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17.01.12

Paul Binnie: Where Scotland Meets Tokyo


Here at Sketchbook Magazine our love for illustration keeps us constantly searching for new and exciting artists worldwide. Our latest find is Scottish artist Paul Binnie, whose long enjoyed love affair with illustration and fascination of Japanese Culture has Sketchbook’s art hungry eyes widening.  Inspired by his favourite Japanese artist Hiroshi Yoshida (1876-1950), Binnie explains how Yoshida is considered one of the first Japanese Impressionists and the poetic quality of his landscape work creates a moving image of a country vanishing in rapid industrialisation. Yosida’s understanding of western watercolour immediately attracted Binnie and it is in this way he hopes to emulate some of Yoshida’s vision, albeit in more modern and uniquely ‘Binnie’ style. I was lucky enough to catch up with Paul a short while ago and interview him on his artwork and also to chat to him about what 2012 had in store for him.  

 

Q: Paul, its fair to say that up to this point you have lived a cultured and interesting life, how did a young art student from Scotland develop such an interest in Japanese art and culture?

A: It was a long progression, as I began with a strong interest in the French Impressionists, Japonisme and the graphic, fine and applied arts of the late nineteenth century, all of which were influenced by the first contact in the 1860s and 1870s with Japanese woodblock prints. From there I began to look in more detail at the prints themselves, and gradually my love of the prints became a collecting passion, then finally I decided I would like to learn how to make woodblock prints myself. Moving to Japan at the start of 1993 lead me into close contact with Japanese culture and art in a very profound way, and I lived in Tokyo for 6 years, until the end of 1998.

 

Q: Paul I know that while in Japan you became fascinated by the Noh Theatre and its actors, how did this particular artistic medium influence you and your artwork?

A: I was first seduced by Kabuki, a theatre form that has continued unchanged since the late 16th century, and through that I began to learn about Noh, a theatre whose origins are much older, developing in its current form in the 13th and 14th century from medieval origins. Both Kabuki and Noh are windows into a past world, and that aspect of unchanging traditions is one part of life in Japan which especially appeals to me, as well as the marvellously colourful silk and golden costumes and the elegant dance movements in both, which are a great inspiration for me as an artist.

Q: How did you find how Japanese culture differed from Scottish and in what way?

A: In fact it might be easier to say where the similarities lie, and those are not many! Scotland and Japan are in many way completely different; on the one hand Scotland is a small country of under 6 million people, with a comparatively small art world and perhaps limited access to cultural events, whereas Tokyo alone has twice as many people as the whole of Scotland, and the entire country’s  population is over 120 million people, about half of the united States and twice the whole of the UK. In addition, Japan has had a rich and varied cultural life for over 1500 years and is as interested in contemporary art as that of the past, leading to a broad range of cultural experience. However, both countries are island nations, one the edge of a larger continent, and this may in some ways create an independence of spirit, which is shared by both nations.

 Q: While in Japan you trained with Seki Kenji, a master of Japanese Ukiyo-e printing. You also began experimenting with kappazuri stencil printing where your prints depicted tattooed figures and also actor portraits. Kabuki as an art form in my opinion is steeped in dramatic and symbolic imagery and manages to capture and express many aspects of human emotion. Do you feel this is perhaps a reason why you were drawn to represent this through your art, or have I strayed too far from the point?

A: I think you are quite right; dramatic, powerful poses and colourful costumes are a gift to any artist, as the possibilities of making wonderful and arresting images with them are obvious. I was also drawn to Kabuki in particular, but tattoos as well, since there is a long history of these subjects in Japanese prints – indeed, Kabuki actor portraits were amongst the first types of prints made in the 17th century at the birth of Ukiyo-e. I worked on kappazuri stencil prints while I was learning the skills of woodblock, and it was a way to keep making prints while I honed my block carving and printing techniques. I hope that studying the Kabuki prints one can see a broad range of emotions and feelings, from quiet introspection to dramatic bombastic thundering.

  

Q: In 1998 you decided to return to London and set up your own studio. While working here you expanded your art to include landscapes. What influenced this divergence?

A: I felt a physical separation from Japan in London, and that prompted me to move more into landscapes as well as the genre of ‘bijin-ga’ or pictures of beautiful women, which I had only slightly dealt with while in Japan itself. I travel in Japan very regularly, searching for new landscape sites and views and that then leads to new prints as well as paintings created in Japan itself. I know too that the growing influence of Yoshida on my work plays a part in moving towards scenic views, and I must also admit to a certain pressure from collectors and print dealers, as landscape as a theme is very popular subject, perhaps more so than figurative prints.

Q: Apart from Japan and Japanese culture, what else inspires you as an artist and your artwork?

A: I have always been drawn to portrait and figure work, and in some ways that interest in people has helped with the various series of prints I have made. However, there are lots of drawings, watercolours and oils of figures and portrait heads, which fall far outside the Japanese theme, and I work with models and friends regularly to make new pieces of this type. In addition, I have done a few residences, for example at the Royal Shakespeare Company or Opera Holland Park, where I have worked on actor/performer portraits and views of the stage of European drama, so the link back to Kabuki and Noh is there, but extending in another direction.

Q: What will 2012 have in store for Paul Binnie. Are you involved in any interesting up and coming projects and is there any plans for exhibitions in the near future and if so where and when?

A: I am continuing several print series; one of tattoos (called Edo Zumi Hyaku Shoku, or A Hundred Shades of Ink of Edo), one of landscapes within Japan (Nihon Meisho Zu-e, or Famous Views of Japan), one of landscapes outside Japan (Meishou To No Tabi, or Travels with the Master) and one of beautiful women (Azuma Nishiki Bijin Awase, or A Collection of Eastern Brocade Beauties). 2012 will see a new series of beauties on the theme of the decades of the 20th century, starting in 1900 and progressing to the present, to show the changing styles, fashions and interests of Japanese women during the last hundred years.

In terms of exhibitions, I will have pieces in a show at the University of California in the spring; I’m doing a solo exhibition with my New York dealer later in the year and will contribute to the annual print show in Tokyo in October. I like to keep busy!   

Words: Derek Jones-Bennett

Images: Paul Binnie


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03.01.12

Honour At House Of Amouage


House of Amouage, a leader in the art of perfumery, has recently launched its new “Honour” fragrances for both men and women. Drawing much inspiration from Puccini’s Magnus Opus, Madame Butterfly, Christopher Chong – Creative Director at Amouage – has managed to create two distinct fragrances that share the underlying essence of the Puccini classic - a tale of love, intrigue and tragedy.

Chong, who previously studied opera, possesses an unrivalled perspective into the way in which the art inspires the music; music inspires the art, which in turn inspired these signature scents.

Honour Woman is a layered masterpiece where each ingredient is laced with significant meaning and emotion. The strong top notes of Pepper, Rhubarb and Coriander, alongside the classic floral heart notes of Jasmine; Gardenia; Tuberose; Lily of the Valley and Carnation – representing romance and love; blend seamlessly atop the sharper, more complex base notes of Amber; Frankincense; Opoponax; Vetiver and Leather, which in turn also represent elements of danger, intrigue and tragedy much like the story itself.

Honour Man on the other hand, is a spicy and musky medley bursting with Black and Pink Pepper tops notes; with an injection of Geranium, Nutmeg and Elemi heart notes; before the woodiness of the scent is cemented by the Patchouli, Frankincense, Cedarwood, Vetiver, Tonka Beans and Musky base notes.


Giving a glimpse into the back-end of the creative process, Chong explains that, “I could not fulfill my responsibilities at Amouage without my chequered past, especially music. For me, perfume is about articulating the different colors of emotions and personal history.  It is all about the present reconciling with the past.  Perfumes are more than beautiful scents. It is a philosophy, a representation of life, living, who we are and how we want to define ourselves.”

It is clear that Chong has gone about creating two evocative and perfectly complimentary scents that will remain as timeless as their artistic inspiration. He has skilfully further juxtaposed the themes of opulence; innocence and tragedy displayed in Puccini’s work, through the use of glass crystal bottles; with the gold-plated accents alongside the white opal Swarovski crystal and the fragmented white butterfly wings paying homage to the vulnerability and fragility of Madame Butterfly.

The perfumes come in two sizes – 50ml and 100ml and are priced between $170 - $220 depending on size, and are on sale now.

For more information check visit: www.amouage.com 

Words: Keji Mustapha

Images: House of Amouage



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07.11.11

London Life, Lagos Living, And Everything In Between


As summer comes to an end, and the evenings start to get darker, there are few things I look forward to more than the new season fashions and the start of new TV shows. The influx of lookbooks, autumn reads and coffee-table tomes are other highlights of the month of September onwards; and to get all three types of books in one, is a phenomenon which rarely occurs. So when we heard of a new self-published hardback – London Life, Lagos Living – penned by an Anglo-Nigerian author and his use of the phrase ‘Kilon Sparkles’ as a signature salutation, my intrigue led me to find out a little more.

London Life, Lagos Living is a ‘genre-bender’ and the brain child of PR expert, Bobo Omotayo which, was borne out of a series of short stories written for his column on Bella Naija, (under the name ‘The Renaissance Man’). The book is a collection of these stories, musings and more. It documents his experiences of work, life, love and social circles in two contrasting but equally cosmopolitan cities; and comes complete with a glossary providing definitions of slang and other colloquial sayings, specific to both London and Lagos.

The book is peppered with an array of art, illustration and photography – courtesy of a handful of international artists, photographers and illustrators such as Karo Akpokier; Osione Itegboje; Gbolahan Adams and Folarin Shasanya, to name but a few – and reflects Bobo’s love of these and other creative mediums. London Life, Lagos Living is one of a kind; a rare coffee-table style book with sharp and witty written content, full of several laugh-out-loud moments whilst also being aesthetically pleasing thanks to the assortment of eye-catching yet thought-provoking images. In a nutshell, this is one book that can be read in one sitting; read in part or simply flicked through, time and time again. 

Words: Keji Mustapha

Images: www.kilonsparkles.comhttp://www.boboomotayo.blogspot.com/

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05.11.11

Perou’s Dirty, sexy… Jeans


“I am the guy that flies around the world photographing the rich, beautiful and famous people” With those words photographer Perou introduced himself at the beginning of each episode of “Dirty, Sexy things” (you can still catch it on Channel 4 OD if you missed it) and those were the words that first came to my mind when the people from Levi’s told me about their Curve ID events involving a photo shoot with Perou and a chance to interview him. After a few seconds of meeting him, I could have extended that definition to much more: Perou is also a rather approachable and easy to talk to guy from Newick, Sussex, who owns a farm where he lives with his wife and kids and has a genuine interest in people. What makes him such a talented photographer is his ability to bring all that into iconic photographs.

“You have to try on the jeans and then I’ll take a photo of you or two… if you want” he says with a smile knowing that no one in their right mind will refuse a chance to get a photo taken by his expert eye. But how was it for him, the idea of working with normal people, when his day by day glamorous endeavours are full of models and celebrities?

“I was a bit scared at the beginning of the idea of doing public photo shoots but the photos we already took in Italy look amazing and it’s been so far a wonderful experience.  Yes I am used to working with professional models, but these Levi’s jeans make girls look great and girls that look great feel sexy and therefore look beautiful which makes it so easy for me. To be honest the jeans have helped me a lot in this process. My wife never used to wear jeans but she got a pair of Curve ID and now she wears them all the time… she even wears them to bed! which make things a bit complicated for me, but she looks amazing.” 


How did you get involved with this campaign and what attracted you most to the project?

“I think this project and I were really meant for each other. I am interested in real people and I love this concept of jeans that can make women feel sexy and comfortable with the way they look… it is a democratized appeal and it’s great. The idea is to make women look fantastic and make them realise they don’t need to be celebrities or models to feel good with themselves. I usually get asked on interviews who I would like to photograph, and I always say “people”. Each person makes the experience.”


 Tell me about your project of photographing homeless kids.

“The whole idea comes from talking to homeless people and finding out how they feel invisible, so I’m planning to make them visible. I want to photograph them as whole people, part of society: in the same way as I might photograph a celebrity or an actor for a magazine”

After being part in several TV shows (Make me a Supermodel; Dirty, Sexy things) and directing videos and commercials, which of your jobs do you find yourself more comfortable with?

“Definitely photographing. Directing is something I do more because I have to, but doing photos is what I enjoy the most”


What makes a Perou photograph?

“I always say I’m more interested in the content than anything else: function over form. What I bring into my photographs is beauty but it is internal more than external. I’ve worked with incredibly attractive models who were standing in front of me and I couldn’t see them as being as beautiful as the normal people that usually don’t stand in front of a camera. Even during these photo shoots for Levi’s, a lot of people have told me they were afraid to be photographed in jeans but afterwards they felt great and I could see that. I’m simply taking a photograph of how beautiful they feel”

Last but not least, do you have a Sketchbook and what’s on it?

“I do have a Sketchbook. It’s a Moleskine I take everywhere and where I sketch all my ideas for photo shoots. I usually show my clients what I drew and everybody looks at it like “what the hell is that?” I am actually terrible at drawing but that’s why I take photos, because I can’t draw”


Find out more about Perou’s iconic photographs here: http://www.perou.co.uk/ 

Words: Mariana Moyano Menta

Photos: Perou

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28.10.11

Françoise Nielly x IRMDESIGN - Paris


The recent Françoise Nielly x IRMDESIGN collaboration opened at la Galerie Menouar in Paris to a well dressed crowd greeted with champagne and canapés.

The collection was based on the literal interpretation of Françoise Neilly’s bright canvas paintings into a series of dresses by Marion Lalanne and Pierre Hermet, the up and coming duo behind IRMDESIGN.

The exhibition also featured IRMDESIGN’s own rope accessories and some of Nielly’s framed paintings, as opposed to the ones used to make the collection.


 

Check out more of Francoise Nielly’s work at la Galerie Menouar, 75003 Paris, between 27th November and 10 January, visit www.irmdesign.fr for the full collection.

Words: Frederic Bourgoin

Images:  Frederic Bourgoin, Coutesy of IRMDESIGN

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18.10.11

Levi’s® raising the curve


I have been a fan of Levi’s my entire life. You can’t help but admire a brand whose name became synonym for denim; for coolness and design; a brand that was born amongst the needs of hard working classes and turned an item of practical use into a timeless fashion grail. Even back in the day, when my interest in fashion wouldn’t go any further than pink coloured trainers and a highly questionable hair style; I longed to own a pair of Levi’s jeans. It was on my 12th or 13th birthday that I finally got them: black, straight leg, modern rise. The LEVI’S & CO tag in the back of the waist line was considerably bigger than the delicate and more elegant ones Levi’s jeans sport today; but I couldn’t care any less for demure demonstrations of branding: I had a pair of Levi’s at last!

Sadly, as I grew up and my shape changed, I could never find a pair of Levi’s that fit me that well. Eventually I gave up on my search, resigning to the indisputable fact that my body was never gonna be the same as it was when I was 13; and that maybe Levi’s jeans simply weren’t cut for women with Latin American curves. Don’t get me wrong, I’m no Beyoncé, but no matter what model or size I tried, they were always more flattening than flattering. You can imagine then my joy when I received an invitation to try the new LEVI’s Curve ID line. Could my love for Levi’s finally be restored?

In the last couple of years, as consumers have fully stepped into on line shopping era; more and more effort has been put on teaching us how to fit into the perfect jeans. Net a Porter has a whole measuring guide that explains in detail how to find your correct size and My Wardrobe launched the Denim Bar last year, offering the same concept. Never an easy task, choosing the wrong size or style for our loyal denims has a big impact on customers’ experience: delivery costs; lack of immediacy; detriment on interest and ultimately the decision that jeans are still one of those things that you have to buy in person.

LEVI’S is offering its customers the chance to be fitted by their in-store fitting specialist and advised about what style and size is the perfect for them. It takes only a few minutes to measure your waist, seat and hips but if you wish you can book an appointment in advance. The result will determine if your curve is Slight (for straight figures), Demi (shapes with even proportions), Bold (more pronounced curve, usually the one that creates a gap in the back), or Supreme (curviest shapes that will require a higher rise). This is taking shopping experience to a new level, and in times of recession, when every item purchased involves a money conscious decision for most people, offering expert advice that what you are buying is an intelligent purchase, it’s crucial.

 

The fact is, it’s not YOU who need to fit into your jeans, but YOUR JEANS that need to fit YOU perfectly. That’s CURVE ID it’s about: know your body, appreciate your shape, chose your style and you will love your jeans again. Levi’s promise is that you will love them so much; that you will wish to be photographed in them so they invited celebrity photographer Perou, who has photographed the likes of Jessie J; Justin Timberlake; Katy Perry and Jeff Bridges to be part of the “Mirror, Mirror what’s my Curve ID?” events. Buy a pair of jeans; get styled by a team from Gazia Magazine, and your picture will appear in the LEVI’s CURVE ID photo gallery. The only part missing now is you, bringing your curves into the pot, to prove if Levi’s has finally created jeans for everybody.

And I have found my perfect Levi’s® once again.

Catch up with the “Mirror, Mirror what’s my Curve ID” events and get photographed by Perou

House of Fraser – London October 18th and 19th

Levi’s Flagship Store – Regent Street, London October 20th

 

Words & pictures 1,2 & 3: Mariana Moyano Menta

Pictures 4,5,6 & 7 : Perou

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09.10.11

Interview with photographer Carol Burri


How did you get into photography initially?

During my first study in post-industrial design, I did a lot of computer graphics, particularly in 3D applications. I played with virtual physical light and for this, I did tests with cameras and lighting. Through this process over a year I mixed computer graphics and photography but ended up being more interested in natural photography.

What do you generally look for when you choose a subject?

I like subjects that look like they come from another planet. For that I often have to create my subject with a lot of organization. Another important fact is that the image tells you a story or makes the audience think, how the hell did he do this. Of course I’m always looking for strange faces for portraits. They’re hard to find but they have always a place in my photography.


 

What is the most important aspect of photography to you?

One of the most important things for me is that I can convert an idea in my head as close as possible into an image through photography. Most of the time I’m not able to do that but I’m happy when it works. The second important aspect for me when I shoot people is that they feel comfortable in front of the camera. This is not always easy but most of the time they’re still talking with me after the shoot. And of course having fun in what I’m doing.

How do you build a relationship with the subjects you are photographing?

Often I have to go to the place I would like to shoot two or three times before I feel comfortable shooting it. With people it’s quite the same. You meet them by chance and then you have to tell them you would like to shoot them within your own idea. You show them your work and hope that they say ok and feel comfortable with it. Most of the time I have to wait two or three months for the images I really want. Because you have to find the right location and sometimes you need also the permission. The people don’t always have time or the weather is not good. But in fact I like the process of building a relationship with the subject.

Commercial VS Artistic photography?

I’m not a big fan of commercial photography. I don’t really know everything about it but I find that sometimes it’s really not that creative. On the other hand it’s hard to live from personal projects alone. So you have to mix it up. Nonetheless I’ve had lots of fun with some commercial projects and often you can work in a team with cool people. But I’m definitely trying to do as much of my own work as possible.

Digital / Manual ?

 It’s similar to commercial and artistic photography. If you shoot analog you need time and you don’t see the result immediately after you shoot. For me, I enjoy the process of shooting analog.  But I wouldn’t say that analog photography is better than digital. It depends on what you do with your images and what you use them for. It might be that the best way of shooting something is with a mobile phone or the cheapest camera on the market. And sometimes the best way of shooting something is just not to shoot it.


Hasleblad.

Personally some of my favorite cameras. Can be pretty big monsters, and sharp as hell. The good thing about them right now is that they’re much less expensive than they were ten years ago.

What role does digital retouching play in your work?

At the moment it’s really common to retouch images. I’m not a big fan of it. I try to shoot an image in its entirety, to be honest retouching isn’t what makes a good image, and hours of retouching isn’t what makes the difference between a good photo and a bad one. If you have a good source and you have to do some minor retouch, it’s definitely a good thing.

Where do you see in the future of photography?

I’m trying to work hard on my photography series and hope I love what I do for as long as possible.

Words: Frederic Bourgoin

Images: Carol Burri

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05.10.11

Get Gok’d in Gok For Tu


The fashion fairy godfather that is Gok Wan brings his expertise to the highstreet through his ‘Gok for Tu’ (at Sainsbury’s) design debut. Not content with taking the country by storm as a superstylist, the collection proves that Gok Wan the fashion designer can give the likes of Reiss and Topshop a run for their money. Often seen effortlessly customising and revamping a variety of pieces on his hit TV show Gok’s Clothes Show: Get the Look For Less, it was clear that it was only a matter of time before this uber stylist decided to turn his hand to fashion design.

The 13-piece capsule collection, available in sizes 8-22, hits the rails today and sees a series of timeless pieces (skinny fit trousers, oversized shirts and wrap dresses) juxtaposed with other on-trend creations (jodhpurs, trapeze-shaped shirts and palazzo pants). What the collection lacks in number, it truly makes up for in quality. It is comprehensive in that it encompasses a good mix of day and evening dresses; luxe vests; slouchy waist coats; ‘perfect-fit’ trousers and a chic swing tuxedo jacket – all of which are very reasonably priced between £20 and £45 apiece.

So what else can you expect from the collection? Given that Gok is never one to shy away from pop colours and bold prints; the Gok for Tu collection features a mix of autumnal hues ranging from rich reds; terractottas; teals and dashes of black which ties the collection together. The signature oriental floral and cherry blossom prints also designed by Gok, add a bit of pizazz to the pieces both inside and out, and add that little extra bit of ‘Gok-magic’ to the finishes. At the preview event, he explained that; “I wanted women to flirt, flaunt and celebrate their curves. I’ve spent the last few months working through every detail and believe we’ve delivered attainable and affordable design like never before.”

Gok has paid meticulous attention to detail which is obvious in the quality of the fabrics. The classic lines and figure-fixing shapes alongside the everyday wardrobe basics, add to the overall wearability of the collection on a whole. As his first foray as a designer, Gok has proved that he is indeed a master of many talents with the ability to design show-stopping pieces at purse-friendly prices.

We predict the stand-out pieces will be the ruby red long sleeved wrap dress with an intricate button sleeve detail; the oversized shirts particularly in teal, the floral reversible kimono and the ‘perfect-fit’ trousers. Head to one of the 200 Sainsbury’s stores currently stocking the collection to avoid disappointment. Once you’ve shopped til you drop, Gok invites you to share pictures of yourselves in your new purchases at the Gokettes Gallery. Ready…Steady…Shop!

Words: Keji Mustapha

Images: Gok for Tu; Glam Media - www.glam.co.uk


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05.10.11

Rimmel Launches ‘Survival (Of The Fittest) Kit’



If you were to spy in most, if not all make up bags one wouldn’t be surprised to find a Rimmel product (or three) nestled in there and referred to as ‘trusted old favourites’.  As a self-confessed ‘Rimmel-holic’ with an addiction to their nail varnishes, eye liners and lip-glosses, road-testing some of their new products is a luxury most would die for and one which, I recently had the pleasure of enjoying.  Opening the black lacquered pouch the contents of which, made up a ‘Survival Kit’ – a primer; ‘Extra WOW Lash’ mascara; ‘Purple Reign’ quad eye shadow; press-on nail art, and lipstick from Kate Moss’ new range – felt like Christmas and sampling each piece of booty in turn, can only be described as the gift that kept giving.

The primer was incredible. Fact. It kept my make-up in place throughout the day and prevented my usual 7-hour T-zone sheen. A thin application gave me a matte yet dewy finish and took me from work to happy-hour without so much of a touch up.

As far as mascaras go, the ‘WOW’ effect, as it said on the ‘tin’, was somewhat lacking especially as it took several coats to achieve my usual volumised look. It is however waterproof and works well if you simply want to achieve the ‘barely-there’ finish if you’re in a rush.

For ‘Glam Eyes in HD’, the compact eye shadow works as a great four-in-one staple (‘quad’ eye shadow) consisting of a mauve; ice; pink and purple colour palette – with each shade specifically made to suit different areas of the eye lid. Whether the colours can be kept from blending into each other is something only time will tell.

My instant art, nail polish-free manicure was both easy and speedy and the monochrome pattern added a dramatic finish to my otherwise sartorial/pared-down work-wear. Depending on how fast your nails grow, the only downside is that you may have to file your nails daily to stop the white tips showing when your nails are growing out underneath.

The Kate Moss lipstick in ‘03’ (nude) left my lips feeling moisturised and the colour lasted for several hours before a touch-up was required. Although the particular shade didn’t really suit my skin tone, I would definitely invest in Rimmel’s latest ‘001’ (ruby red) offering.

Overall, I loved this capsule kit and would happily add all the products to my existing make-up collection.

Words & Images by: Keji Mustapha


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28.09.11

Lako Bukia S/S12 London Fashion Week Day Two


Lako Bukia’s SS’12 collection showcased some highly structural pieces juxtaposed with more classically feminine, flowing chiffon and silk designs that were a strong feature of the show.

Particular attention was paid to detailing around the neck and shoulders, which gave the pieces a simple yet considered beauty; however the introduction of print may have been an error of judgement.  The chosen prints were garish and suffocated the architectural purity of the shapes, textures and cuts which were on display.

Words & Images by: Imogen Webb

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