Miss Marcella Love

Marcella LoveBA Honours Fashion Communications

The Host is a magazine aimed at men aged between 40-60, a market often neglected by the fashion magazine industry. The magazine plays ‘host’ to a variety of creaive talent, such as artists, fashion design-ers, interior designers, poets and musicians. However, it is thoughtfully produced with the intent to capture the age range of an older audience because the world’s population is ageing, which means we’re all getting younger! It’s time to shake up the traditional views of ‘grumpy old men’ and realise they are still as fashion conscious as the rest of us!

EDITOR’S LETTER

This Winter edition plays host to celebrated pitman painter, Norman Cornish, Mary Wilson and the Supremes, Stiff Little Fingers singer/song writer, Jake Burns and a behind the scenes look at Barbour with men’s wear designer, Gary Janes.

Each of them have in some way made an important contribution to the creative culture of the North East of England with the exception of Mary Wilson, all have spent many years of their lives, living and working in the local community.

They each share strength, heritage, character and durability, which have enabled them to be worthy opponents in a thriving, creative industry.

Whether you’re reading about these artists for the first time or remembering when they first emerged on ‘the scene’, you can’t fail to recognise the energy that their work is still generating.The Host invites you to enjoy their experience in this December edition.

Marcella Love

Norman Cornish

Cornish is probably the most celebrated mining artist in Britain, par-ticularly the North East and is curently attracting major interest from a wide audience. Images painted over fifty years portray the world of the miner, often those unguarded moments opening a revealing win-dow into a difficult world.

At the age of 15, Cornish started out as pitman but it is his skill as a painter and his careful observation of miners and their lives, which have intrigued an appreciative audience. It is the images he encoun-tered in the tough and dangerous mines and colourful community of the pitman community, that is portrayed in his work, which has made him a celebrated pitman painter.

Jake Burns of Stiff Little Fin-gers tells The Host why he will never be too old for punk.

Stiff Little Fingers’ debut album, Inflammable Material entered the UK Albums Chart as the highest new entry and, coincidentally, the first ever completely independent album on 21 February 1979, which also happened to be Burns’ 21st birthday.

Now 51, Burns, is still the lead singer of Stiff Little Fingers, the Irish punk band who are still touring and recording, 30 years after getting together in

Belfast. That includes eleven reformations and 23 albums later.

I spoke to the singer and guitarist Jake Burns just as he arrived back from touring in Britain to his home Chicago.

Living in Chicago, what’s that like?Miserable, wet, raining, night-mare!

Burns remains the only origi-nal member of Stiff Little Fin-gers.

“In a lot of ways it’s actually

a good thing because you’re bringing in new blood and fresh enthusiasm, but obvi-ously there’s also a period of upheaval.”

Do you think people appreci-ate your music as much when you started? I enquired.

Yes, although in the begin-ning we were frustrated and weren’t getting chart success with singles but albums sold well which created longevity. Although we didn’t realise it at the time that is exactly what has allowed us to keep playing for so many years.”

SLF still have a vast following and their albums continue to sell.

The band’s lyrics have contin-ued to deal with contentious political issues, delivered with a fierce punk sound.

When you started out how important was your image as a punk band? Did you embrace the punk fashion and has that continued?

“Well we wore leather jackets and cut our hair but that was the extent of it! In fact I hated how easily people conformed to the stereotype, it was sup-posed to be about the music and people got caught up in the image. Corporate, homo-geneous!

When punk started I didn’t see it as the narrow thing it’s become. It was a very broad canvas at the time, if you consider that people like Elvis Costello, Blondie or Talking Heads as well as folk like the Ramones and the Sex Pistols were considered punk rock artist. So there were a lot of different styles. It was more about the attitude than the actual style of music and that’s what really appealed to me. It was as if the shackles of ‘we are a rock band’ or ‘we are a pop band’ had been thrown out of the window, you could do whatever you wanted.”

The group split in 1983, then after playing some gigs in 1987 they reunited in 1990 and have been performing and making albums ever since.

Who has been your biggest

inspiration?

“Initially we were influenced by The Clash, not just what they were doing but the way they were doing it - the fact that they were writing songs about their own lives was a com-pletely new concept.”

Jake is happy to have wit-nessed that SLF have influ-enced modern bands too.

“Green Day are one of the most successful bands on the planet and for them to say that without us they wouldn’t be doing it, is very flattering.”

Any crazy stories?

Too many and too bad to share!

Do you enjoy what you do as much as you did in the begin-ning?

“Yes definitely still have the passion! Best job in the world, play, sing, write music, see the world, adventure and then people applause you for it! It sounds slightly juvenile to say but I still enjoy the ‘all boys together’ gang mentality that you have in a band. It is an incredible way to make a liv-ing - what was my hobby and something I did for fun when I was at school has been my job for the last thirty years. There isn’t many people who are so lucky that they get to do something they love and it puts bread on the table.”

Growing up in Northern Ire-land during the 70’s would not have been easy. How great an influence on your work was the environment that you grew

up in?

“Yes it was material to sing about and that’s what punk was about singing about real issues … Basic routes of music, singing about your own life, punk gave me this oppor-tunity.”

Do you believe that a band like SLF serves a purpose in politics? “Well I believe if I can influ-ence even just one person its something, I’ve made a dif-ferent, my music has had that power at least.”

What don’t you like about your ‘job’?

“It’s a crazy thing to say but if I could get away without making records I would. Being in the studio can be the most soul destroying thing in the world simply because of my impa-tience - you have to wait while things are set up, they have to get the sounds right, then you have to try and deliver the right performance that’s good enough to become the record. Though it’s a lot faster now than it used to be.”.What gives you the biggest buzz about being in a band?

“Being in front of a live audi-ence it’s instantaneous and you don’t need to wait for some producer to tell you whether it’s good, bad or indif-ferent - the audience will soon let you know. That’s much more fun.”

Has your audience changed much over the years?

“A lot of people have grown

with us, we have fans as old as us who’ve been there since the start, but bizarrely our audience has got younger even though we’ve got older. Younger bands like Green Day have name-checked us as an influence, so their au-dience comes to see what we’re like and find out exactly why Green Day said that, and they’ve become fans them-selves which is great.”

Do you still plan to keep on writing and creating music?

We’re still having fun and there’s still a large audience out there that wants us to do it. If any of those things went away then we would have to seriously consider whether it was worth doing.”

The music industry has en-countered dramatic changes since download and music In-ternet sights have taken over. Has this affected you?

“I actually prefer working in the music industry more now than I ever did. There’s no one calling you up, making demands of you. I’ve become my own director since record labels are practically dying out. Although you need self-motivation but I’m happier, I call the shots.”

The title, Still Burning, is also the title of a song from SLF’s last album, and is an apt expression of how strong the band’s feelings remain.

“The song was written to reflect the thought that people expect you to be angry young men when you’re 18 or 19, and when you get to middle

age you’re supposed to calm down and just accept life as it comes, because you’ve taken all the knocks you’re going to and there’s nothing you can do about it. I didn’t see how that made any sense - just be-cause I was older didn’t mean that I had to accept everything that was being thrown at us. The point of it was saying, ok, we may be older and more settled in life, but that doesn’t necessarily mean that we’re any less angry than we were aged 19.”

It’s clear that SLF are pas-sionate about what they do, and their continuing enthusi-asm should ensure the band please their fans for years yet.

“Let’s write some more songs, let’s get into the studio and record them, let’s get out on the road and play them.”

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The Magic of The Supremes is reignited in a fantastic exhibition of Motown Glamour, which has arrived in the North East, at the Shipley Art Gallery.

The Supremes were the epitome of glamour and as the 1960s revolutionised the fashion industry they were at its cutting edge. The exhibition reveals a wide range of glamorous stage costumes reflecting the many moods of the Supremes music.

The Supremes, formally known as The Primettes were the hidden gems who came together in Detroit in 1959 – becoming one of Motowns’ biggest acts, with hits such as Baby Love and Stop! In The Name of Love eclipsed by their costumes which ooze glamour and ex-citement. They are a style statement, which is clearly part of the successful Supremes pack-age.

The Supremes revolutionised the fashion industry, illuminated music venues across the world, and helped to liberate an entire genera-tion of women.

The Motown super-group, The Supremes – and the outfits that helped to define them - are the subject of a major new exhibition on Tyneside.

Now, thanks to the endeavours of a fashion-conscious curator, their legacy has arrived on these shores to give the North East a taste of its enduring influence.

The exhibition at Shipley is a collection of stage costumes, which are, tiny, figure hugging garments. The clothes are a blaze of colour and style; full-length gowns made of chiffon taffeta braid, hot pinks and black and white all encrusted dresses with sparkling stones. The garments are all heavy pieces, some weighing up to 35pounds. Embellishment was an impor-tant theme throughout the collection, whether it diamonds, metal chains, sequins or glass stones. The outfits were always teamed with accessories too such as feather bowers, hats, long silk gloves, and decadent jewellery.

Mary Wilson and the Supremes Exhibition at Shipley Art Gallery in Gateshead displays 50

gowns, alongside memorabilia, archive footage and new video interviews against a backdrop of 1960s America, regarding Martin Luther King and the Civil Rights Movement.

Mary Wilson has created a resource, which demonstrates how the Supremes were able to embrace a more feminine image. Their cos-tumes embellished their own femininity; haute couture fashion gowns and wigs, detailed make up, graceful choreography that made the Supremes equally appealing to black and white audiences. The Shipley have showcased this music sensation to demonstrate very clearly their impact on a whole generation.

According to the gallery’s curator Amy Barker, the exhibition is a major coup for the region and bringing it to the North East was by no means an easy task. When the exhibit was offered to Barker, she didn’t snap it up instantly but deliberated the crippling costs of such a treat to the North East.

It cost £40,000 to bring this display to life and make sure people knew about it with every marketing tool Barker could afford. It is a mysterious happening when you contemplate the competition for such a weighty exhibition. The Shipley beat off not only regional competi-tion but National competitors too. The V&A of London had first pick but after that it was in the lap of the Gods but fate had passed Barker by once before, having missed out on the Kylie Exhibition; she had waited patiently for this once in a life time opportunity to come her way.

Unbelievably Mary Wilson, the only original member of the Supremes, a renowned, inter-national star graced the North East with her magical presence. Wilson allowed The Shipley Art Gallery to play host to the ‘Mary Wilson and The Supremes Exhibition, saying “its great because you can get right up close with them – at the V&A they were behind glass.”

The exhibition highlights the confidence these three very petite women had to carry such fabulous, awe-inspiring outfits.

Cleverly each ensemble encapsulates a fash-ion vibe of the times. Always rising to the occa-sion such as the treasured diamond pearl

latticed showstoppers, which were worn for a performance for the Queen in 1968. Not bad for three ‘lasses’ from the projects of Detroit!

However, the costumes were not just power-ful performance pieces but had the credibility to change people’s attitudes. Editor of Large for Vogue, Andre Leon Talley observed their “shimmery dresses” believing for “the first time people saw women of colour looking affluent”.

This brilliant exhibition unlocks the secrets to what made The Supremes the “most success-ful girl group of all time.” However, it is also a timely exhibit as Motown celebrates its 50th anniversary this year and America embraces its first black president. This exhibition holds depth with the added element of the Martin Luther King aspect, which is significant to the Supremes as it demonstrates their unprec-edented crossover success, which acted as a mirror to the tumultuous events of the 1960’s. America was embarking on the Civil Rights Movement, attempting to dismantle centuries of racial prejudice.

It explores how Berry Gordy, founder of Mo-town, shaped their style to create an image

and appeal that invited a broader fan base. Im-portantly the ‘white community’ accepted and celebrated these three glamorous and talented African Americans, recognising their unques-tionable talent.

This exhibit originated from the US tour at The Rock Music Hall of Fame-the V&A in London and currently The Shipley. Before this, these staggeringly beautiful garments were packed up in boxes having not seen the light of day for thirty years. It was only when Mary Wilson, was reliving the memories and writing her book ‘Dreamgirl: My Life as a Supreme’ did Mary consider an exhibition would be an appropriate way to celebrate the life of the Supremes.

Thanks to Mary Wilsons’ efforts, this exhibition has been seen by and inspired thousands.

The value of this exhibition is priceless. Not only has the Supremes Exhibition helped to ‘reach out’ into the world, it’s an experience that touches our hearts and minds, reveal-ing the stories behind all the sequins and the songs, not to be forgotten.

Behind the Barbour Boom!Gary Janes, Men’s Wear designer for Bar-bour, reveals whats driving Barbour to the masses once more!

Barbour is an International clothing company that boasts a presence in 40 countries world-wide including Germany, Holland, Austria, France, the United States, Italy, Argentina, New Zealand and Japan. However, incred-ibly the 4th generation family owned company created by John Barbour in 1894 began in the remote market town of South Shields.

Where are you from Gary? “Sunderland”

What is your official job title at Barbour? “Design and Development Manager-Head of Men’s Wear.”

What its like working for an International com-pany?“Rewarding on a personal level, to see your product on the street. That’s the benefit of a bigger company, you have a larger presence in the market.”

What do you think about the future of Bar-bour, regarding its current high profile? “Difficult to sustain, although there are busi-ness strategies in place, so we don’t just peak and then fall off the edge. We’re riding a new wave but we have enough ammunition to take us forward and enough facets that people will

find interesting. Hopefully people will see we have a lot to offer, enough of a range so that we remain a float and if one dimension of us does fall off the cliff, we have others to carry us forward.“

How do you think this has affected Barbour’s image? “Hopefully moving this 100year old company forward, so that it doesn’t become stale, we can revitalise it and to do that we have to alter perceptions. Although the traditional percep-tion of Barbour is the famous wax jackets, we have such an extensive collection. People don’t even know we manufacture in the North East. We’re trying to challenge people’s per-ception for what we stand for, which is a fine balance, as we don’t want to alienate our loyal existing customer.” How long have you been working in the fash-ion industry?“Since1978. It was very different, more a kin to art than fashion.”

How did you get into fashion design? Do you come from a creative family? No not at all, I was the first of my family to go to University and study fashion at what was Newcastle’s Polytechnic, now Northumbria University.

What do you think about the future of the fash-ion industry? It’s not a watertight conclusion but if we look through the decades:50’s-advent, start of youth fashion, teddy boys and ordinary people got a chance to get into fashion. 60’s-rules went out the door.70’s taste went out the door.80’s-even worse if you ask me!90’s-things were looking up.2000’s-present, we witnessed a massive wave of technology, access to so much information, yet we’re always looking back in time!

Fortunately for Barbour that’s its winning qual-ity-a wealth of heritage. You have to embrace new things and that’s the formula Barbour’s working to, striking a balance of the past and the present and hopefully creating something new and beautiful but time will tell.

5/2010

UK £4.50EUROPE €5.20

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Contents

Fashion School!! 7

Whats hot on the high street! 13

This Summer’s Couture Trends 15

Crucial Classics 17

Facebook Fix! 20

Claire’s Quirky Creations 23

Alice’s Insight 29

The Max Factor 31

Stop, look, admire 36

Intern in the Big Apple 41

WIN! WIN! WIN! 45

Inspire Workshop 47

Mario the Magnificent 53

Vintage Vibe 56

Designers through the decades - Chanel 66

Course Finder 69

Inspire invites you through thegateway to fashion!Article by: Marcella Love

Inspire’s summer special brings you a fabulous feast of ideas, tips and well researched information. There is something for literally everyone - aspiring fashion students, budding photographers, we’ve got a few ideas on taking photograpghs and some solid advice on using adobe photoshop to create really cool pictures.

Now that the first shafts of golden summer sun are sending us rummaging into our wardrobes, we take a look at whats hot on the streets this summer.

We’ve also put togther a feature which gives an insight into some of the highly acclaimed fashion courses available at Northumbria University

Interviews with recent graduates currently working in the fashion industry gives you a cutting edge insight into in a competitive world.

Our aim is to ‘Inspire’ you this summer!

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Welcome toFashionSchool

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A Classic that’s Crucial!

Bobbi Brown Mineral Bronzing powder £15Estee Lauder double wear foundation £26Mac Black Eye Shadow £4.50Mac Dazzle Lash Mascara £12Bella il Fiore Pink Lip Gloss £6

Smoke ‘n’ Hot! The smoky-eyed look reappears for summer! Infact year on year this is the classic look that can’t fail to reignite its faithful followers, bringing it back to us.

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Claire’s quirkycreationsArticle by: Marcella Love

These fashionista’s were spotted out and about, soaking up the rare rays this English summer has to over!

Name: Claire Raeside Age: 23Current City: Glasgow Studied: BA (Honours) Fashion Marketing Northumbria University Newcastle upon TyneOccupation: Visual Merchandiser for Gap

Claire tells Inspire what attributes you’ll need if Visual Merchan-dising is something you’d like to do!

You need to be:Creative,Physically fit,A team player,Driven!Claire studied Fashion Marketing at Northumbria University in Newcastle and says it was no picnic!

To survive a fierce fashion course, the top rule to live by is “Don’t leave everything to the last minute! Plan it, book it - DO IT!”

Claire reveals what key ingredients are needed to study Fashion.“Fashion Marketing demands a ‘jack of all trades!’ It’s not just designing the clothes, but driving the designs through advertise-ment, photography shoots and above all creativity.”

Fashion Marketing at Northumbria University requires a wide range of skills; an ability to take good photographs helps but being able to develop a concept using a variety of media to advertise, promote and sell successfully is essen-tial.

University highlights?“My placement year, I worked for Kelly Cooper Bar - well known Stylist for the supplement of the Glasgow Herald... Work experi-ence gave me an opportunity to work behind the scenes on photoshoots. There is so much to consider-hiring the right model, sourcing the clothes, creating the set or finding the right location, lighting - the list is endless and so was the work! However, the buzz - the feeling that I was really part of something that was going to be out there, printed and sold on the shelves - it was a great feeling.”

London Graduate Fashion Week (L.G.F.W)What’s it all about?Earls Court in London, an exhibition centre, plays host to final year fashion students across the country ever year for one week only.

Lights, camera, catwalk!Press and companies pack in this event to get the first glimpse of Britain’s hot new fashion talent.

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The students are prepared and loaded with business cards ready to make contact with every company scouting for the latest talent

Claire’s Quirky CreationsClaire was spotted by Vanessa Denza, who co-founded L.G.F.W

Vanessa Denza created a fashion recruitment agency, which was established in 1988 and “enjoys an unparalleled reputation” - basically they’re hot property!

It was Claire’s illustrations that caught Denza’s eye. Due to this encounter, Denza now have Claire on their books with a sample of her work, which gives Claire her ‘gateway’ to the fashion industry!

Future plans for Claire: Claire knows the only way to make it in the fashion industry is to work, work and work!

Currently Claire is expanding her portfolio - experimenting with her noted illustrations and unique signature style, seeing where she can take them.

Claire continues to work at Gap and explore the visual merchan-dising industry, which is a whole new world to her, drawing new challenges every working day!

The fashion industry NEVER sleeps and neither should you! Claire has enrolled on a photography course and a computer arts programme in order to keep up to date with the constantly changing computer inputs.

Final word...If you havecreative talent...act on it!

New YorkIntern in the Big Apple!

Article by: Marcella Love

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Inspire’s WorkshopArticle by: Marcella Love

Step 1:Creating Traffic Light Trails

To photograph light trails,wait till it’s dark and find a spot next to a busy road. (These light trails were caught at the tyne bridge in Newcastle.)

You will need a digital camera and if you can get a hold of a tripod that would be very useful! If not, just rest the camera on a flat surface whilst taking the photos.

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Step 2:Set the camera ready to shoot

Setting the shutter speed to 2 seconds or longer in the Shutter Priority or Manual mode will allow you to capture the light streaks. This will grab the movement of the light which the human eye can’t see!

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“We will provide one of a kind, quality items to the fashion savvy customer”

www.vintagevibe.com

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Available at www.vintagevibe.com

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Available at www.vintagevibe.com

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Garments made, styled and photographed by Marcella Love

Miss Marcella Love

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