer care for genuine environmental products. Through repetitive hammering on the eco bandwagon, the worthwhile environmental issues are going a miss. We have lost control over our eco terminology, and it has spiralled into a sense of eco mass hysteria.

Overall, my point is to propose a re evaluation of the eco term. Although through writing this piece I find it eco-addicting to slip the term here there and eco-where. I should know better. I propose a development of a certain classification system, guidelines or systems. Or should we be more experimental when searching for adjectives and description, rather than follow the obvious route. Please think twice before you describe something as eco, or read into the eco text. Do not even get me started on the word green. AC

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Covered, 2009 – 2011 is an ongoing project. It is an intensely personalbody of work where my father in the garden of my childhood home createsthe subject matter. The images should perhaps be viewed as documentationof a performative act, evidence of the objects existence and the formsthat are created within this domestic space. There is an inherent feelingof the theatrical with the action of wrapping. In an art historicalcontext the forms are reminiscent of the disembodied sculptures ofantiquity; flowing folds over a body with head and limbs removed, or ofthe surrealists: the wrapped sowing machine of Man Ray or the wrappedcliffs of Christo. Forms engulfed by an intervention of the artist buthere on a small and intimate scale.

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PETER AINSWORTH

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The endeavour of wrapping the plants stems from a practical concern; to protect the plant from the winter frost, but within the photographs therelationship between the controlled environment of the suburban garden andthe unpredictability of climate is highlighted. However in the frame ofthe photograph covering has connotations of concealing as much asprotecting. The documentation of this yearly activity has become a ritualin its own right for me, I am following the evolution of a form over aperiod of time. As such I no longer view the plants as plants but ratheras sculptural structures, what is concealed beneath is unclear, or perhapsunimportant to the reading of the image.

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All images and text- Peter Ainsworth - Covered

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We can see how plastic pollution is affecting us as a human race, and we are constantly told how this material is distressing us, but can we imagine a world without it? It seems we have reached a state of reliance on our throwaway allies. Amidst all the apocalyptic information, on how we too shall be living our plastic lives in our plastic containers in the near future, there is a re-examination underway. Here we re-evaluate Barthes’ opinion on plastic from over seventy years ago to Bowler’s current redefinition of the plastic product.

We may not know our Polyvinyl chloride to our low density polyethylene but we are aware of our plastic consumption, with the UK using 15 million plastic bottles per day and the discovery of the Great Pacific Garbage Patch, located off California, which is bigger than the size of Texas. We are only too aware of the negative impacts of this product. Plastic has evolved from something of awe into something we treat with misuse.

The first introduction of plastics into society in the fifties revolutionised our views, it was widely celebrated. For instance, Roland Barthes stated in his essay Plastic Mythologies in 1957, “Plastic is more than a substance, plastic is the very idea of its infinite transformation; as its everyday name indicates, it is ubiquity made visible.” He describes the wonder of this new material, how humanity was simply amazed by its existence, in awe of its creation. We derived the material from a natural substance, and created the polar opposite, an artificial matter. Yet this was not viewed as a danger, but as a progression, a celebration for science and for human development. “Plastic remains impregnated throughout with this wonder: it is less a thing than the trace of movement.” Over seventy years further on textile designer Jane Bowler has carried on this thought process. Like Barthes, Bowler sees the wonder in such an everyday material, by transforming disregarded plastics to create

her conceptual pieces. Bowler’s much celebrated work avoids falling into the cliché category of recycled design, as she places a strong focus on a reconsideration of unusual obscure materials. “Designers need to re-think their material choices, and begin to turn to materials and throw aways which are readily available for us to use, I believe in transforming re-appropriated and recycled materials into desirable objects, which you will want to keep for a life time.”Through her unique experimentation, and treating of the scrap plastics Bowler’s concepts are aesthetically influenced by Japanese traditional raincoats, the fringing and contrasts between the materials.“I collect a variety of different materials ranging from re-appropriated shower curtains and pvc bath mats as well as sourcing materials from a wide range from scrap projects in London.” By introducing colour, stitch, texture and shape, through a series of heat base experiments, Bowler is able to mould the materials to create new dimensions and previously unseen textures. “I also create my own rubber moulds which act as ‘re-usable pattern pieces’, these moulds of interesting texture embed pattern and shape into my engineered garment sections, and these moulds are also used to create the plastic fringing.”Sifting through the negative press, Bowler showcases optimism with our current plastic pollution problem. She is enthused working with such a material. “The unexpected luxuriousness and sophistication of such a material excites me. I plan to continue this exploration in my new collection, I am currently working with old plastic milk bottles and packaging with the aim of transforming them in order to achieve a similar feel of unforeseen opulence.” We should look at our current materials, in a similar mindset to Barthes’, with the wonder and excitement as if we have just been presented with them. We can still achieve a spectacle, but through a re-evaluation of what we already have, rather than letting them turn into waste.AC.

PLASTIC PARADIGMSPlastic. A visible bi-product of our package wrapped society. We have grown from love to hate with this material, yet cannot imagine life without it. Abigail Corbett explores the changing attitudes and the optimistic shift

towards this waste.

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Harry Jones - Scotland

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Image - words by Shannon May Powell

The shape we have carved in the dirt is not a perfect circle. There was a time when we spoke volumes without words.

A time when the world turned us on. Have we forgotten that we are animals?

And that we once hunted for something more than knowledge, something invisible. Before seeing was believing.

I beat my fists into the quaking earth to hear the sound of waking life. But i am deaf to the cries of the wounded rock.

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Textile futures must be developed with intuition, originality and overall talent. A progression which may seem natural to some, takes years to evolve, and a keen eye to spot and test the new. A leading example is Miriam Ribul, currently exploring the possibilities of the impact of air.

MIRIAM RIBUL Miriam aims to create an awareness of air. By looking at the word material in the widest sense of the term, she focuses on developing new design processes on working with air and an evaluation of its social and environmental needs. “Air is omnipresent and is part of our environment, we take it for granted. The project is aimed at making air tangible as a possible alternative path for materiality.” However as Miriam works with air in its many states, still and traveling, she has to consider the pre-supposed judgments that many make of this material,“ Air implies geographical, chemical and physical, but most of all social and personal connotations. Instead of using it only to claim air pollution or to harvest electrical energy, air could be elevated to something positive and this could lead to safeguarding

it for the future.” We are all obviously aware of air, but it is a material that masses take for granted, and do not think of utilising, and many completely forget it exists. “Since air doesn’t have a shape and an exact definition, it leads us tocreate negative connotations which are already part of our language: ‘it’s all up in the air’, ‘dissolving into thin air’.” Something that we don’t recognize tangibly is easy not to take care of. “For example helium is a natural part of the earth’s atmosphere, but we have managed to waste major parts of what is needed to form in thousands of years by selling it at ridiculous prices, while we do not think of recycling it.”By working with the properties of air, Miriam was able to explore shape, form and movement, however with many difficulties, as air is so hard to document, “I always needed the connection to another liquid or solid material to visualise the gaseous qualities of it. Because we tangibly experience air in a transient moment, my

33Image - Process development - Miriam Ribul

outcomes had to be recorded in photographic and filmed documentation throughout the project.”Miriam states that air is essential to our perceptions, although we do not consciously realize, air is subconsciously the first aspect we notice when we visit a new place, “The act of breathing is the connector between our body and the space that surrounds us.” Miriam’s work is a response to her childhood. She was raised both in the city and the countryside. Her work strongly reflects this as she aims to achieve a connection between the two environments: man-made and the impact of a natural environment can create when juxtaposed together. “While air has an impact in nature that we can observe like looking at trees in the wind and clouds, it barely does so on artificial constructions. Architectural practice is already looking to overcome the threshold between outdoors and indoors by stripping constructions to its bones and working with atmospheres and plastic dynamics. I believe that making air tangible would enhance an interaction with our man made environment.”

Miriam’s work structure is divided into three processes, the first, air as a tool, looks at how materials and structures respond to it. “In bubbles air is enclosed in a thin liquid layer, but can also be moved through an outer air current. I developed textile structures which allowed air to become a structural element of the material when enclosed between the modules and the liquid. Air as a tool can make a flexible material become stiff and expand into space.” Secondly, Miriam observed air as a medium, through smoking she is now fully able to control the smoke and lace it in her chosen direction. “This was the most challenging part of my processes, since it developed a lot before I reached a point of control.” Taking the results from her first series of experiments Miriam subsequently looked into air as a design process. “Through many experimental explorations I have learned to respond with material to how air works and what it needs to manifest itself. This made me develop three dimensional textiles and processes such as ultrasonic welding at The Welding Company or electrical circuits in order to control the smoke.” As Miriam clearly demonstrates throughout her work, the space that we live in is shaped by air. She also states that it is shaped by time and experience. A concept that differs from conventional design approaches, it will be interesting to see when transferred into industry or developed on mass if air could revolutionise the way that we create products. “Future manufacturing processes could benefit not only from new technologies, but also from re-thinking how existing energies or processes could also be used for having

material and construction as an aim or as a side-product.” Through her processes, Miriam aims to allow people to leave her exhibitions with a new insight, on the properties and qualities of air. With a hope that in the future air will be utilised to its full potential. “To elevate the airs’ qualities to something tangible and valuable, would lead to one day not having to store it in bottles like water. Seeing air as something positive and relating to the experiences we have with it and not seeing it only in connection to air pollution and energy is my aim.”Miriam stimulates the imagination within old, reused, repetitive design processes, by referring to an accessible tool, which we have overlooked until now w w w . m i r i a m r i b u l . c o m

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J Porola on gender limitations and why she wants to live in a ‘cradle to cradle’ world.

For Finnish designer J Porola the minimalism in her garments is not solely down to aesthetics. “I try to design clothes that you can wear for longer than one short throwaway season.” Her pieces are cut from recycled material to create a rectangular shape, which can be worn by both males and females without alteration.

Through working in an environmentally respectful manner, Porola has noted it is hard to standout from many who claim to be environmentally aware, when unfortunately their designs fail to live up to the standards. “There are many things to consider when defining if something really is ecological or not. Most of the time it is just recycling, not upcycling, and many do not consider the whole cycle of their garment. For example, if you use many different kinds of used materials, like a mix of cotton, metal and nylon when making a new garment, it may be even more difficult to recycle that into a new item in the future.”

It seems that Porola is fully aware of the life cycle of each garment which forms her collection. From how and where the material is sourced, to how the garment can be broken down, reused and transformed. “I think that every designer should think through the whole (mostly very long) process of making a garment before getting to work: from finding or making the fabric to thinking about the place where the garment supposedly goes when the customer no longer wants it.” Porola’s design thesis, which follows these guidelines, was inspired by McDonough and Braungart’s Cradle to Cradle theory. “I would love to live in a world where everything was designed according to the Cradle to Cradle manifesto, to focus on the whole process of design.” The Cradle to Cradle theory,written by McDonough, a renowned architect, and Braungart, a chemist, highlights how to re-think our design processes in order not to sacrifice our environment. We effectively make no waste, as we create a product with a conscious awareness of how this product can be used repeatedly. The polar opposite of the ‘Cradle to Grave’ theory for example from creation to waste. If a product is created following McDonough and Braungart’s theory, the product will always be reused.

Porola has also noted that along with the confusion of environmental labels, there is a negative stereotype placed on ecological designs. “Maybe this phenomenon is kind of a holdover from the past. Today everybody should know that from the outlook of a product it’s very difficult to say if it’s ecologically and ethically produced or not. Most of the time, the first mentioned version lasts longer and feels better.”

Porola’s clothing is available in a unisex cut. She refuses to conform to the gender stereotypes, which define us at this present time. “I see the world in a kind of unisex, queer way I think that this binary sex system is expired. For my part I don’t want to support boundaries like that.” Porola’s investigation within fashion design, could be viewed as a critique on the fashion system, yet we think Porola is highlighting a rise in young concious designers, with a subtle demeanour.

35Model -Max, Photographer - Hannu Seppala

“I see the world in a kind of unisex, queer way I think that this binary sex system is expired.”

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COLLECTING RATHER THAN CONSUMING

Zowie Broach and Brain Kikby are the designers behind Boudicca,the conceptual fashion label named after the celtic warrior.Their first fragrance Wode was launched in 2008, sprayed out of paint can, the scent initally appears the colour of Yves Klein Blue. Abigail Corbett speaks with them about rapid prototyping and Martin Creed.

Abigail Corbett / Firstly can you outline the current values and beliefs of Boudicca?

Boudicca / ‘ Same as they ever were..’ D Byrne chants.

Boudicca is an exploration of both design and an expressive biography of the times we live in. Its outcome is a direct response to our ever evolving constant questioning of our method of expression. One of our joys and rewards from Boudicca is the very

nature of the Label, the constant state of Flux – so even when we re-read these questions – we are constructing another answer… and the creative pendulum

swings…The idea of a defined definition fills us with the fear of categorized acceptance whilst the duality of both male and female designers, contribute to what we see as the future

of womenswear – an equality that is represented in dress.

Boudicca has no wish to be a clothing factory making hundreds or thousands of the same garment sold in the same looking store all over the world. They want to remain niche and exclusive where a sense of discovery is part of the Boudicca experience. Wearing Boudicca becomes an addiction, as you feel powerful and safe in your own personal armour, yet romantic and attached to the emotion within the garment itself.

Boudicca is anti mass.

AC/ How much consideration do you place on environmental issues through your research, design process and garment creation?

B/ We begun at a time pre the global construction that we are all so part of right now. That meant there were less questions we believe to be asked and so more time was

genuinely left for those instinctive traits to be developed.

Tags, Memes, trends, strategy were not a part of our dialogue. There was a pure sense of wanting to describe a moment in dress. Attempt to explore the identity rules that

exist and with a potential of challenging them and expressing the very present.

So values and consideration all become as one. Values are lead by choices and our choices you can certainly align now to be led by bigger world issues whether

environmental or ethical but we were not held by them in a bullet point way. It was a natural set of beliefs., a very animal response to our situation whether by finance or

creation.

In fact as a creative business we have most often been led by these instincts and restrictions. So without question or too much discussion all decisions are about

a value, whether that be the idea, quality of make, fabric or the on going knowledge of your team, they are decisions and responsibilities we make based upon our own core

values of thinking, learning and living.

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We try and create clothes, which are outside the rapid system of trend. This in and out hype mentality does not appeal to our sensibility. We would rather make clothes with a high level of quality, which will transcend the seasonal system of fashion. We see our clothes as an on-going narrative, which can be collaged together, irrespective of the collection

they are from.

Our clients collect BOUDICCA… collecting rather than consuming seems a better way forward.

AC/ Who do you most admire - within terms of design and/or environmentalism?

B/ Martin Creed, thinking, not thinking and the world he is developing is the man to like and laugh with. Daisy Ginsberg is an amazing young woman in the field of biotechnologies and a leader of collaboration around her thoughts. Powerful, fresh and innovative. Bruce Sterling always has a sharp eye on those digital movements and cultural shifts; listen to his take on ‘favela chic’, atemporality and generative art, further watch out for the course he is holding this summer on Augmented Reality. The James Martins University in Oxford, is an interesting school of academic thought and dialogue, taking on the responsibility to be accountable, informed and involved in all of the future technologies, in

constant study of how it affects us all.

AC/ If you could redefine the whole fashion system what would you place emphasis on?

B/ New technology is without doubt pulling us all forward into and up to date with our times and this is definitely the most intriguing and important part of any work going forward.

Rapid prototyping, online animations, laser, digital all have played a part in the story but there is so much more that we wish as company to involve ourselves within, be driven by and create with. Technology needs to be interwoven with skill and crafts of now, minds sets that examine it differently and if we had money to invest, that is by far the first choice.

Emerging technologies provide new tools in which to explore our method and systems of work. We are currently interested in introducing a random generative design producing code, which will further embrace our need for design

in-flux. New technology should not just be used for physical production but also challenge the very nature of the process.

Software developers, projection interwoven with animation, hacking and montaging all 3D technologies together. The ideal would be a small team of creative technical thinkers, with a budget to trial and error imaginative thought processes.

We see a future with people creating their own software, which becomes an extension of them…

AC/ As you have previously stated, we have reached a point where we can slow things down, take every factor into consideration and encourage and provoke a change in attitude. How does Boudicca hope to adopt this and transform these

ideas through design?

B/ Right now we do not have that answer. We are still very much listening, reading, feeling and examining through the present mire of reality. Many people out there are moving with technologies in great ways. Our position right now though, is really on the periphery looking in and out, looking up and down, daily asking why? Why and what does it

mean to us?

AC/ What is next for Boudicca?

B/ A world that feels exploded around you is hard to conclude and with the new understanding maybe this is not even the way. It is finding a way of showing that quantum, shattered, nebulae of an existence. There are the beginnings of this

expression we just have not found our way to do this as yet.

We still feel very passionate about making, still desperate to express.

But we feel everything above blinds us.

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Images Boudicca

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Coat - MM6 Maison Martin Margiela

ECOCANVAS

Photographer - Millie Liveing Styling/art direction - Abigail Corbett

Assistance - Filippo Giuliani

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Dress - Hannah Lee Turner - Reintegrated scraps

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44Cork Top - White Tent

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Jumper - Jane Bowler

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Dress - Joanna Power

50Dress - Hannah Lee Turner - Reintergrated Scraps

Shoes - Stylists own

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MICHIKO NITTA

I first became aware of Michiko Nitta, through her project EGG (Extreme green guerrillas) a proposal for a self sustained collective, who live environmentally aware lifestyles in the most radical sense. Her graduating project, from the RCA Design Interactions course where she was strongly influenced by her tutors Noam Toran and Fiona Raby to follow the speculative design approach. The EGG’s were subsequently noticed by curator Emma Quinn and Nitta was invited to develop and expand on her work with the support of the ICA for their ‘Saving planet earth, a 21st century approach’ exhibition. “When i started the EGG project I began collecting newspapers and I began to notice that the media was trying to scare you, the solution you could find was quite shallow like ‘eco’ design and this campaign with the objective of 10 years to make green living fashionable, is it really helping the disaster?” Nitta noticed this strategy was, and still is, failing, as we are still trapped in consumerism. These observations led Nitta to question what we can do when real disaster happens. What will people do when they are fed up of receiving hypocritical information? “These extreme conditions make me think of extreme lifestyles,” and the EGG’s were created.For those who have yet to see the project, the EGG’s are split into three sections, Communication, Food and Death. The first, communication, was developed through research into animal migration, Nitta tracked the paths of animals when migrating between countries, and began to develop a system of communication. Which sends the

Wants to challenge your perceptions with her speculative storytelling. Nitta rejects the obvious routes of environmental art, by focusing on the extremes. She enjoys it when you connect with her work, and she

enjoys it when you hate it.

chosen information, through the implanted tags and chips already placed within the specific animal for scientific research. “What many people don’t know is there is still space left in the tags, by which I hacked into to place messages. I began my experiments with my own cats, I noticed my cat’s signature routes, and I realised by planning and mapping I could also send my neighbour a message.”Nitta’s work harnesses fish, polar bears and birds to send a hypothetical message from London to New York using her APS system. “At the moment we are text messaging, emailing and posting, which is trapped in capitalism and producing carbon dioxide, if you are extreme green you definitely shouldn’t use this.” Secondly Nitta explored the option on how can we make food localised, with reference to the slow food delicacy, Nitta talked to a scientist who specialised in genetically modifying, and discovered cross breeding is possible if it’s from the same family. “I looked at vermin, as lots get killed in my area and invented a Piquailm, a pigeon and a quail, and a Rattit, a combination of a rabbit and a rat to examine how you can make the existing food edible.” For example the piquailm hybrid would consist of the head of a quail, for its diet and the body of pigeon for the mass breeding, an accumulation of two positive properties. The project accumulated with a focus on death, Michiko wanted to question if you were extreme green, how can you deal with the overpopulation of the planet? With inspiration from Chris Rapley’s idea that the earth is too overcrowded for utopia. Nitta created a euphonising piercing which is to be attached to a human ear when they

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reach twenty years of age. Over a period of twenty years the needle will turn around, and at 40 years old the EGG will be injected to lead them to a peaceful death. A premature death is, as Nitta states the only way to be extremely green, “When you are born you are told you might live for a hundred years and that’s your perception, however if you are told you can live till your 40 you live a more fulfilled life, that’s the thought I wanted to portray to people.” Her extremly speculative design, presents a narrative which at first appears as fiction, however Nitta works closely with anthropologists, scientists and professionals within her field of research, to ensure that all of her work is based on evidence and fact. She believes by presenting these ideas in the most alien sense, it stimulates interest and curiosity. “I find people forget less extreme views, they don’t bother to find out more, it doesn’t catch the emotion, it’s because they wonder why I’m doing this, even artists ask me, but I enjoy that, I enjoy creating inquisitive thoughts.” Nitta even relishes the mixed feedback she receives, as her work evokes a strong emotional response in many. “The premature death section of the EGG project, most people hated it, especially when they are 40 when I have shown the work in public the feedback I get is very frank, many view the work and think it’s too unusual and get put off. It feeds me to think of new work” It seems that Nitta enjoys showcasing unfamiliar ideas to the mass public, to evoke a response. Through a creation of intrigue Nitta proposes an initial rethink of our contemporary situation.

When I met with Michiko she had just returned from Berlin, where she is currently working on a project in collaboration with the artist Susanna Hertrich, as part of the Über Lebenskunst initiative. The Über Lebenskunst is by Haus der Kulturen der Welt in Berlin and is funded by the German Federal Cultural Foundation. Nitta and Hertrich are aiming to explore how humans and wild animals can coincide within the city. “The animals are seen as a problem because in the city the human wants to control, and this is where the conflict happens.” Nitta’s focus is placed on specific wild city animals, racoons, crows, fish and wild boar, by designing new ways to interact and utilise the benefits of these city animals, Nitta aims to showcase how animals and humans can coincide together. “I want to inspire people to re-evaluate, and change people’s perceptions of vermin, city animals and especially crows.” Dr Nathan J Emery, senior lecturer in cognitive biology at the Queen Mary university London, provided research on the intelligence of crows, as their intellect is often overlooked. Crows remember people, and Nathan has observed that crows have habits similar to that of a squirrel, to hide excess food underground. Michiko harnessed this information and has begun designing and creating a metal tree, with meat, or dog biscuits with special sunflower seeds inside. The crows are attracted to the food, take the food and unknowingly plant the seed. (See diagram.) The fish spa, which is currently under construction, will be placed by the side of Berlin’s major river, the river Spree. “We found, with the help of Dr Christian Wolter, a

“We found out that if you plant a particular sunflower in an area it

helps with the cleansing of one chemical in the air.”

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fish biologist, that a certain type of spree fish is under the threat of extinction as they need shallow ground, the river Spree is too deep for them.” Hence the proposal of the spa, as a recreational ground for the fish species. Nitta is also working on parasite architecture for racoons, “We are making a plus side architecture like a basket that is attached to the house, where the racoons nest and cause mess, which most humans perceive as a problem.”All of these, designed by Nitta, are currently in the process of being installed in selected areas around Berlin. The crow tree for instance is placed at a centre where a high amount of dangerous crow attacks have been experienced, ironically, outside the German Environmental agency offices. Nitta avoids the clichés and parallels of creating work which is concerned with highlighting our environmental issues, and has strong opinions on how we should re-evaluate our current situation. “I hate the commercial side of the green movement, and what I noticed is that the human used to be an animal, living in the eco system. Yet we think now that we are a separate world, we are self sustaining, but when you actually think about it we are not. We are using all the natural resource to create the fuel but we think we are top of the kingdom in a sense.” It is clear the that Michiko is fascinated with nature and the environment, be it ones which we create, or an exploration of ones we have no control over. Another ongoing project of Nitta’s is Alga culture, collaboration with the artist Michael Burton. An exploration and speculation into how humans can adopt the properties of algae as only then shall they become ‘carbon neutral.’ “We normally place plants and humans in two separate categories, however there is a sea slug, which eats the algae, and uses photosynthesis to generate energy, so he doesn’t eat for a month. This is exciting, as that is an example of the first physical crossover between the two categories.” This is a development already expanding through science, algae is used as a product to cleanse during the manufacturing process. Bio fuel tanks cleanse and purify the toxic fumes. Nitta’s research also discovered that the Japanese race have evolved to consume seaweed and take on a function which provides health benefits. Nitta is aiming to expand on this deep research and allow us to discover how we can live with the algae. “It is a painful process, but that’s what you have to do to finally become green.” As Michiko’s work is heavily based within speculation design, the incorporation of visuals with a consistent narrative is vital to relay her message. “The information you consume between written and visual is different, it is apparently 80% more visual more than written. Visual information sticks in your mind much more, for example when you read a book, you don’t remember specifics, but you do remember the story, the ambiguous information,

Opposite - Crow tree diagram >> Berlin Wildlife Project.

visual is the same. “ To add to her list of ever increasing exhibitions, showcases and upcoming projects, Michiko is collaborating with Michel Burton again, on a project named Shadowbiosphere. “I like collaboration because you can see a really different range of information and interpretation, but within the same theme. With Michael he is really core scientific art, that’s the interesting part about collaborating with him, he is focused on science specifics and I am on environmental perception, we can create something that we never could on our own. ” Shadowbiosphere, is an extremely interesting series of projects which focuses on an examination of six contaminated areas, by which the environment has been ruined. However they focus not in an apocalyptic manner, but highlight optimism and progression. For instance, one specific area they focus on is no man’s land, a nuclear contaminated area. “We found out that if you plant a particular sunflower in that area it helps with the cleansing of one chemical in the air.” Shadowbiosphere be a performance based installation, focusing on species that can be used to cleanse the contaminated area. “We want it to be optimistic, to show when you are in a disaster that there is a solution.” Which follows a similar path to all Michiko’s work, optimism and speculation combined to show a new way of thinking. AC.

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I AM THE SPACE WHERE I AM

Nefeli Sidriopoulou’s graduation performance piece, from the MA costume design course at LCF.

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Nefeli Sidriopoulou’s graduation performance piece, from the MA costume design course at LCF.An exploration on how the human reacts to their environment. Through the realisation of their personal space. Nefeli, focuses

on how we are affected and influenced by those that are around us, our peers, our chosen environment.

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An exploration of self awareness, by observing, interacting with, reacting to and finally attempting to blend within the environment.

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“The individual reflects the characteristics of the surroundings”

Images Harry Jones - Art direction & styling Abigail Corbett

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The fair-trade only factory, in which Panctopium is produced, is so secluded, and cut off from civilisation that only 240 people live in the surrounding village, Stara Huta. The village’s closest town is Kartuzy, and can be seen as a solitary escape from the rest of the world, a separate entity. The residents speak only in Kaszebe, a variation on Polish, but a language which is unique to the village and a dialect understood by a select few. An hour away from the city of Gdansk, the factory produces small unique batches, with a strong support for new designers. The materials used within Panopticum’s collection are hand sourced in Poland, head designer and founder Marta Poznanski explains, “I keep all suppliers local to the factory, not just because it makes more sense but also because the end product becomes more aesthetically aligned with my Polish way of seeing things”. It has that look, a distinct look which can only be used to identify and describe a Pantopicum piece. Clean, strong and individualistic. However the influences behind the brand range from the polish artist, philosopher and drug researcher Wiktacy, “he is the Anthony Burgess of Poland, he had such a strong impact on Polish culture,” to the ideals which Marta chooses to live by. The frustration and sense of un fulfilment Marta felt from her period in art education somewhat fuelled the designs of Panopticum, and acted as a catalyst for Marta to continue challenging the conventions. The chaos and collision, of the two modes of fine art and philosophy, are more apparent through the influence in the clothes rather than a considered polished outlook or style. “In artistic terms I find painterly elements of draping creep into my designs,

and the ability to let something look more raw and unfinished could lend itself to something learned in philosophy, an ease of thought.” Although a fashion label, it is clear that Panopticum is influenced by many other aspects, although Marta does not shun the fashion world, she celebrates it, with a critical eye, dissecting the many levels and their social relevance. “The higher end, the more abstract is powerful and inspiring if not vacuous but remains a huge inspiration to me. Then there are middle, more commercial, currents of fashion that are exciting to watch and see how they manage to stay afloat against all the odds of capitalist giants. Finally at the ground level, the agitators of fashion that are more vital in a social sense that are a natural artistic part of any society and can be seen as the catalysts that inspire and silently drive the other two tiers.” It is apparent that Panopticum is the agitator, pushing the boundaries through concept and clever wit.“I would say that it all has its place, some of it is more surplus but people are savvy nowadays and slowly have stopped buying into non sustainable and economic cons of the trade.”Pantopicum is not solely based on a particular aesthetic, it is also based on a particular mindset, as Marta envisages her wearer to have a subtle understanding of the collection. “I reflect directly my projected surroundings, so in other words, I tend visualize people with a knowledge of my attempts to darken and conceptualise dressing more or the need to alter silhouette a bit to be the people most attracted to my clothes. It’s more a feeling than I specific look that I attain to”Marta is excessively aware of her environment, be it man made or natural, and the impact which she leaves. “As a person I have reduced my existence to a simple equation of making and existing. I’m not a wage slave to my chosen occupation so by default I use only the necessary amount of energy and resource in order to achieve my product.”This can be seen filtering through to the designs of Pantopicum, the conceptual ideals, led by the lead designer’s perceptions. “ My main aim is to be dextrous in life and to facilitate my ideas and I think the nature of the way I work means less surplus output and less use of unnecessary energy.”We become immersed in a new world, created by Pantopicum. Panopticum and its satellite concepts will find permanent space open to the public in 2012 in East London and after her presentation, Marta wants the label to evolve naturally “I have the impression that I should let it rest and not try and fabricate some sort of artificial buzz or interest in the clothes, and rather turn to something more fruitful and something that may influence ideas and designs in thelonger term.” AC.

The need for dexterity and agility within today’s society is a central reference point. With their boisterous approach to fashion, the London based labelapplies a re-evaluation of the industry’s base patterns, through this and the outcome, it is apparent that there is much going on beneath the Panopticum surface.

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/ STARA HUTA /

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Trousers - White tent

REINTERGRATED SCRAPS

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Hannah Lee Turner - Dresses made from scrap/found material

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Woolen jumper - Katie Eary

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Hannah Lee Turner - Waste scraps

Hannah Lee Turner is a fashion and wearable art designer currently located in London. She originates from New Zealand. Hannah Lee created the white dresses from scraps found in the skip, pictured below for ½ magazine. The warehouse, pictured, located near Weaver Fields in East London, discards of ‘scrap’ material at least once a week, Hannah works only with disregarded scraps“I like to use cut off fabrics for my

designs as it helps create a unique outcome of each design.”

www.hannah-leejade.com

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The idea of translocal practice comes from Maja and Reuben’s lived experience of three localities, Croatia, Hungary and the UK. Through engaging closely within the art scenes of these three countries, this allowed them to build on their unique vision of the translocal ideal, “Working translocally offers a comparative viewpoint, and perhaps the chance to surpass the superficialities of a dive-in globalism. As well as a move beyond the constraints of inward-looking local art scenes.” By placing focus on the origins of the art work, and the varying factors which affect this, Maja and Reuben span a wide area with a specific viewpoint, “ In our curation of projects we tend to pay attention to the specific conditions in which art history and contemporary art come into being. For example, our show Revolution I Love You, dealt in four editions with the legacy of 1968 for contemporary art from a north-south, as well as east-west point of view.”Their close work, in terms of ecology and environmental art, engages the latest issues and their affect on the artistic world. The duo observed an explosion of green-themed exhibitions in late 2009, as a response to the now forgotten Copenhagen summit, “The art world tried to catch up with, or cash in on the trend of ‘green’. The problem with these exhibitions was that they rarely reached further than a representational approach to ecology, creating a division between art activism and gallery art. While today, ecology is seen as ‘so two years ago’.” Yet Maja & Reuben agree environmental issues still resonate strongly within the art world, although the trend has shifted from the main focus, “Ethics, which can also be considered as part of a wider understanding of sustainability – also have implications for art institutions, which are trying to

MAJA & REUBEN FOWKES On the concept of translocalism and the relationship between art and ecology

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improve energy efficiency within galleries and museums, while at the same time the art world has never been more on the move than now, popping up at art fairs and biennials.” While there is an idea that environmental ethics should be taken into consideration, there are still difficult issues that surround the adoption and application of these ideas. Due to the various factors which can affect contemporary art, “There are certain hierarchical attitudes to celebrity, involvement with big business, and the pros and cons of an obsession with audience numbers that have still to be addressed.”

However the distraction of focus on this issue within the art world does not the deter Maja and Reuben, “It may just be that history is repeating itself, since a similar sense of disillusionment followed the UN Summit in Stockholm in 1972.” Both of which also caused a significant reaction in contemporary art, if only a temporary one. Yet with the upcoming Rio+20, the 20th anniversary of the Earth summit in 2012, will there be a shift in focus in the art world yet again? “It will galvanise new energies as the basic problems and issues certainly haven’t gone away.”Although we are all aware of our environmental impact, many are still unaware of how many artists actually place a deliberate focus on these issues, “Today every artist takes a stand on ethical issues, and comes to their own decision on how to approach ethics. They pay attention to all the aspects of engaging with the complex issues of, for example, a consideration of where their art materials originate, how they are produced, and where the funding comes from.” However Maja and Reuben state that those are only small steps, there are artists that deal with ethics in a more confrontational manner, “By exposing the

oppressions and exploitation in social relations, sometimes in quite ‘unethical’ ways.” Each aspect counts.At their last symposium on sustainability and contemporary art in Budapest, the question of green wash in society came up strongly and repeatedly, “On the one hand, there is green business, which shows the adaptability of capitalism, which now takes on a green guise to maximise profits and market products, however on the other there is the deeper problem of the green imperative for eco-efficiency, which according to some environmentalists, only makes us pay twice for something we already have.” It is an interesting area, which draws on extreme views, yet in the art world, there is no definite conclusion to the problem as yet.

Maja and Reuben are currently working on a publication that will sum up the five years of the Symposium on Sustainability and Contemporary Art, through their curation of shows, talks and events. Their website translocal.org, has acted as a catalyst to fuel their ideas and document progress, “It has acted as a platform for many artists, ecologists, theorists and activists to explore common ground.”

The duo also have an upcoming exhibition at the Futura Centre for Contemporary art in Prague. Entitled Loophole to Happiness, “It investigates the critique of actually existing socialism as a possible loophole to resist today’s social system. “ The show includes works by UK artists Adam Chodzko and Nada Prlja, and opens on the 25th May – 7th August. AC www.translocal.org

“Working translocally offers a comparative viewpoint, and perhaps the chance to surpass the superficialities of a dive-in globalism.”

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Joao Costa’s graduation collection was heavily influenced by the idea of Frankenstein, and the opposing emotions felt by this fictional monster, “He was formed to be a monster but they didn’t think about the emotional aspect, he couldn’t control himself physically, in his mind he was still very naive, very weak even.” This coat is the main feature which represents the whole concept, in terms of texture, in terms of cut, in terms of style. In a collection based on sadness, Costa’s coat represents the happiness. Joao’s interest in surrealism and the deterioration of the skin can be seen through these designs, this coat in particular can be seen as a second skin. With the coat, created from biodegradable rubber, Costa admits that subconsciously he feels he considered environmental issues and ideologies, “It is a subconscious idea on every designers and artists mind at the moment, if you think about sustainability you want to utilise the natural resources.”The use of a heavy duty textile such as rubber is intriguing as the very first rubber coats made were for heavy duty professionals, to protect you from the rain,“ I think rubber is something that has been utilised since the fifties, yet more heavily functional since the seventies.” He works with the methods by which you can manipulate rubber, the various ways that you can control natural fibres, which is greatly easier than with synthetic fabrics. The House of Harlot, the first designer to utilise latex for clothing and fetish wears, offers a more commercial slant on Costa’s designs. Yet as latex derives from rubber, and provides a thinner, lighter option it is interesting that Costa has chosen to work with a heavier duty textile, to create his desired aesthetic. As a conceptual piece, this design is not intended for everyday wear due to the way it was constructed, “If it is to be worn it’s more of a winter piece as it’s really warm, as it’s a heat isolator, and with the creation I went against the traditional way of gluing the seam, I wanted to stitch the seams as you would do on a traditional coat.” Costa’s strong focus on conceptual design, reflects a style comparable to that of Hussein Chalayan, whom Joao cites as an influence. The presentation and the use of natural and environmentally aware designs in the masses has risen, Costa believes that, in the example of big brands, it is all a facade, “They want people to be peaceful. If they use an organic cotton, they want people to believe that they are being ecologically friendly, but it’s not the whole product. The concern is how can i make more money now verses what’s morally right and what could actually be important for the world.”For environmental design, Costa believes there is a need, due to our current social situation,“The resources are there for environmentally conscious design, it’s not so dangerous now as we are living in a recession. In my opinion five years ago it was all done in a very self-indulgent way. Now designers want to find all means possible.” AC

JOAO COSTAOn his second skin and Frankenstein.

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