Ivory Magazine

58
IVORY Issue 1 SPRING/SUMMER 2011

description

An idea of a conceptual fashion magazine, which gets backstage, taking time to appreciate the designers' craftmanship, representing the relationship between the reader and the industry.

Transcript of Ivory Magazine

Page 1: Ivory Magazine

IVORYIssue 1SPRING/SUMMER 2011

Page 2: Ivory Magazine
Page 3: Ivory Magazine
Page 4: Ivory Magazine
Page 5: Ivory Magazine

IVORYEditor in Chief

IVORYExecutive Editor

IVORYArt Directors

IVORYFashion Director

IVORYFashion Photographer

IVORYPhotographer

Shaun Kong

Emma Whiston

Emma Whiston

Amanda White

Maritina Chalvatzi

Maria Katsika

Harriet McCarroll

9 IVORY

Page 6: Ivory Magazine

Maria Francesca Pepe

Tamara Fogle

Inside Out

Atalanta Weller

Secret Garden

Reid Peppard

Thanks For The Memories

IVORYFashion

IVORY

4054

Interview

232835

IVORYLocation

95

IVORYSense

64 Scents

IVORYLove

71

Collections To Object

IVORYCollections

86

10

78 Bring Me Back To Life

IVORY

Page 7: Ivory Magazine
Page 8: Ivory Magazine
Page 9: Ivory Magazine
Page 10: Ivory Magazine

Editor’s Letter

In real life, ivory is being regarded as a precious substance, often used for art pieces like ivory carving. Although virtually ceased nowadays, the ivory carving has been an ancient craft since prehistoric era bearing widely varied culture. The human civilization has induced the overkilling of animals that are the sources of these precious materials. Gradually, the significant craftsmanship has merely become the tool to fulfill human’s materialistic indulgence. Afflicted by a very alike circumstance in fashion, IVORY took the name by paying tribute to the art form, whilst celebrating philosophy behind craftsmanship of all kind.

In this pilot issue, we present four London-based female designers who specialize in accessories and footwear. Opening up their studios door for us, they revealed their working space and shared their vision. We consider Reid Peppard, who turns road-killed animals into stunning headpieces and purses, as a perfect match for IVORY; Her utilizing the fascinating taxidermy skills in creating artistic pieces lie fitly into our manifesto.

Like our name suggests, an off-white shade, we stretch out to the further end in the spectrum of fashion, aiming to subtly introduce a new perception of consuming it. We are passionate about what we do and we hope you like our shade of view.

19 IVORY

Page 11: Ivory Magazine
Page 12: Ivory Magazine

Maria Francessca

Pepe

Arriving at Maria Francesca Pepe’s studio, she made me feel immediately at home with her welcoming smile and quaint workspace. Maria was dressed from head to toe in black, reflecting the gothic style and religious influences she uses in her pieces. The studio itself, was well lit and a delight to walk around.

Her Autumn/Winter 2011 collection was spread out so beautifully, it brought a thrill of excitement; it was a true privilege to be viewing it. I didn’t know where to look first; clothing, shoes, head pieces, but undoubtedly my eyes were drawn in by her jewellery creations.

Journalist: Emma WhistonPhotographer: Shaun Kong

Jewellery Designer

23 INTERVIEWIVORY

mariafrancescapepe.com

Page 13: Ivory Magazine

So to start off with, I’d like to ask you a few general questions, firstly, how did you get in to your avant-garde jewellery?

I started in 2007 after I did my MA at Central St Martins. My background is in ready-to-wear which is probably why it gives me a different point of view and perspective in the way I approach jewellery because I don’t come from the background of a jeweller but more like a designer. I feel like I’m very versatile and I like to think that I can apply my creativity in different fields. I think jewellery just came by chance because I had this collection for my MA show which required some metals pieces to link the clothing pieces together. As I’m Italian, I had the chance to go back to Italy and look for some factories that could help me create my metal pieces. That’s how I started conceiving jewellery as something I could progress in to and be very creative, trying to conceive a bit out of the box products; not something that is the usual. Almost like an integration for the actual outfit. The jewellery is more of a link between your skin and your clothing which brings together the look. I think it’s very contemporary to conceive jewellery as a starting point to creating an outfit rather than an accessory you add at the end. I think it’s a very new way to approach accessory in general because it’s how people dress up. People usually decide ‘I’m going to wear these shoes, this bracelet and this necklace and then they think what they will wear under that.’ So my approach is for the jewellery to come first and then for the garments to fall around that.

Did anyone in particular inspire you to get in to the jewellery industry?

As I said, it’s been really more of a gradual process for me because my background has always been in womenswear, from when I was in Milan to when I came to London. My knowledge in designers I know is who I refer to in terms of references as I had always been a ready-to-wear designer. I’d never had references in jewellery but it was something I wanted and I felt that I could develop. My approach has been really gradual as I have looked in to other jewellers and the history of jewellery making and I keep researching this which has been mostly developed by the direct contact with the factories and the people who actually make the pieces with me. So I wouldn’t really say I have a specific reference in terms of jewellery designers, I have more references in terms of aesthetics in general, it’s more like the concept and the function to show off personality.

We’ve seen you’ve done a number of collaborations with other people such as Louise Grey, how did they come about?

It was a long time ago with Louise, it was at the beginning of her career, she’d just finished her MA which we had done together. She was working for Karen Langley at Dazed and confused, so they called me because Karen saw a shoot that I designed earlier on and she said that we could really match you know with Louise's pieces for the show so that's how it happened. It was pretty funny because Louise is such a nice person to work with.

Would you ever go back in to more clothing design yourself?

I've been experimenting in that as you know my background is in women's wear so I tried to bring in the ready to wear for a couple of seasons. I feel like the way I approach the ready-to-wear is always from the jewellery point of view which makes the jewellery the prime focus. So going on, I could maybe bring in bags or shoes, I feel like the jewellery is what is always there as my focus and the rest is there for me to complete the collection for that season. For example, when I'm designing the jewellery I can imagine like 10 jackets but if I think I really need shoes I can be playful with the way I treat the other elements around the jewellery, just to make sure the jewellery has additional meaning and function and make it more a feeling. Like when you have a picture and you have to frame it into a contest.

We've seen that you've been involved with quite a few of the fashion weeks, which one has been your favourite?

I feel London is my home, even though I'm Italian. I started my brand here and I've always been building up my brand and all my aesthetic in London. London is probably the most educated and prepared to understand what new designers have to offer and propose. I'd definitely say London is the place that gives me the most satisfaction for communicating to people and being able to be heard. On the other hand, obviously Paris, which I always go to is the place where most of the buyers would come at the end of fashion week to buy so it's an important place to

not be missed. Recently, I went to Milan as well because I went to the Vogue talents corner which was an amazing opportunity because obviously because being presented by very influential it made a difference. You could feel that you were part of the community. I have to say, never the less, I've seen the difference between people that come to London to the exhibition and they are much more open minded for young designers rather than in Italy the market is still brand centered so as long as you are a young designed you won't be given the same attention like bring brands such as Prada and Armani. In London there is much more democracy. Stockists are looking for something more original and different/out of the box giving you much more satisfaction in terms of dealing with the buyers and

press.

So for this autumn winter collection, what was your main inspiration?

This collection is called fortuna which in Italian means, 'good luck' so the whole concept was conceiving jewellery and an amulet which brings the memories and meaning in to it so it's like not just something that you buy out of a shopping obsession but something you treasure and keep to hand over to your lover, or to hand down to your daughter. I really wanted to explore the meaning of symbols like the eye which is the symbol of the ability to look beyond reality so it's more like the symbol that can protect you against the evil, such as the Turkey eye which is part of the tradition and really for me it

25 INTERVIEWIVORY24 INTERVIEWIVORY

Page 14: Ivory Magazine

that comes out in the moment and it's more like the process to create the artefact to make it functional, defining the materials and the right fit, I have to create the piece around the concept which is much more immediate that someone can imagine. I don't sit around for weeks wondering what I'm going to do, I just know.

So do you have a favourite piece from this collection?

It literally changes every day. I really like the pieces with pearls, I think they make it really delicate and they give a mix of glamour and purity, I like that kind of contrast. I definitely like the letters as they're kind of funny. Everyone's been amazed by the pendent rings, there's little locks so you can change letters, it's more like a charm ring idea, instead of having charms on your bracelet, you can have it on your rings. I like things that can interact.

Do you have a specific person in mind when you create them, for who you want to wear them?

I most likely will design things that I would wear for sure, that my friends would wear and for people that I like would wear. I would say that these people are a big variety of people and also a variety of ages so it could be very fashionable and young girls who like to be a bit more against the rules with a bit of a punky side to them. There are also pieces which can appeal to the classic woman who wants something which is highly designed and very high quality standard that wants to be kept to be passed to her daughter when it becomes vintage. I like to design for someone who will treasure and will keep it as a classic.

is interesting to see how objects can have meaning beyond their only aesthetic. Then for example, I've created this really big horns like head pieces which we used for the presentation and also to give a creative atmosphere where you feel forces that you can not control taking effect. When I create not the most commercial part of the collection but the statement pieces where I can express myself creatively, I always feel like I want to create something that can give a strong emotion to the person wearing or watching it whether it's on a table. I feel like each piece should be created as more of an object that you can keep in your closet but then every time you look at it it gives you strength and memories and links to your inner spirituality that you can keep forever. That's the approach I took to explore a bit more. For example, there are pieces with letters including rings which you can attach as pendants so you can write words on your coat or scarf, again creating a message and a way to communicate to express a meaning which doesn't show off how much money someone has, it is beyond that.

How did you construct each of these, such as materials and how you put them together?

I work especially with brass, so non-precious materials. Even though the more expensive pieces are then plated in gold and silver. I prefer to stick to costume jewellery as my approach is very conceptual and very avant guarde so creating pieces that I have in mind in pure gold would be a completely different aesthetic and approach in terms of commercially. It might be a way to invest in the range and I think in the long run I could go in that direction and design fine jewellery it would be more of a

commercial development than my conceptual development. Using brass or any other material I have been using, such as leather and plexiglass or resin, that really allows you to create a piece with more freedom. This season I have introduced the pearls but it's not real pearls, it's swarovski pearls which is a luxury detail is addition to the design, so I'm going in that direction very gradually.

So how long does each piece take, from the design process through to the finished product?

It's really different for each piece, creatively wise, I have to focus to define collection by collection. Having deciding to build up my own company, I have so many issues I need to work with and take care of so the creative part of it has become a very small part of the entire process and doesn't take up much of my time which is a shame but I hope in the future I hope I can go back and keep more time for creativity. At the moment for me, it's really trying to be focused and understanding how my brand is developing and how it proceeds and trying to follow my own steps and obviously I have references which are very often the same ones but are very much a progression of the way I approach jewellery. My jewellery wear concept is an inspiration itself, the idea of jewellery having a tribal element or religion is a symbol that I can work with in a way giving new and additional meanings. There are parts that have become part of my MFP signatures, every season I try to work around them and depending on my inspiration of the moment, I develop in the new pieces. So from the idea to the final piece, it usually takes about a couple of months I would say. The idea could really be something

27 INTERVIEWIVORY26 INTERVIEWIVORY

Page 15: Ivory Magazine

Entering the well lit room, Atalanta Weller got up from the table she was sitting at and introduced herself politely. Aware that I was having to peer up at her, I noticed she was wearing a pair of her own shoes that she had designed herself, which had a large heel and platform that complimented her long legs. Looking around, it was exciting to see not only the shoes themselves, but the sculptures of prototype footwear and the many shoe boxes stacked up high in the corner shelf. The lengthy rows of books and research added to the working/design atmosphere and encouraged me to eagerly start the interview to find out more about her and her work.

AtalantaWeller

Journalist: Amanda WhitePhotographer: Emma WhistonShoe Designer

28 INTERVIEWIVORY

atalantaweller.com

Page 16: Ivory Magazine

How did you get into footwear designing?

I did a degree in footwear at Cordwainers.

Did you go straight from there?

No, I did Art foundation so I was doing more sculpture then three years at Cordwainers and I studied a BA there. I did footwear and accessories but I specialised in footwear.

Who inspired you in the industry at that time?

Salvatore Ferragamo. But he’d not been dead for that long then. He was probably my point of inspiration for people I really respected.

You’ve collaborated with other designers. Can you tell us more about them?

It’s interesting. I love working with other designers, clothing designers, it’s always very inspiring and dynamic to bring together people who are looking for the same vision, but who have different ways of getting there.

Is it sometimes hard to put your ideas together?

No, they’ve always worked out well. I’ve always had a real easy way to work and it’s been a real pleasure.

What was your main inspiration for your most recent collection?

For autumn/winter 11 it was Lulu Brooks, a 30’s film star

and generally a bit of a bad girl, there’s definitely a 90’s overtone to it but not super grungy. It was definitely a move away from the sci-fi stuff that I’ve done a lot with. It is still something that I do personally enjoy, it’s something where the work has developed into something a bit more chic than that.

Do you find it hard to get different inspiration?

No, the problem is always having to many ideas and trying to tone it down and make it a tight collection because I don’t make that many shoes. No, the problem is always the opposite [laughs].

How is each piece constructed after you’ve designed them?

It doesn’t really work like that. It’s more like I design them on paper and I make models in paper and plasticine, then I draw back into them and I photograph them and I draw into that and then sometimes I make prototypes on the machines here and sometimes I go out of the factory to Portugal and I work directly with them and with modelling over there.

Does that process take a very long time?

Yeah. I probably spend about a week with them after I’ve designed the collection and then I go back and forth.

How long does it take to make the shoes, from the designing process, to the final product?

3 months, 4 months. I mean to be honest you can take as long as

31 INTERVIEWIVORY30 INTERVIEWIVORY

Page 17: Ivory Magazine

you have but the bottom line is that you have to sell in February and you have to sell in September, or January and August. So, you know, you have as much time as there is in the season.

Where do you source your materials from?

They’re mostly Italian, there are some Ostrich skins from Iceland in this spring/summer collection, although actually they’re from Africa via a tannery in Iceland. But essentially they’re mostly Italian.

Is deciding what materials to use a long process? Or do you have it in mind as you design the shoes?

No, it’s sort of both. It’s quite long. I have some ideas but then I also work with a selection of tanneries and people where I see what their new collections are and what they’ve done.

Do you have a favourite piece from your last collection?

I’ve got loads of favourite pieces. It changes, it varies. Normally it’s the one I don’t like the most that I like most at the end.

What is your philosophy behind your conceptual footwear pieces?

I’m a shoe designer and a sculpturer. I’m not a philosopher [laughs]. Philosophy, I think, would be over-playing. It’s fashion, it’s fun. I guess it’s more like pushing the boundaries. I aim to do something that hasn’t been done before and that’s different and new. And if that’s a philosophy, that would be the philosophy. But that’s the challenge I set for myself; to create new and different things and that does particularly come through in the more sculptural shoes where technically there are things that have never been done before. Also, with my shoes, quite often they push the materials and the technical capabilities of moulds or whatever process I’m using, to create something that hasn’t really existed before.

Is there a type of person you create your footwear for?

I think the person that buys my shoes has got to be a strong and dynamic woman but who also likes shoes which are kind of hot.

33 INTERVIEWIVORY32 INTERVIEWIVORY

Page 18: Ivory Magazine

As soon as the door opened, I was greeted by a kind smile and a warm welcome. Then, shortly after she said ‘I hope you are OK with dogs’ and just at that moment, two adorable Labradors came bounding towards me, making me feel even more welcome and comfortable than I already did. I can only describe her place as a dream apartment! Not only was it situated in a lovely part of London but the interior was amazing. The contrasting mix of stylish and modern with vintage and antique gave me a great sense of admiration and inspired me to ask questions about her life. It seemed that each and every object had a great story and sentimental value. Her work was, no doubt, a love of her life immersed in her lifestyle (in neat piles in the corner of the room and even hanging on the wall). It suddenly became very clear to me that the bags that she makes represent her and the life she has had.

Tamara Fogle

Journalist: Amanda WhitePhotographer: Emma Whiston Bag Designer

35 INTERVIEWIVORY

tamaralovesleather.com

Page 19: Ivory Magazine

How did you get into bag designing?

Bag designing came by accident really. I never set out to be a bag designer. I was working on a freelance basis for an interior magazine, so interiors and interior styling is kind of where I started – aesthetic and colours, there’s always been a design element there. But, working freelance I just had spare time on my hands. I’ve always made things, you know, from a kid, from patchwork or cardboard/loo roll things [laughs]. So I decided to just make a few bags for myself and it literally started from there. I just made some bags on my bedroom floor when I was living at home at my parents, so this was years and years ago. The love of bags started a long time ago but it’s just turned into a business more recently. I mean, it literally started by accident. I just made a few bags for myself and got positive comments on them so I just took it further.

Who inspired you?

In terms of design, if I’m really honest no one did. I didn’t really look at anyone in particular. I’m quite insolate. I’m inspired by everything around me. Not just fashion and accessories, but flowers and countries and, you know, obviously you can probably get an idea from where I work from that vintage is a huge inspiration for me and that’s probably more prevalent than looking at current designers. There are current designers that I like are very talented but in terms of inspiration, it comes from the past rather than the present.

Who would be your dream collaboration?

Well, I suppose there are two

answers to that question. If we’re talking mainstream collaboration, designers like Marni. We’re very in tune with style and aesthetic. God I’d love to do something with them. But it probably wouldn’t work because we’re too similar style. But I suppose to collaborate with someone completely different would be interesting.

What was your main inspiration for your last collection?

Travel, but sort of weekend travel. In the latest range I’ve introduced what some people may call giant day bags, they’re kind of overnight bags so they’ve got this slight oversized scale really. I’ve always done oversized bags but I’ve introduced more of them in the latest collection. Also, military tent bags from Prague, which are these knackered smelly old bags that we cut up and use the fabric and make into quite sophisticated ladies bags. I’m inspired more by the materials than by a specific theme, if that makes sense. I see a fabric I like or a textile I like and I’ll think I want to turn that into a bag. The bags are always practical, always functional. They’re more classic and timeless than fashion forward. I don’t have a different reinvented theme each season, I role my styles through because I want my bags to work through every season, they don’t become unfashionable.

How is each piece constructed? Where do you start?

OK, well I usually start at about five ‘o’ clock in the morning in some grotty, rainy, damp field where I source fabrics [laughs]. The fabrics come from mainly Europe. A lot I source from the UK. Early morning, dark, with a torch, trying to get the right texture and not too dirty and things like that.

Anyways, we start with the fabrics. The leathers are Italian leathers because Italy basically has the best tanneries. The fabric is what is special so we have to cut that separate to the leather because it has to be cut possibly around stains or holes, or with the German flour sacks I used which had writing on and dates on, it’s quite nice, if the date is a good date, to have that central on the bag. It’s quite a long wounded process so I work with a workshop in East London and I go in and cut the bodies of the bags, the main fabric body, first. Then we cut all the leather components, all the backings. I mean there’s lots of processes, all the preparation needs to be done so the leather to get the seams right and not too lumpy and the frames in the meantime have to be made, we make all the frames ourselves. The rest of the fittings have to be sourced, the linings have to be put together; there are a lot of processes. So I’m there at the very beginning and then my team at the workshop are just brilliant and everything is hand cut and hand finished, the edges of the leather have to be polished. It’s lovely, it’s a family run workshop I work with and they’ve been doing it for years and, you know, they’re in London, they’re in the UK and that’s one of the things that’s really important to me; that everything’s done here in the UK. So British brand, British production, I’m British but I’m not throwing Union Jacks everywhere because everybody’s done that, it’s just nice to see that people are appreciating it more, the British element. It also means a smaller carbon footprint, I mean a lot of people class me as eco fashion, which is fine because I do recycle but I don’t specifically focus on that area because I recycle for aesthetic almost more than anything else, so it’s a bonus, and I like the fact that it’s more ecological but that’s

not the only reason I do it. I do it because it looks good primarily. I want to make a good-looking product.

So you source you’re materials from Italy for the leather…

The leather comes from Italy. My fabrics come from all over. My antique German flour sacks come from Germany, these amazing farm sacks which date back to the eighteen hundreds, they’ve got some amazing typography on them, people are loving those right now and they’re all different and the textures vary. So they come from Germany. I use Hungarian Grain sacks that have a slightly rougher texture, a coarser texture so they can cope with grain instead of flour. The flour sacks have a tighter weave [laughs]. I’m learning all about farm produce! So they are from Hungary. They’ve got a stripe down the centre of

them so they’re not as elaborate as the German flour sacks. These tent backs I’m using are from Prague, I use Indian and Pakistani quilts which obviously come from India – I have a few sources. Basically I work with specialist textile dealers generally because otherwise it would just take forever and I don’t have time to be going everywhere. But the textile dealers, we work closely together and I give them a colour palette to work with at the beginning of the season, for the Indian fabrics specifically because they’re such varied colours so we work with colour palettes to tie in with the leathers we’re using for the season. What other fabrics do I use? I think that’s about it. French tickings, I have done range with French tickings and French linen before – that’s not current. But that’s basically what I’m always looking for; new fabrics to use. But yeah, European mainly.

How long does each piece take to make?

Well the styles that I offer are very varied so I have the really tiny little bags and then I’ve got the giant weekenders which have obviously got bases and piping and handles, so it varies massively. But it’ll take, for a big substantial bag, it will take us a day to put it all together.

How long would it take from the design process to the very end product?

From the very start it would be impossible to say. If you’re going to start including sourcing all the fabrics and getting everything together, then it’s a long process. It’s a long time. It is. I shock myself sometimes actually at how much time I spend doing things. Like the other day, I got up a five in the morning to pick up these bags and

37 INTERVIEWIVORY36 INTERVIEWIVORY

Page 20: Ivory Magazine

I thought to myself, I really ought to add up all the hours that it takes driving out, going through them, then I’ve to bring them back, then they have to be washed, then the bases have to be cut up, I mean there are lots of processes. To be honest hours and hours and hours, but I do love what I do, so I do lose a bit of it in the process because I’m enjoying it. Although it’s a job and it’s my work, I do enjoy it a lot, which is very nice. I’m very lucky in that respect and because I live with it and I love living with it, its kind of part of me. So…more hours than I account for is how long it takes!

What is your favourite piece from your last collection?

From the last collection, my favourite is a bag called the Rambler bag. It’s a really simple little bag. It’s a really simple across the body with a little pouch and a little flap. I do far more elaborate bags than this one but it’s great, it’s unusual, it’s a slightly unusual proportion, it’s just a little bit odd. I like to do things that are just a little bit of what you don’t expect. Some people find it hard

to get their head around, that style that I do, and other people love it because they’re a little bit different. So the Rambler is my favourite from the last collection. Of course the Weekender, which I have run through many seasons now, particularly in the German flour sack fabric, is my favourite ever. The German flour sack is the best show piece and the Rambler, the little Rambler bag.

You have such unique names for your bags. How do you some up with them?

Well, see now I’m going to contradict myself because the Rambler just seemed appropriate because it’s a hand-free, cross-body bag so you can just go off rambling and you don’t want to be carrying much with you. So that was just fit for the purpose. Other than that, there are quite a few bags in the range that are named after streets around the sort of Notting Hill/Portobello area. Because I’m based here and it seems appropriate that they are British names. So I’ve got the Pembridge bag the Lansdowne bag the St Quentin Weekender, I’ve got all sorts of street names

around the local area, so some people might recognise them otherwise they’re just nice English words.

Is there any type of person you create your pieces for?

I suppose, first and foremost, I make them for me because I do make bags that I want to use myself, which is quite important. So, you know, there are a million different functions and times that you want a big bag or a little bag. I think about it from a personal angle first and then I suppose you start thinking about your customer. I’ve learnt a lot about my customer over the last few years and she’s happy to buy an independent brand and labels, obviously at the moment I’m relatively small and up and coming right now so it’s not totally recognized and there’s no bling and no branding, so a confident, slightly quirky kind of cool girl really. That’s for now and I would like that to turn into confident, quirky, cool guys too because I’m going to do a range for men next season.

39 INTERVIEWIVORY38 INTERVIEWIVORY

Page 21: Ivory Magazine

Inside Focusing on the beauty on the inside of garments, Inside Out portrays the detail and craftmanship of

vintage pieces made by high end designers. When you buy such an expensive garment, you don’t just want the label; you want the sustainability to

stand the test of time.

OutPhotographer: Maria KatsikaStylist: Maritina Halvatzi

40 FASHIONIVORY 41 FASHIONIVORY

Athina, collector of timeless, high fashion pieces, opened her wardrobe to IVORY, to give an insight into her classy style and selective choice of clothing, by unfolding their history.

It’s only when you take a glance at the exquisite detail that you realise the amount of craftsmanship and work that goes into the unseen and sometimes even unnoticed.

Page 22: Ivory Magazine

ChanelSeptember 2005

42 FASHIONIVORY 43 FASHIONIVORY

Page 23: Ivory Magazine

PradaJanuary 1999

44 FASHIONIVORY 45 FASHIONIVORY

Page 24: Ivory Magazine

GucciOctober 1997

46 FASHIONIVORY 47 FASHIONIVORY

Page 25: Ivory Magazine

Jean Paul GaultierMarch 2004

48 FASHIONIVORY 49 FASHIONIVORY

Page 26: Ivory Magazine

Yves Saint LaurentFebuary 2000

50 FASHIONIVORY 51 FASHIONIVORY

Page 27: Ivory Magazine

Emporio ArmaniSeptember 1996

52 FASHIONIVORY 53 FASHIONIVORY

Page 28: Ivory Magazine

Thanks

How would it feel if you were to

get in a new season’s Balmain

jacket but you realized that it

was a size smaller? Skintight.

But even so, could you ever

feel grim in such an exquisitely

created garment that is

designed only to be dedicated

to the one who is wearing it?

After taking it off, you are left

with a print, a mark, a memory.

It’s as though you never really

removed it from your body.. as

if it never really wanted to get

away from you.

MemoriesFor The

Knickers by Stella McCartneyPhotographer: Maria Katsika

54 FASHIONIVORY 55 FASHIONIVORY

Page 29: Ivory Magazine

Bra by Stella McCartney

56 FASHIONIVORY 57 FASHIONIVORY

Page 30: Ivory Magazine

Jacket by Balmain

Page 31: Ivory Magazine

Earring by Bvlgari

Socks by Falke

60 FASHIONIVORY 61 FASHIONIVORY

Page 32: Ivory Magazine

Bra by Jean Paul Gaultier

Stocking by Chanel

62 FASHIONIVORY 63 FASHIONIVORY

Page 33: Ivory Magazine

ScentsThere is a saying that

when the soul or spirit after death, comes back

to life in a newborn body, the concept of reincarnation occurs.

The reason for this is because the soul never dies and comes to earth many

times. Yet the body acts rather like a casing. But what happens if we take a step back and

think of objects? Perfumes for instance... What if we imagined that the perfume is acting as

the soul and it’s bottle as the body? As the casing? Then, how would Daisy, by

Marc Jacobs, look in previous history? Would Victor & Rolf’s Flowerbomb

still be pink and delicate? And as for Black Orchid, would

it ever look as mysterious and enigmatic as today?

BalenciagaParisPhotographer: Shaun Kong

65 SENSEIVORY64 SENSEIVORY

Page 34: Ivory Magazine

Marc JacobsDaisy

ChanelCoco Mademoiselle

67 SENSEIVORY66 SENSEIVORY

Page 35: Ivory Magazine

Viktor & RolfFlowerbomb

Tom FordBlack Orchid

69 SENSEIVORY68 SENSEIVORY

Page 36: Ivory Magazine

When I arrived at Reid Peppard’s studio, her natural, effortless beauty pleasantly surprised me but also her unique style. A striking bear skin coat, green cleverly manipulated t-shirt, black skinny jeans and vintage boots, is not the typical stereotype you would expect for a taxidermist. She had a charming presence and a cordial handshake that I was immediately drawn to. I felt a real admiration to her for being so comfortable with the concepts and elements associated with taxidermy that most of us would probably be squeamish around.

I found the studio to be a vast contrast from the deceiving surrounding area and the compact but beautifully lit room had stunning exposed brickwork and a neat display of Reid’s quirky pieces, revealing her creative taste in both accessory and interior design.

So why taxidermy? How did you develop such a love for dead animals?

‘I was first drawn to taxidermy because I liked that it kind of filled this grey zone between real and unreal. A Taxidermist will take a taxidermy rat and people will go “Oh my god it’s a dead rat” even though very little of the actual animal still exists in the mount. The whole structure of the actual skin is different to that of a real rat. So yeah that’s what first drew me to it, but also that people have this emotive reaction to it. They often have the same reaction to say a taxidermy rat as they would to a real rat and I think that that’s really interesting.’

What was the first animal you worked on and what did you make with it?

‘That’s actually my first animal there. (Points to a squirrel mount). Yeah quite a traditional mount really. I studied under a master taxidermist in Yorkshire so I wanted to make sure I learnt from the best because there are lots of people who do make shift teaching of it and you can tell, you know?’

So you learnt just by shadowing a taxidermist and you don’t have any type of medical background?

‘No, no, no! My degree is in fine art so very far from a medical background

Reid PeppardJournalist: Harriet McCarrollPhotographer: Maritina Chalvatzi

70 LOVEIVORY 71 LOVEIVORY

rpencore.com

Page 37: Ivory Magazine

I’m afraid.’

What is the most difficult creature you’ve worked with?

‘Umm I find foxes are really difficult to work with, just because you have to skin inside their toes and stuff (Laughs). But all the animals I get die from un-avoidable causes, usually road kill that brings them to me so they’re not always in great shape which can make things more difficult.’

How do you decide what you’re going to do with each animal, for example whether it’s going to be a traditional mount or a purse?

‘A lot of it just comes from working with the actual animal, so I might have an idea of what I would like to do but then there’s a lot of creative problem solving that has to happen between the idea and actually being able to make it happen. For instance a crow isn’t meant to be a crow purse, I’m making it so it actually works and is able to function as a working purse which is quite difficult and to also get it to look the way I want it to look as well.’

Is there a particular animal you’d like to manipulate that you haven’t already?

‘I’d really like to get a hold of some Alsatians, just because I think they’re really beautiful dogs but also because they kind of have such a strong reputation and I think it would be really great to work with them.’

If you were a dead animal yourself, what piece would you want to be turned into?

‘Oh I don’t know. I get asked all the time if I would have myself turned into taxidermy after I’ve died and I’ve always said yes. You know when I’m dead have at it (Laughs). I’d be very happy if my organs could help save other people’s lives and anything that isn’t salvageable then make something out of it. I have plans for an ornate chest piece that I want to have made out of my hair when I

die, if I still have any left before I die (Laughs). As far as an actual item, I don’t know. If I was an animal…a wild animal, ok say I was a panther I’d like to be a bench.

Do you ever get squeamish over any of your pieces?

‘Umm yeah, the skinning isn’t my favourite part if I’m honest. But the real thing that can affect me is just scent, certain animals smell a lot more than others and that’s what I don’t like. But thankfully the skinning and blood and guts bit isn’t the bit you spend the most time with.’

Can you talk us through the process of how you begin creating a piece?

‘Ok so say I’ll find something in the street, I’ll pick it up and put it in a plastic bag or two and then put it in the freezer. Then when I’m ready to work with it I’ll let it defrost a little bit but not fully, and I’ll skin it then take all the fat and meat off of the flesh. Then I’ll put the skin through a rigorous tanning process and then boil the skull usually, depending on the animal, and extract any brain or muscle tissue. Then re-work all the musculature with clay and then sculpt the base for the piece so you know you have to make an anatomically correct inside that you then wrap the skin over.’

And what do you generally make the insides out of?

‘It varies, I usually use a fairly traditional method of wood wool and wire but it depends on the purpose of the piece needs to fill. So for the fox stole, I couldn’t really use the wood wool because it needs to be flexible enough to sit up, so that actually has pillow stuffing in it which is nice so it’s squishy and soft. So I try to recycle as much stuff as I can for whatever I’m working with.’

72 LOVEIVORY 73 LOVEIVORY

Page 38: Ivory Magazine

Would you ever consider working with a human corpse?

‘Yeah! I’ve got lots of friends who’ve promised me their corpses when they die but the problem with human taxidermy is the tanning process will turn human skin very very dark and semi-translucent so it doesn’t really look very realistic. You’re better off doing a wax work if you want it to actually look like a human being, but yeah I’m up for anything.’

When designing, do you have a particular person that you envisage wearing your pieces?

‘Well it definitely takes a very strong minded person to wear my work and I get lots of men who really enjoy buying and wearing my work.’Really? That surprises me.

‘Yeah it surprised me too I didn’t expect that, especially not initially. But I’d say a strong majority of my customers are men actually. I also get asked for my work to be sort of performed because the taxidermy accessories are part sculpture, part performance piece in a way. So they’ve performed at the Barbican and the Royal Academy and whenever I’ve done that they’ve always been on guys but as far as an actual typical person, no not really.’Do you listen to music when you’re doing your taxidermy?

‘Oh yeah definitely, the past year I’ve been in a big metal phase so things like Metallica but I have music likes all over the place. Things like David Bowie and more recent stuff too.’

Which artists inspire you?

‘You know I’ve never really been someone that has looked at other artists for inspiration really. There are lots of artists that I really appreciate, like Thomas Hirschhorn is one of my favourite artists, but I wouldn’t say aesthetically or even theoretically….umm maybe a bit theoretically but I wouldn’t say he’s an obvious inspiration.’

You have a really good style, so do you have any favourite places where you like to shop?

‘Yeah, I like lots of vintage clothing mostly because I don’t like anyone else to own what I wear but also because it’s nice that clothing that has maybe seen a bit of wear and tear can be of a higher quality compared to the high street. Vintage wise, there’s a shop on Cheshire Street and I’ve had some amazing vintage fur pieces from there and a fantastic dyed black fox stole from there a few years back. I like to scavenge I suppose, a bit like I do with my work! (Laughs).

What do you like to do when you’re not working?

‘I pretty much work all the time so there isn’t much time when I’m not working. But I guess I’ve been lucky to make a living out of what most people would call a hobby, even though I wouldn’t say its all play and no work but everything I do is fairly enjoyable. I mean, I have lots of friends in fashion and I enjoy going out with them but I wouldn’t say I go out much (Laughs).

Are you happy with creating accessories or would you ever consider extending your talents and creating other items?

‘Yeah, I just had a meeting this morning at the Cobb Gallery in Camden and in September or October I’m going to be doing a show there for a project that is way more fine art based. That’s something I want to work back on because I feel a bit out of my sphere, you know having studied fine art and now lots of people say I’m a fashion designer and my designer friends are like “Really you’re a fashion designer?” and I’m like “Yeah I didn’t know that either!”

So you’d like to steer away from fashion and get back into fine art?

‘Well, partially. With some of my taxidermy yes but with my jewellery I found that very rewarding. Working with silver is fantastic and it’s great

74 LOVEIVORY 75 LOVEIVORY

Page 39: Ivory Magazine

because it’s more accessible for the people that are interested in the ideas behind my work and want to purchase something that will portray everything I’m talking about. But yeah, I wouldn’t rule out making anymore taxidermy accessories because it’s a great way to get work out of a usual gallery context and it is something that no one else is really doing.’

Where do you see yourself in the next 10 years?

‘Total world domination! (Laughs). I don’t know really, I would like to have more people working directly under me just to help with making work, the past couple of years I feel that too much of my time has been spent on emails and press stuff and buyers so it would be great to be at a point where

I could just focus on the creating as opposed to flogging, talking and emailing.’

Can you tell us about the projects you’re working on at the moment?

‘I’m going to California to Death Valley to do a piece that I’ve been wanting to do for a while where I’ll be shrinking a pig’s head using traditional Amazonian head shrinking methods, so that’s a big project coming up very soon. I think that’s the piece I’ll be showing at the Cobb Gallery which will probably be a selection of large photos, video and sculpture. Then in September I hope to have the pet collection which will be my third taxidermy collection, but it’s proving very difficult to find dead pets. People forget that pets can die naturally and even Battersea, you

know they have to put animals down but it’s kind of approaching these places without them thinking you’re a total crazy person or out for ill will towards animals, so we’ll see. I have friends and friends of friends that have promised their dying pets, but it’s touchy which is kind of why I’m interested in it but it is proving a lot harder than vermin obviously.’

Even though you use animals that have died through natural causes, why do you think you get such a negative reaction from some people?

‘I think largely it’s the reason I’m drawn to it, which is because of that initial emotional reaction which isn’t always logic based. They’ll just see it, see this preserved dead animal and think “Murderer!” Often at

times, I’ll wear my work out and I’ll get approached by people who are interested and sometimes there’ll be someone who says “Oh, but how did you get that animal?” and it’s like well actually my cat killed it and brought it to me (Laughs). Usually, once you’re able to talk about it people change their point of view on the subject. But also, taxidermy has a bad rep that goes back decades from Victorian times when people used to go out and kill 3 of everything they saw. So you know taxidermy as a practice still has that hanging around, but 90% of taxidermy is road kill.

With your work, do you ever feel that you want to get the message across that taxidermy isn’t murder?

‘Well I’ve always tried to be really

open and honest about every animal I use. Every single animal I’ve ever worked on, I could tell you where I got it from and I think that’s really important. As far as getting a message across, I’m more interested in the subject of human consumption of animal products because some people will automatically be like “Fur is bad, don’t wear fur!” when actually if the fur is from something that’s died naturally or unpreventable causes then why is that any worse than wearing some totally synthetic fabric that’s disposable and pumps loads of plastic into the atmosphere killing our beloved animals. That doesn’t make any sense to me and that’s the kind of thing I want my work to bring up, why would a crow clutch be worse than a leather handbag? I don’t think it is, especially since the crow has lived a natural happy life in London

and passed away on the side of the road, so that’s more what I’m after with my work.’

And finally, would you ever collaborate with another designer and who?

‘Yeah I’m definitely interested in doing that actually; a lot of my friends just completed the Central St Martins MA fashion degree and I’ve already spoken to a couple of them about collaborating. Phoebe English, who won the L’Oreal award, does fantastic dresses using hair and these rubber plate things which are amazing and its very power femme. So I’d really like to work jewellery wise with her, so she’d be an example but I’ve got a pretty open mind and just enjoy the process of creation so I’m open to new possible collaborations.’

76 LOVEIVORY 77 LOVEIVORY

Page 40: Ivory Magazine

Bring Me Back To Life

Pigeon Wing Head Piece78 LOVEIVORY

Reid Peppard is an example of what can be achieved, if you want it badly enough. She managed to translate the squeamish process of taxidermy into stylish and glamorous accessory making. It’s all about the concept. Having Reid as the main feature, we get to make use of her creations in an editorial which aims to explore the ways in which these pieces can accentuate a girl’s natural and effortless beauty.

Photographer: The IVORY Team

Page 41: Ivory Magazine

Crow Head Piece80 LOVEIVORY 81 LOVEIVORY

Page 42: Ivory Magazine

Pheasant Head Piece82 LOVEIVORY 83 LOVEIVORY

Page 43: Ivory Magazine

Rat Purse84 LOVEIVORY 85 LOVEIVORY

Page 44: Ivory Magazine

Coll

ect

ion

s

T

o Ob

je

cts

Every collection, in order to be created, must be researched, designed, altered and made within 6 months by the designer. In every issue, Ivory, is going to explore some of the latest collections shown in the fashion week, choosing one look from 8 different designers to visually deconstruct and represent through a characteristic from

everyday life objects.

BalenciagaLook 18

Phot

ogra

pher

: Mar

ia K

atsi

ka

"Zooming in on textures"Oversized woven clutch in black & white colour.

87 COLLECTIONSIVORY86 COLLECTIONSIVORY

Page 45: Ivory Magazine

Jil SanderLook 26

Ann DemeulemeesterLook 1

“Extremes”Voluminious, floral printed dress paired with floral ankle boots.

“Dramatic silouette”Long black coat, slung with leather belt loaded with feathers,

black trousers combined with leather gloves and boots. 89 COLLECTIONSIVORY88 COLLECTIONSIVORY

Page 46: Ivory Magazine

Christopher KaneLook 9

Mary KatrantzouLook 4

“Childhood memories”Crocheted over-knee dress with plastic breastplate filled

with vegetable oil and glycerine.

“The woman in the room”Bucket shape skirt and hyper-vivid leggining prints.

91 COLLECTIONSIVORY90 COLLECTIONSIVORY

Page 47: Ivory Magazine

David KomaLook 23

Marios SchwabLook 7

“The sound of craft”Minimalistic silky dress in ivory colour.

“Dotty look”Polka dot ladylike silouette dress made by leather, black fox collar and fur

pompoms attached on the sleeves. 93 COLLECTIONSIVORY92 COLLECTIONSIVORY

Page 48: Ivory Magazine

Alexander McQueenLook 33

“The ice queen and the court”Icy sleeveless sheath dress made of white tulle and silk.

94 COLLECTIONSIVORY

Secret

Garden

Photographer: Harriet McCarroll

95 LocationIVORY

It’s the weekend, where do you want to go? What do you want to do? Take yourself away from the buzzing art scene and enter the beauteous and sensual secret gardens of Hampton Court Palace. With its stunning panoramic views and truly impressive flower displays, you will feel like you are in a floral heaven. One of London’s forgotten treasures this spectacular location should be appreciated by all, seeing as it is only on our doorstep.

Page 49: Ivory Magazine

96 LocationIVORY 97 LocationIVORY

Page 50: Ivory Magazine

98 LocationIVORY 99 LocationIVORY

Page 51: Ivory Magazine

100 LocationIVORY 101 LocationIVORY

Page 52: Ivory Magazine

102 LocationIVORY 103 LocationIVORY

Page 53: Ivory Magazine

104 LocationIVORY 105 LocationIVORY

Page 54: Ivory Magazine
Page 55: Ivory Magazine
Page 56: Ivory Magazine
Page 57: Ivory Magazine
Page 58: Ivory Magazine

IVORY